The Fate of Christians in Turkey

There is a political will to eradicate the Christians of Turkey, who were present long before the Turks, this region being one of the cradles of Christianity. Even today, they suffer persecution and humiliation in this country to a general international indifference.

When one travels through Turkey with the New Testament in hand, one reality becomes clear—this immense territory, formerly called Asia Minor, gradually conquered by the Turkmen who came from Central Asia from the 11th century onwards, is one of the main cradles of Christianity. This is evidenced by the multitude of archaeological sites and religious buildings: Antioch on the Orontes, the first apostolic seat established by St. Peter; Tarsus, the birthplace of St. Paul; Ephesus, where the Virgin Mary stayed after Pentecost and where the third ecumenical council took place in 431, during which she was proclaimed Theotokos (“Mother of God” in Greek).

The present territory of Turkey hosted six councils in all, the first in the history of the Church: Nicaea (325 and 787), Constantinople (381 and 680) and Chalcedon (451). There the first dogmatic definitions were fixed, especially those concerning the Trinity and Christology.

From Asia Minor also came Fathers and Doctors of the Church (Saints Gregory of Nazianzus, Gregory of Nyssa and Irenaeus). St. Basil of Caesarea organized a flourishing monasticism there, especially in Cappadocia. Martyrs, such as St. Polycarp, bishop of Smyrna, offered their lives there out of faithfulness to Jesus Christ. Finally, the seven churches of the book of Revelation are located in Anatolia.

It is therefore undeniable that Asia Minor played a decisive role in the consolidation of Eastern Christianity and in its universal influence. But what remains today of this flourishing past? The figures speak for themselves. According to the researcher Joseph Yacoub, the presence of Christians in Turkey, estimated at around 20% at the beginning of the 20th century, is now less than 0.2%, or 100,000 out of 84 million inhabitants.

The status of the Christian communities is generally presented, as established by the Treaty of Lausanne (July 24, 1923), an international act of recognition of post-Ottoman Turkey. This document contains provisions relating to the rights of “non-Muslim” minorities, described as “protected.” It guarantees them “equality before the law and the same treatment as that which applies to Muslim nationals in the matter of civil, political, cultural and religious rights.” It also recommends “protection for churches, synagogues, cemeteries and other religious establishments of non-Muslim minorities.” And it guarantees that “all facilities and authorizations shall be given to the pious foundations and to the religious and charitable establishments of the minorities” (art. 37 to 44).

Christians Discriminated Against

But since these minorities are not named in the text, the Turkish state has decided unilaterally to confer the benefit only on the Apostolic Armenians (non-Catholics) and the Greeks of the Ecumenical Patriarchate. The former were under the authority of Patriarch Sahak II Machalian, the latter under that of Bartholomew I, both residing in Istanbul. In 1923, the Armenian and Greek populations, although decimated by the genocide and massacres committed by Kemalist troops during the war of independence, were still quite large—but today the Armenians number 60,000 faithful; as for the Greeks, only 2,000 remain.

With regard to them, the Turkish authorities have adopted a restrictive interpretation of the provisions of the Treaty of Lausanne. Their institutions are subject to a 1935 law, which required the churches concerned to draw up an inventory of their property and to declare it, which they did. However, in the absence of implementing decrees, the state inflicted serious discrimination or spoliation on them, resorting to police orders.

For example, in 1970, the Armenian Holy Cross Seminary in Istanbul was arbitrarily closed. The following year, a similar measure was taken against the theological institute of the Orthodox Patriarchate on the island of Halki in the Sea of Marmara. Neither has been returned to its owners. These closures make it impossible to ensure the succession of local clergy and could eventually lead to the disappearance of both patriarchates. According to a rule set by the state, the incumbents must be Turkish and elected by metropolitans (bishops) of Turkish nationality.

Despite the primacy—of honor and/or jurisdiction—of the Orthodox patriarch over some 250 million faithful worldwide, Ankara does not recognize his ecumenical title. For Turkish authorities, he is only the manager of a local cult. In 1994, the establishment of an official representation of the Patriarchate at the European institutions in Brussels was protested by the Turkish government on the grounds that “the Patriarchate has no legal existence.” In fact, none of the Constitutions of the Turkish Republic (from 1928 to 2016) mentions the recognition of these churches.

