Hannah Arendt considered calling her magnum opus Amor Mundi: Love 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.
Peter Singer writes of the suddenly divergent attitudes toward the two greatest mass murderers of the 20th Century, Hitler and Stalin: “Hitler and Stalin were ruthless dictators who committed murder on a vast scale. But, while it is impossible to imagine a Hitler statue in Berlin, or anywhere else in Germany, statues of Stalin have been restored in towns across Georgia (his birthplace), and another is to be erected in Moscow as part of a commemoration of all Soviet leaders.” When Putin was asked recently about his plan to erect statues of Stalin, he justified it by comparing Stalin to Oliver Cromwell: “Asked about Moscow’s plans for a statue of Stalin, he pointed to Oliver Cromwell, the leader of the Parliamentarian side in the seventeenth-century English Civil War, and asked: “What’s the real difference between Cromwell and Stalin?” He then answered his own question: “None whatsoever,” and went on to describe Cromwell as a “cunning fellow” who “played a very ambiguous role in Britain’s history.” (A statue of Cromwell stands outside the House of Commons in London.)” For a lesson in false analogies, read more here.
Some stories are so morally complicated and politically convoluted that they tug us this way and that as we read about them. That is how I felt reading Bethany Horne’s account of the genocidal, environmental, political, criminal, and corporate tragedy that is unfolding in Ecuador. Horne’s title, “After All the People We Killed, We Felt Dizzy” is a quotation from a member of the Huaorani tribe describing their massacre of an entire family group from the Taromenane people. A 6-year-old girl who survived the massacre has since been kidnapped twice and has now been elevated into a symbol in a political war between environmentalists and human rights activists on one side and the Ecuadoran government on the other. “Conta [the kidnapped girl] can't know that the jungle she was snatched from by those armed men in helicopters is a rallying cry for 15 million people in Ecuador. She can't know that the land rights and human rights of her people are the cause of a massive movement to force the president of Ecuador to do something he does not want to do. And last of all, Conta can't possibly comprehend the full impact of what Correa wants so badly from the Taromenane: the crude oil underneath their homes, a commodity that powers a world she does not understand that threatens to swallow her.”
In a short profile of author and MIT professor Sherry Turkle, Megan Garber elucidates the difference that Turkle makes between the way we talk at each other, with our machines, and the way we talk to each other, in person-to-person conversations: “Conversations, as they tend to play out in person, are messy—full of pauses and interruptions and topic changes and assorted awkwardness. But the messiness is what allows for true exchange. It gives participants the time—and, just as important, the permission—to think and react and glean insights. ‘You can’t always tell, in a conversation, when the interesting bit is going to come,’ Turkle says. 'It’s like dancing: slow, slow, quick-quick, slow. You know? It seems boring, but all of a sudden there’s something, and whoa.’”
Mark Slouka remembers his recently passed father and elaborates on one of the particular things he lost: "With him gone, there’s no one to reminisce with, no one to corroborate my memories (or correct them), no one to identify the little girl smiling up from the curling photograph at the bottom of the shoebox. In 1942, in Brno, my father’s family hid a man in the rabbit hutch for a week, until he could be moved. That’s all I know of the story, and now it’s all I’ll ever know. With no one to check me, error will spread like weeds. Which is how the past is transmuted into fiction, and then the fool’s gold of history."
Thomas Streithorst, before attempt to untangle the language of finance, explains why he thinks the task is necessary: "Sometimes I think bankers earn all that money because they make what they do seem both tedious and unintelligible. Banking may be the only business where boredom is something to strive for, so its jargon both obfuscates and sends you to sleep. But six years of pain forces us to realize that economics is too important to be left to the bankers. If the rest of us keep bailing them out, we might as well know what they do. Fortunately, finance isn’t as complicated as its practitioners pretend. It does, however, have its own language, and if you don’t understand it, it sounds like gobbledygook."
This week on the Blog, Steven Tatum considers what it means to teach Arendtian thinking. In the Weekend Read, Roger Berkowitz reflects on President Vladimir Putin's recent attempt to justify statues memorializing Josef Stalin by comparing him to Oliver Cromwell.
