Performing thinking: Arendt’s Richard III
"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.