Showing posts with label paul valéry. Show all posts
Showing posts with label paul valéry. Show all posts

24 Nov 2021

A Brief Note on Pain (Whilst Waiting to See the Dentist)

La douleur n'est pas mon fort ...       

 
Sitting here, with toothache, waiting to see the dentist, one recalls the line by Ernst Jünger with which Byung-Chul Han opens his new study: "Tell me your relation to pain, and I will tell you who you are!" [1]

Well, my relation to pain is a mixture of indifference and irritation. I don't share the universal algophobia that characterises our society today, but, unlike many artists and intellectuals, neither do I fetishise pain or regard suffering as the most crucial aspect of life. 
 
Thus, whilst I have a relatively high pain tolerance level and very rarely resort to painkillers, I don't think that this makes courageous or morally superior to those who reach for the paracetamol at the earliest opportunity and opt for drug-induced relief.
 
Pain, says Han, purifies. By which he means it has a cathartic effect. It should thus be recognised as a genuine passion. Which sounds suspiciously Christian to me and I remember Lawrence's remark made in a letter: "Jesus becomes more unsympatisch to me, the longer I live: crosses and nails and tears and all that stuff! I think he showed us into a nice cul de sac." [2] 
 
Lawrence's view contrasts nicely with the remark by Walter Benjamin which Han chose as an epigraph for The Palliative Society
 
"Of all the corporeal feelings, pain alone is like a navigable river which never dries up and which leads man down to the sea. Pleasure, in contrast, turns out to be a dead end, wherever man tries to follow its lead." [3]
 
This characterisation of pleasure as a dead end and affirmation of pain is simply a form of ascetic idealism, is it not? Again, far it be from me to reify pleasure, but I think we might challenge the idea that when pain is suppressed, happiness is attenuated and becomes merely a form of dull contentment. Or that those who are "unreceptive to pain close themselves off from deep happiness" [4].    
 
It may be Nietzschean to think like this - to give pain metaphysical significance and project it into the symbolic order (to speak of the art of suffering, etc.) - but when a tooth is troublesome who really cares about what this might (or might not) mean? At such times, we all rub our jaw and fall silent like Monsieur Teste ... [5] 
 
 
Notes
 
[1] Byung-Chul Han, The Palliative Society, trans. Daniel Steuer, (Polity Press, 2021), p. 1. Han is quoting from Ernst Jünger's On Pain, (Telos Press, 2008), p. 32. 
 
[2] D. H. Lawrence, The Letters of D. H. Lawrence, Vol. V, ed. James T. Boulton and Lindeth Vasey, (Cambridge University Press, 1989), p. 322. Letter number 3516 [26 Oct 1925], to John Middleton Murry. 
      
[3] Walter Benjamin, 'Outline of the Psychological Problem', Selected Writings, Vol. 1, (Harvard University Press, 1996), p. 397.

[4] Byung-Chul Han, The Palliative Society, p. 13. 

[5] With reference to the figure of Monsieur Teste, Byung-Chul Han writes: 
      
"Paul Valéry's Monsieur Teste represents the modern, sensitive bourgeois subject who experiences pain as meaningless, as purely physical agony. He has completely lost the Christian narrative [...] and thus also the ability to alleviate pain symbolically. [...]
      For Monsieur Teste, pain cannot be narrated. It destroys language. Where the pain begins, his sentences break off. [...] 
      Confronted with pain, Monsieur Teste falls silent. Pain robs him of his language. It destroys his world, traps him in his mute body." [19-20] 
 
 
For another brief note on pain and the palliative society, click here.
     

5 Feb 2018

In Memory of Joris-Karl Huysmans (and His Bejewelled Tortoise)

Caricature of J-K Huysmans (1885)


To be honest, I increasingly find that I have to be in a very particular frame of mind to read 19th-century French authors such as Joris-Karl Huysmans who are a little too Symbolist, too Decadent and too Catholic for my tastes. One really has no wish to end up at the foot of the Cross, be it inverted or upright and I find elements of his philosophy - much influenced by Schopenhauer - highly suspect; suggestive as they are of weakness, rather than a more Nietzschean pessimism of strength

However, as Huysmans and I share the same star sign making us astrological kin - and as today happens to be the 170th anniversary of his birth - I thought I might say something in memory of this idiosyncratic writer, notorious for writing against the grain and against nature ...

The first thing that needs to be said is that Huysmans was clever - very clever. And I'm with Eliot on this question: the essential requirement of all good writing - be it prose or poetry - is intelligence. An inspired idiot is unfortunately still an idiot and inspiration won't compensate for (or disguise) a lack of learning and quick-wittedness for long. L'éternelle bêtise de l'humanité was not surprisingly one of Huysmans's pet peeves. 

His first major publication was a collection of prose poems, Le drageoir aux épices (1874), strongly influenced by Baudelaire. This was followed by a novel, Marthe, Histoire d'une fille (1876), which brought him to the attention of Émile Zola. His next works were similar in style: realistic and rather grim depictions of life in Paris.

Again, to be honest, you'd have to have a great passion for French literature or a scholarly interest like the middle-aged protagonist of Houellebecq's Submission (2015), to bother with these books. But on the other hand, his scandalous novel of 1884, À rebours, is a must read - if only for the bejewelled tortoise in chapter four. 

And that's particularly so for lovers of Oscar Wilde; for this poisonous tale of the aristocratic aesthete Jean des Esseintes - a man who rejects both the natural order and bourgeois society and attempts to live exclusively in a perversely sensual yet highly artificial world of his own invention - greatly influenced The Picture of Dorian Gray (1890).

Amusingly - though not for poor Constance - Wilde first read À rebours whilst on honeymoon in Paris and it immediately became for him what it was also for Paul Valéry and, many years later, the punk singer Richard Hell - a bible and bedside favourite     




See:

Michel Houellebecq, Submission, trans. Lorin Stein, (William Heinemann, 2015). 

Joris-Karl Huysmans, trans. Robert Baldick, (Penguin Books, 2003).

Oscar Wilde, The Picture of Dorian Gray, (Penguin Books, 2003).

To read an excellent essay by Adam Leith Gollner on 'What Houellebecq Learned from Huysmans', in The New Yorker (12 November, 2015), click here

For an interesting note on À rebours and its influence on Oscar Wilde, visit the British Library website: click here

For a related post to this one that reflects more closely on the bejewelled tortoise, click here.

Thanks to Thom Bonneville for suggesting this post.