Peter Singer writes of the suddenly divergent attitudes toward the two greatest mass murderers of the 20th Century, Hitler and Stalin: “Hitler and Stalin were ruthless dictators who committed murder on a vast scale. But, while it is impossible to imagine a Hitler statue in Berlin, or anywhere else in Germany, statues of Stalin have been restored in towns across Georgia (his birthplace), and another is to be erected in Moscow as part of a commemoration of all Soviet leaders.” When Putin was asked recently about his plan to erect statues of Stalin, he justified it by comparing Stalin to Oliver Cromwell: “Asked about Moscow’s plans for a statue of Stalin, he pointed to Oliver Cromwell, the leader of the Parliamentarian side in the seventeenth-century English Civil War, and asked: “What’s the real difference between Cromwell and Stalin?” He then answered his own question: “None whatsoever,” and went on to describe Cromwell as a “cunning fellow” who “played a very ambiguous role in Britain’s history.” (A statue of Cromwell stands outside the House of Commons in London.)”
The idea behind Putin’s analogy seems to be that great leaders often need to commit crimes or atrocities. Cromwell was undoubtedly brutal to the Irish. Similarly, Stonewall Jackson was brutal to the South, but he is still honored by many. Of course, Stalin killed people as well, but he also won WWII against Hitler and elevated the Soviet Union to superpower status. The moral seems to be that great leaders often must dare to act in morally questionable ways, which does not disqualify them as great leaders worthy of commemoration: To make an omelet, goes the saying, you must break a few eggs.
Singer wants to argue, rightly, that there is a difference between leaders like Cromwell and someone like Stalin. His answer, however, is simply that Stalin was responsible for more deaths than Cromwell:
“Unlike Cromwell, Stalin was responsible for the deaths of very large numbers of civilians, outside any war or military campaign. According to Timothy Snyder, author of Bloodlands, 2-3 million people died in the forced labor camps of the Gulag and perhaps a million were shot during the Great Terror of the late 1930’s. Another five million starved in the famine of 1930-1933, of whom 3.3 million were Ukrainians who died as a result of a deliberate policy related to their nationality or status as relatively prosperous peasants known as kulaks.”
It is insufficient, however, to say that Stalin differs from Cromwell only in the number of people he killed. For one thing, the Irish population Cromwell had to suppress was significantly smaller than the European Jews or the Russian peasants. By one estimate, Cromwell killed nearly one-third of the million-and-a-half Catholics living in Ireland, all within a nine-month siege. While most of those fatalities were soldiers, many also were priests and civilians. Singer’s retreat to a numerical distinction is simply too easy and does not take seriously enough the question: What, if anything, distinguishes Cromwell from Stalin?
Cromwell’s conquest and pacification of Ireland was truly brutal. In a mere nine months, he and his Ironsides killed over 500,000 people. Further, Cromwell characterized and justified his killing as God’s work. In one letter justifying his particularly bloody victory in Drogheda, he wrote: “This is a righteous judgment of God upon these barbarous wretches, who have imbrued their hands in so much innocent blood.... it will tend to prevent the effusion of blood for the future, which are satisfactory grounds to such actions, which otherwise work remorse and regret.” A crusader for England, Cromwell can be seen both as an unprincipled warrior and as one of the great defenders and proponents of a uniquely English brand of political virtue. It is that ambiguity that allows him to be both reviled and also memorialized in England.
For all his incomparable evil, Stalin led the Soviet Union through its war with Germany. The Soviet resistance in the Battle of Leningrad is legendary. And Stalin ultimately led his country to a victory over the Nazis and elevated it to become one of the world’s two 20th century superpower. He is a hero for many Russians. Sure, many also hate him; but so do many Irish and Scottish citizens of the United Kingdom disdain and hate Cromwell. Cromwell is memorialized in spite of these hatreds. Should Stalin not be memorialized for this contribution to Russian and Soviet history?
To answer that question, it is important to realize also how Stalin differs from Cromwell. What Stalin brought to politics was a totalitarian ideology, a politics that, as Hannah Arendt argues in “Image of Hell,” “invariably appears in the clothes of an inevitable logical conclusion made on the basis of some ideology or theory.” Stalin’s mass killings were “justified” by his scientific theories of history, and the murdered were assigned to the “dying classes” whose deaths were justified because they stood on the wrong side of the march of historical progress. That only Stalin could know the “true interests of the proletariat” was simply one component of the general Stalinist program that imagined entire populations to be representatives of a “hostile class.”