Even their charitable work is hindered, since they are subject to corporate tax. In 1974, a decision of the Court of Cassation prohibited the sale of real estate to Christian minorities on the grounds that it would harm the national interest. It also required the seizure of some of their orphanages, hospitals and schools on the grounds that they had become owners after 1936. Small consolation—on December 16, 2019, President Erdogan signed a decree allowing the Armenian patriarch to wear his religious habit outside his places of worship. In the name of secularism, Atatürk had indeed abolished religious dress for all rites.

Among the other Christian denominations present on Turkish territory, two groups must be distinguished. First, there are the Churches of Syriac culture, which are divided between Catholics (Chaldean, Syriac and Maronite) and non-Catholics (Assyrian)—about 15,000 faithful in all. The Turkish state has always refused to apply to these “Orientals” the clauses of the Treaty of Lausanne relating to minorities, even though they meet the criteria, since they have ecclesiastical structures in the country, notably dioceses and parishes. But only individuals are taken into account, and as such they are granted a certain tolerance for the practice of worship. Their churches have no legal status and can therefore neither own nor manage their own educational and social institutions or seminaries, nor build churches. This prohibition also applies to the transmission of their language and culture. The Greek Catholic Church, of the Byzantine rite, is subject to the same treatment.

As for the “Westerners” (Latins and Protestants, 25,000 in all), they only justify the legitimacy of their presence in the country on the basis of the letters that the Turkish government addressed to the French, Italian and British authorities as an adjunct to the Treaty of Lausanne, guaranteeing the maintenance in the country of their educational and hospitable works founded several centuries earlier by European missionaries. However, deprived of any legal personality, they are only managers and cannot acquire real estate, by purchase or inheritance, nor employ personnel, go to court, etc. For such transactions, they had to resort to a lawyer. For such undertakings, they have to rely on individual lay faithful who then act in their personal capacity.

In 1906, during the reign of Sultan-Caliph Abdülhamid II, the last church was built in Istanbul. There is no church in Ankara, the capital of the country. Some sanctuaries (St. Paul in Tarsus, the House of Mary in Ephesus) were transformed into paying museums under Atatürk.

The celebration of masses is subject to authorization from the administration In 2011 and 2013, two former Greek Orthodox churches dedicated to Saint Sophia, one in Trebizond, the other in Nicaea, which had been converted into mosques under the Ottomans and then into museums under Atatürk, were reopened to Muslim worship.

“We exist and at the same time we do not exist,” said Bishop Luigi Padovese, Vicar Apostolic of Alexandria, in 2010 shortly before his assassination. None of the steps taken by the popes since the establishment of diplomatic relations between the Holy See and Turkey (1960) have made it possible to repair these injustices.

In a context where Islamism is combined with exacerbated nationalism, how can we be surprised by the development of an anti-Christian climate that has been expressed in a series of humiliations, lootings, aggressions and assassinations, including against priests and pastors, during the first decade of the twenty-first century?


Annie Laurent is specialist in the Middle East, Eastern Christians and Islam. She is the founder of the association Clarifier and is the author of L’Islam, pour tous ceux qui veulent en parler (mais ne le connaissent pas encore), L’islam peut-il rendre l’homme heureux, and Les chrétiens d’Orient vont-ils disparaître? This article appears through the kind courtesy of La Nef.


Featured: Church of Theotokos Pammakaristos, Istanbul, 11th-14th centuries.

Apologia pro Erdoğan

Turkey’s President Erdoğan is often badly misunderstood, maligned, and castigated by the Western press and its leaders. With the Finno-Swedish accession talks underway, it is worth stepping back from the current downward spiral and reinvesting in a long-term, rock-solid, good relationship before it’s too late to restore good relations between the U.S. and Turkey. This isn’t rocket science, just good policy and plain common sense. It is something sorely needed today in preserving good relations between all the allies.

That’s the way it was for decades, and it’s the way it should be for decades to come. The consequences of deterioration in the relationship are just too great for each side.

More than a generation ago, the acclaimed motivational speaker Dale Carnegie penned a best seller titled, How to Win Friends and Influence People. You have ever heard of it? Read it?