The technical method that Stalin, like Hitler, hit upon to support their ideologies was terror. For Arendt, Stalinism and Nazism are united in their reliance upon scientific ideologies held in place by apparatuses of terror. They differ in that the Nazi ideology calls upon nature and race to mark its enemies, while the Stalinist ideology turns to history. Racial ideologies are “more thorough and more horrible than the Marxist or pseudo-Marxists” or Stalinist varieties, but both are devastating insofar as the reliance on “science” sweeps away all opposition and all limiting factors. By adding to the reality of political power a “superstitious belief in the eternity of that power,” scientific totalitarianisms magnify their self-justifications and thus enable the most extreme and unlimited doing of evil.
The difference between someone like Cromwell versus figures like Stalin and Hitler is that the latter employed unlimited terror in pursuit of the impossible victory of supposedly scientific absolute idea—be it the idea of a master race or a socialist utopia. Cromwell may have thought his was a divine task, but he did not arbitrarily decide that innocent people were suddenly enemies of the people, to be eliminated either on account of their religion, race, or supposed class interest. In short, Cromwell may have been a rabid and morally compromised political leader, but he was still engaged in a politics of interest, not a crusade of terror that dehumanized people according to quasi-scientific theories.
Stalin’s crime was not simply to kill masses of people, for Cromwell and many other heroes have done that as well. What Stalin did is institute an entire totalitarian edifice in which the entire Soviet people were ruled by terror and fear. Stalin’s totalitarian government was not morally ambiguous in the sense of Cromwell’s, it was an amoral and immoral system in which anything could be justified in the name of power and control. To memorialize Stalin is—in spite of his undeniable importance for modern day Russia—is to look the other way not simply at mass murder, but at a totalitarian system of government that eviscerates freedoms for everyone. It is that horrific message that President Putin seems not to understand—or maybe he just doesn’t find it so horrific.
Here is Peter Singer’s attempt to distinguish Stalin from Cromwell. It is your weekend read.
Hannah Arendt’s life and work defy easy categorization, so I tend to be skeptical when a writer tries to encapsulate her oeuvre in a few catchwords. After all, previous efforts at concise assessment have typically led to reductive if not tendentious misreadings. So I was both pleased and surprised by sociologist Natan Sznaider’s book Jewish Memory and the Cosmopolitan Order (2011), which sharpens our understanding of Arendt’s thought by locating her within a specific historical milieu and intellectual genealogy. Briefly put, Sznaider portrays Arendt as both a Jewish and a cosmopolitan thinker, one whose arguments strike a fine balance between the particular and the universal.
This formulation obviously raises questions about Sznaider’s conception of key terms, including “Jewish” and “cosmopolitan.” With regard to the former, he contends that Arendt should be grasped as a Jewish thinker because she was intimately involved in the political debate and activity that defined Jewish life in the years before and after the Holocaust. As Sznaider notes, Arendt defined her Jewishness first and foremost as “a political stance”. She participated in Zionist mobilization when she still lived in Germany and in the founding of the World Jewish Congress during her time in Paris. She retrieved Jewish books, manuscripts, and other artifacts from Europe in her work for Jewish Cultural Reconstruction. She spoke and wrote as a Jew when she discussed the nature of guilt, responsibility, and memory after the destruction of European Jewry. And, of course, she stirred controversy in American, German, and Israeli circles for her portrayal of Eichmann and her sharp criticisms of Europe’s Jewish leadership. Sznaider convincingly argues that Arendt’s politics, molded in the heat of twentieth-century Jewish activism, left a deep imprint on her political theory. Without grasping her specific engagements as a Jew, he insists, we cannot comprehend her more general pronouncements on rights, totalitarianism, and a host of other topics.
This point has important implications for Sznaider’s conception of cosmopolitanism. In his view, cosmopolitanism
combines appreciation of difference and diversity with efforts to conceive of new democratic forms of political rule beyond the nation-state…. It neither orders differences hierarchically nor dissolves them, but accepts them as such—indeed, invests them with positive value. It is sensitive to historic cultural particularities, respecting the specific dignity and burden of a group, a people, a culture, a religion. Cosmopolitanism affirms what is excluded both by hierarchical difference and by universal equality—namely, perceiving others as different and at the same time equal.
Sznaider’s rendering fits comfortably within recent discussions of “rooted” and “vernacular” cosmopolitanism. He insists that people only create and live forms of worldliness on the basis of their particular experiences, histories, and identities. He thereby distinguishes cosmopolitanism from “universalist” modes of thought, which in his understanding treat people as abstract individuals and do not recognize their specific attachments. Sznaider identifies universalist impulses in a number of intellectual and ideological movements, but he draws particular attention to the Enlightenment and the nationalist ideologies that emerged in Europe after the French Revolution. Both offer Jews inclusion and equality—but only, it seems, if they stop being Jewish.
In Sznaider’s reading, Arendt’s thought is cosmopolitan in precisely this “rooted” sense. Like a number of other twentieth-century Jewish intellectuals, she relied on Jewish particularity to advance broader, even “universal” claims about the nature of modern life and politics. (I use Sznaider’s language here, although I believe he could have more carefully distinguished the “universal” dimensions of Arendt’s thought from the “universalist” projects that he decries.) European Jewish experiences of persecution, for example, offered Arendt a crucial lens through which to analyze the potentials and paradoxes of minority and human rights. She also relied on the destruction of European Jewry to reflect on the emerging concept of “crimes against humanity”—without, at the same time, losing sight of the Holocaust’s irreducible specificity. Arendt’s attentiveness to both the particular and the universal is evident in her description of Nazi mass murder as “a crime against humanity committed on the bodies of the Jewish people.”
Sznaider provides a particularly good account of the ways that Arendt resisted early attempts to “generalize” the Holocaust. In her exchanges with Hans Magnus Enzensberger, for instance, she resisted the suggestion that the mass killing of Jews was but one “holocaust” among others. She also challenged the notion that the destruction of European Jewry was a paradigmatic modern event that all human beings, in one way or another, shared in common. For Arendt, such claims not only neglected the history of a specifically Jewish catastrophe, but also absolved its German perpetrators of their particular responsibility.
Sznaider’s favorable assessment of Arendt in this case represents an interesting development in his own thought: in a 2005 book that he wrote with Daniel Levy, Sznaider had been a good deal more sympathetic to the formation of a globalized Holocaust memory. At that time, he and his co-author regarded worldwide remembrance of the Nazi genocide as an important means to transcend national frames of reference and promote a cosmopolitan human rights regime. Little of that position remains in Jewish Memory and the Cosmopolitan Order. Instead, Sznaider takes critical aim at one fashionable contemporary thinker, Giorgio Agamben, for lifting the Nazi concentration camps out of their historical context and recasting them as the epitome of modern sovereign power.
I sympathize with this reading of Agamben, whose provocative claims tend to outstrip the empirical cases on which they are based. Yet in one respect Sznaider could also be more careful about the generalization if not “universalization” of Jewish experience. He is too quick at a few points to position Jews as the embodiments and carriers of modernity’s virtues, too hasty in his portrayal of the Diaspora as the paradigm for de-territorialization and cosmopolitanism as such. In a 1993 article, Daniel and Jonathan Boyarin—the one a Talmudic studies scholar, the other an anthropologist—cautioned us against “allegorizing” Jews as the exemplary Other, and we would do well to take their warning to heart. Other groups, identities, and histories inhabit the world in which we all live, and we should take seriously the insights that their own particularity might offer to our understanding of cosmopolitanism.
This last criticism notwithstanding, Sznaider’s book provides an incisive re-appraisal of Arendt’s thought. Although its central argument can be stated briefly, it does not narrow our appreciation of her work as much as enliven and expand it.
The American writer and founder of Dissent magazine Irving Howe wrote many of the best accounts of the controversy over Arendt’s publication of Eichmann in Jerusalem. As the controversy swells yet again in the wake of the new movie “Hannah Arendt,” Dissent thankfully republishes an excerpt of Howe’s testamentary writing about Arendt.
My first encounter with Hannah had come in 1947 when she was editor of Schocken Books, the German-Jewish publishing house recently moved to New York. She needed a part-time assistant to do literary chores (copy for book jackets, cleaning up translations, and so forth), and for the handy sum of $150 a month I took the job. With it came the privilege of visiting Hannah at her office every week. She had not yet published her major work on totalitarianism, but everyone in the intellectual world respected her and some feared her. She liked to “adopt” young people, and while I was not one of her chosen—perhaps because I was deaf to philosophy, or had been contaminated by Marxism, or was visibly intent upon resisting her intellectual lures—she would take an hour off and talk to me about Kafka and Brecht, Yiddish folk tales and American politics.