It was chock-full of good advice that any leader could readily utilize. Do not be overly critical. Give honest, sincere appreciation. Get the other person’s point of view. Show genuine interest. Smile. Be a good listener. And make the other party feel wanted and important.

It is worth stepping back from the current downward spiral and reinvesting in a long-term, rock-solid, good relationship before it’s too late to restore good relations between the U.S. and Turkey.

The U.S. appears to be doing precisely the opposite of what Carnegie suggested and is literally losing Turkey as a good friend and ally. Together both countries should work to turn that around and make sure it does not happen.

Perhaps the greatest exponent of Blobby opposition to Ankara’s designs is neo-con pundit Michael Rubin: Erdoğan turned away from the West, he says. With some chutzpah—for an AEI egghead, certainly—he accuses defenders of the President of a NATO ally of being on his payroll. There are some matters of substance behind the mutually felt frosty caution from Ankara towards official Washington. Let’s unravel the truth.

Turkey’s modern association with the United States began already in 1947 when the United States Congress designated Turkey, under the provisions of the Truman Doctrine, as the recipient of special economic and military assistance intended to help it resist threats from the Soviet Union.

A mutual interest in containing Soviet expansion provided the foundation of U.S.–Turkish relations for the next four decades. As a result of Soviet threats and U.S. assistance against them, Turkey moved away from a single-party government towards democracy; in fact, holding the first democratic elections in 1950.

Turkey contributed personnel to the United Nations forces in the Korean War from1950–53, joined NATO in 1952, became a founding member of the Central Treaty Organization (CENTO) collective defence pact established in 1955 and dissolved after the Iranian Revolution, Turkey was a keystone state for the 1957 Eisenhower doctrine, stitching together the collective security aims of the Free World from the Mediterranean through the Hindu Kush.

In the 1950s and 1960s, Turkey generally co-operated with other United States allies in the Middle East to contain the influence of those countries regarded as Soviet clients. Throughout the Cold War, Turkey was the bulwark of NATO’s south eastern flank, directly bordering Warsaw Pact countries and risking nuclear war on its soil during the Cuban Missile Crisis.

Turkey is a large, modern secular-Muslim country of over 80 million people, with a sizeable economy ($2.7 trillion GDP), very significant military force (Second only to the US within NATO) that straddles Europe and Asia. It occupies a strategic space and has been a stalwart ally to the United States from late in the Second World War through the Cold War up until recently. What has shifted?

The Turks played a starring role in Post-9/11 American foreign policy and can claim accolades like being on the founding list of five countries that were already spending 2% of GDP on defense when the Obama administration codified that norm into NATO at Wales. Compare their treatment in cognoscenti rags to Germany’s, for example, and recall that while Turkey is now assuming the security obligations of allied priorities (Kabul Airport, to name but one) Merkel and her “Defense” minister (who failed upwards as the Head of Government of the EU) packed up their military presence and turned their participation into a big development aid project long ago.

The exceptionally harsh treatment of Erdoğan’s allyship to Washington doesn’t stop above board. The fate of 4-Star DIA General Michael Flynn, for example – defenestrated among other reasons for a lack of sympathy toward the putschist Turkish cleric who resides in Pennsylvania – was a very clear signal from the Beltway that they wished Erdoğan had been felled in the coup d’état attempt against his government. To put it bluntly, old Recep has every right to take personally an attempt on his life. In fact, that January revolt against Turkey’s President, which killed hundreds, was organized and executed by the CIA and its proxies on the ground. Their man, Muhammed Fethullah Gülen, was escorted in 1999 on a private plane to a safe retreat in the Pocono Mountains by the Clintons—after he donated some $14 million to the Clinton Foundation. It is nice to have, as they say, “friends in high places.”

Is it the policy of the deep state and its agents who work to thwart everything Trump attempted in foreign policy? The dirty money Gülen and his FETÖ network has paid for years in exchange for support and cover in the U.S. might provide a clue. Seen through the lens of Ankara’s objection towards Stockholm’s receipt of leftist Kurdish radicals, a picture comes into focus.

That so-called “spiritual network,” which is a known terrorist Islamic threat, has funded congressional campaigns and made sizable donations in the millions USD to the Clinton Foundation. Such political favors have bought influence and safety in Pennsylvania—where Gülen maintains his nerve center, undisturbed. Exposing the history of such doings and payments would further question the deep state.