See more here.
The Paris Review has just published an essay by Roger Berkowitz on the importance of the new film, "Hannah Arendt," directed by Margarethe von Trotta.
Here's how it begins:
In 1963, The New Yorker published five articles on the trial of Adolf Eichmann, the Nazi chief of Bureau IV-B-4, a Gestapo division in charge of Jewish Affairs. Written by political thinker and Jewish activist Hannah Arendt, the articles and ensuing book, Eichmann in Jerusalem, unleashed what Irving Howe called a “civil war” among New York intellectuals. While some reviews cursed Arendt as a self-hating Jew and Nazi lover, the Jewish Forward accusing her of “polemical vulgarity,” Robert Lowell termed her portrayal of Eichmann a “masterpiece,” and Bruno Bettelheim said it was the best protection against “dehumanizing totalitarianism.” Across the city, Arendt’s friends chose sides. When Dissent sponsored a meeting at the Hotel Diplomat, a crowd gathered to shout down Alfred Kazin and Raul Hilberg—then the world’s preeminent Holocaust scholar—for defending Arendt, while in Partisan Review Lionel Abel opined that Eichmann “comes off so much better in [Arendt’s] book than do his victims.”
In the years since that fiery time, Eichmann in Jerusalem has remained something to condemn or defend rather than a book to be read and understood. I therefore had some fears when I heard that German director Margarethe von Trotta was making a film about Arendt’s coverage of the trial. But Hannah Arendt accomplishes something rare in any biopic and unheard of in a half century of critical hyperbole over all things Arendt: it actually brings Arendt’s work back into believable—and accessible—focus.
Read the full essay here.
"It is better for you to suffer than to do wrong because you can remain the friend of the sufferer; who would want to be the friend of and have to live together with a murderer? Not even a murderer. What kind of dialogue could you lead with him? Precisely the dialogue which Shakespeare let Richard III lead with himself after a great number of crimes had been committed:
What do I fear? Myself? There’s none else by.
Richard loves Richard: that is, I am I.
Is there a murderer here? No. Yes, I am:
Then fly. What from myself?"
-Hannah Arendt, ‘Thinking and Moral Considerations’
‘Thinking and Moral Considerations’ is one of the most perfect examples of Arendt’s late writing. A distillation of her career-long thinking on thinking, the essay performs what it so elegantly urges: it is an essay on thinking that thinks.
For Arendt, the moral considerations that follow from thinking and, more grievously, from not thinking are profound. Adolf Eichmann’s “quite authentic inability to think” demonstrated to Arendt the arrival of new kind of evil in the world when she attended his trial in 1961. The airy emptiness of his speech was not the stupidity of a loathsome toad: his jabbering of cliché falling upon cliché sounded totalitarianism’s evil in a chorus of thoughtlessness. Shallowness as exemplified by Eichmann cannot be fixed or given depth by reason; no doctrine will argue the thoughtless into righteousness. Only through the experience of thinking, Arendt insisted, of being in dialogue with oneself, can conscience again be breathed into life. Thinking may be useless in itself; it may be a solitary activity that can often feel a little bit mad. Yet thinking is the precondition for the return of judgment, of knowing and saying: “this is not right.” By 1971, Arendt saw no evidence of a resurgence of thinking in the wake of atrocity.
Writing an essay on thinking that thinks and thus performing the experience of thinking is itself an act of defiance. Performing is the right verb here: Arendt knows she is staging her argument as a public spectacle. Her hero is Socrates: gadfly, midwife, stingray, provoker, deliverer and galvaniser of thinking in others. Socrates democratises perplexity. And when he has finished chatting with others, he carries on talking at home, with his quizzical, critical companion, that ‘obnoxious fellow’ with whom we are forever in dialogue -- the two with whom we make a thinking one. Arendt is fully aware that she is making a character out of Socrates. His inveterate dialogism is a model. Just as Dante’s characters conserve as much historical reality as the poet needs to make them representative, so too, she says, with her Socrates. Against the vacant image of Eichmann inanely mouthing his own eulogy in front of the hangman’s noose which opens the essay, we have Socrates: thoughtlessness versus thoughtfulness.