The State Department certainly has no interest in fixing relations and is decidedly anti-Erdoğan. They have gone out of their way to humiliate and demean his regime—at considerable cost to the nation.

But it’s not us it’s him, insists Rubin. S-400 Surface to Air missiles can’t go to a NATO country without implied treason. The US could have given more assurances along with the keys to their defense options. Of course, if Erdoğan didn’t have to worry about the loyalty of his own Air Force, he might not think he needed the only gear that runs any risk of shooting down his own aircraft. We should have every faith that the extensive purge of that and all other branches was thorough enough, but the fact remains. Fussy old business, that, and a direct consequence of the Clinton/Kerry/Biden State Department, without even touching the rest of the “Arab Spring” (Green Revolution, anyone? How are those gas prices doing, Libya?)

Turkey is a friend, a trading partner and a close military and intelligence partner. This in spite of the fact that the U.S. has failed to meet a reasonable demand of Turkey, its dear friend and ally.

What demand is that? Namely, the return and extradition of Fethullah Gülen, known terrorist operator who it is established played a lead role in the attempted coup of President Erdoğan’s government.

Even when presented with reams of information and dossiers of evidence the U.S. State Department and the Justice Department were slow or remiss to act.

If the shoe were on the other foot, would it be so? Of course not.

Turkey has a treaty with the U.S. and has itself extradited numerous assailants to the U.S. over the years. If Turkey harbored an insurrectionist who tried to overthrow the legitimately elected government of the United States, would we demand his head? We’d get it, too.

Under normal circumstances, Joe Biden should call President Erdoğan urgently and revert to the late Dale Carnegie’s well-advised policy. But he won’t as his leftist foreign policy advisors won’t let him.

As the Council on Foreign Relations stated, among the most important developments in international affairs of the past decades is the emergence of Turkey as a rising regional and global power.

Insofar as Rubin is tempted to call Erdoğan, a “Colonizer” and “Imperialist,” it is important to remember that the AKP’s long tenure in Ankara will someday give way—democratically—to another party’s political facts on the ground. In the meantime, Ankara’s priorities are being skillfully pushed by a foreign office dusting off Ottoman protocols which objectively promote the strategic interests of a midsize Mediterranean power with significant land presence in the middle east.

It is a hard neighborhood—bordering Iran, Iraq and Syria, to name just a few. Insofar as Turkey’s own value as an ally, geographic: location location location is the order of the day. Again, contrast this reality with other NATO members of less distinguished plumage and Turkey will objectively come out favorably positioned by the comparison to any other possible pair. Do Turkey the disservice of comparing it to a non-NATO ally like Saudi Arabia, and much of the kvetching over human rights melts away: Ankara provided the international community with the intelligence to pin the Khashoggi murder on Riyadh, a net contribution to the enforcement of international norms like not murdering dissident journalists on diplomatic soil.

This is admittedly not without drawbacks on purely allied concerns: Treasury has already sanctioned Turkish-flagged actors over proxy forces in Syria, a force of professional fighters which seems to have other wars ahead of them as Turkish mercenaries á la Wagner group or Akademi. Libya is the most vivid example of this, though one wonders which theater they’ll be left high and dry in, or if their destiny is to export the revolution like the Stalinist cadres who lost the Spanish civil war.

Developing the capability to play at this cagey business is positive news for the alliance’s toolkit, and one which is already paying dividends in theatres important to the alliance. Turkey is, has been, and should remain, a bulwark of security and a core, critical ally to the United States in the coming years. Turkey is both a significant regional power and among the best partners we have.

And lastly, rebrand Turkey, not only as a new and modern, fascinating Ottoman polity, a strategic force for good and moderate Islam but as a country where everyone is welcome to visit, invest, and do business. It is this economic realm that needs broadcast because Turkey is a vibrant growing, large and increasingly prosperous middle-income country.

All this to say, to the hawkish neoliberals of the Biden White House and the Bush-Cheney warmonger neocon gadflies, like Rubin—Erdoğan is playing his own game. Don’t expect him to be a chess piece for you to move as you please.


Theodore Roosevelt Malloch, scholar-diplomat-strategist, is CEO of the thought leadership firm The Roosevelt Group.