But what of the third character in Arendt’s essay—Shakespeare’s Richard III? The murderer who nobody wants to befriend? The villain who despite his best efforts cannot stop talking to himself?
Richard plays an odd, yet pivotal, role in Arendt’s performance of thinking. On the one hand, he is Socrates’ evil twin. Richard rejects conscience. ‘Every man that means to live well endeavours … to live without it’, he says. This is easy enough to do, says Arendt, because ‘all he has to do is never go home and examine things.’ Except, in Richard’s case, this proves difficult. He may try to avoid going home, but eventually he runs into himself at midnight; and in solitude, like Socrates, Richard cannot help but have intercourse with himself. Alone he speaks with himself in soliliquoys (from the Latin solus – alone and loqui –to speak; Arendt’s beloved Augustine is believed to have first conceived the compound). And this is what makes this villain—one who many have wanted to claim for the calculating murderousness of the twentieth century—much more like Socrates than Eichmann.
Both Socrates and Richard have the capacity to think. True, Richard thinks himself into villainy—he ‘proves himself a villain’—but this is precisely his pathos in Arendt’s drama. If it is better to suffer than to do harm, it is also better to have suffered at the hands of Richard who at least thought about what he was doing, than suffered as a number in one of Eichmann’s filing cards, the pathetic loner who joins a murderous movement not because he’s frightened of who might await him at home, but because he doesn’t even suspect anyone might be there in the first place. For all the ham-fisted productions that want him to be, Richard is not a Nazi villain in early modern disguise. Better that he could have been, of course, because then we wouldn’t have to contemplate the particular thoughtlessness of contemporary evil.
Richard is no Osama Bin Laden, Colonel Gaddafi or Saddam Hussein either, despite comparable violent last stands (and the corpse lust that attended them). This is well understood by Mark Rylance’s recent performance of Richard in the Globe Theater production that played in London last year and that is rumoured to open on Broadway soon. Rylance’s performance of Richard is like no other. It is also a performance that makes Arendt’s thinking more relevant than ever.
Rylance understands that since the War on Terror, post 9/11, Iraq, Afghanistan, after Guantanamo, rendition and drone wars, it would be a travesty to play Richard’s villainy as safely and exotically other (by contrast, in 1995 it was entirely possible to set the play in a 1930s Nazi context, and have Ian McKellen play the role for its cruel humour with a knowing nod to Brecht). Rylance’s Richard is plausible, pathetic even; he is compelling not in his all-too-evident evil but in his clumsy vulnerability. His creepy teeth sucking, and ever-twisting body mark a silent but persistent cogitation; he is a restless, needy, villain. Like a child, Rylance’s Richard grabs at his conscience— he thinks—and then chucks it away as one more ‘obstacle’, just as he spits in his mother’s face at the very moment he most desires she recognise him. In a neat echo of Arendt’s analysis of how the loneliness of totalitarianism feeds thoughtless evil, the loveless hunchback fights solitude in an effort to avoid the midnight hour; orchestrating collective murder is his defence against being alone with his thoughts. (This was observed by my theater companion who, being ten years old—and a British schoolboy—understands the connection between feeling left out and group violence well). Richard’s tragedy is that circumstances turned him into a serial killer, to this extent he is a conventional villain; his pathos, however, as this production shows, is to be poised between thinking and thoughtlessness, between Socrates and Eichmann.
‘No. Yes, I am/Then fly. What from myself?’ When Rylance speaks this soliloquy he stutters slightly, giggles and looks—as Arendt might have anticipated—a little perplexed. This is not a knowing perplexity; Richard does not master his conscience, nothing is done with the solitary dialogue, but the thinking is there even if Richard himself seems unsettled by its presence. In refusing to play Richard simply as one of the ‘negative heroes in literature’ who, Arendt argues, are often played as such ‘out of envy and resentment’, Rylance brilliantly captures the last moment before evil becomes banal.
To play Richard’s cruelty alongside his vulnerability is not to fail to recognise his villainy, as some have complained; rather, it is to dramatize the experience of thinking in the process of being painfully and violently lost. With pathos, we might think, is the only way to play Richard III today. The Globe’s production is a late, but utterly timely, companion to Arendt’s essay.