Felipe Cuello is Professor of Public Policy at the Pontifical university in Santo Domingo.


Ape Language, Space Aliens, and Artificial Intelligence: A Philosophical Enquiry

The article that follows served as an important basis for Dennis Bonnette’s book, Origin of the Human Species (3rd ed., 2014). The book explores questions raised by evolutionary theory—ultimately focusing on what we may confidently say about human origins, and showing that belief in Adam and Eve as the human race’s first parents remains reasonable, despite many modern evolutionists’ skepticism.

This article also serves the book’s overall aims by defending the uniqueness of man and of his essential superiority over lower animals, including other primates. This is an updatred version of the original article. Dr. Bonnette previously wrote about alien life-forms.


Preamble

As we approach the end of the first quarter of the twenty-first century, we find sudden interest in claims about possible space aliens – with people wondering, if they exist at all, what kind of creatures these might be. At the same time, we have now developed computers with artificial intelligence (AI), which some claim to be sentient, thinking entities, that might even constitute a new form of living person! These kinds of questions are all the more vexing today, given biological evolution’s tendency to view man as merely a highly developed animal. Some distinguish man by believing he uniquely has a soul. But the ancients always maintained that a soul was simply a principle of life, so that every living thing has a soul. This is evinced by the very fact that we name animals from the Latin, “anima,” which means “life principle” or “soul.” Religious believers quickly distinguish that man alone has a spiritual soul, but are then immediately challenged by evolutionists who maintain that man differs in complexity, but not in kind, from lower animals.

Understandably, this same confusion reigns about the nature of possible space aliens and AI computers. If we cannot even clearly distinguish true humans from other animals, how do we expect to understand the nature of creatures from outer space or computers so advanced that they can seemingly mimic every human ability, plus much more? For these reasons alone, it is useful to study the topic of this article, which is a scientific and philosophical examination of the “frontier” claims about lower primates to the effect that they can achieve what was once thought to be the unique possession of human beings, namely, genuine language.

This article will show clearly the difference between lower animals’ sensitive cognitive abilities and human beings’ radically superior intellectual cognitive powers. These powers manifest the deeper ontological distinction between animal and human natures. Once the radical distinction between human and animal natures is clearly grasped, the nature of those possible space alien “cousins” as well as the essential differences, if any, between man and AI computers can be better understood.

The naturalistic mentality of many animal psychologists anticipates that subhuman primates will tend to approach human beings’ mental powers, manifested in part through alleged ape linguistic abilities. Thus, the latter part of the twentieth century witnessed many ape-language studies, complete with claims that chimpanzees, gorillas, orangutans, and certain other subhuman primates, have been taught to use various forms of sign language and can now understand the meanings of hundreds of words, form sentences, and communicate effectively with humans and even among themselves. These claims feed the inevitable conclusion that man himself no longer holds a preeminent place in the animal kingdom, that his is but one among many other species, and that continued belief that God made him in His image and gave him dominion over all lower creatures is simply an outdated religious myth.

I examine subhuman linguistic claims in two steps: First, I show that even some evolutionist natural scientists, who have analyzed ape-language studies, conclude that apes have not yet mastered true language. In 1979, some researchers challenged ape-language claims by arguing that such behavior can be explained by non-linguistic mechanisms, such as (1) simple imitation, (2) the Clever Hans effect, (3) the anthropomorphic fallacy, and (4) rapid non-syntactical signing to obtain immediate sensible rewards. Two of the most important claims—(1) that apes could combine signs creatively in novel sequences and (2) that they showed knowledge of syntactic structure—appear to be based merely upon anecdotal data, not upon acceptable scientific methodology.

Second, I use philosophical analysis to demonstrate (1) why human intellectual knowledge is needed to possess genuine language, and (2) why it will be forever impossible for subhuman primates to exhibit true linguistic ability. Materialist explanations of animal and human behavior miss the crucial distinction between sense and intellect. Animals possess sense knowledge alone, whereas man possesses both sense and intellectual knowledge. Intellectual knowledge is the hallmark of the human spiritual soul, and is not shared with our animal friends.

Man exhibits intellectual knowledge by (1) forming abstract concepts, (2) making judgments, and (3) reasoning from premises to conclusions in logical fashion. Subhuman animals’ sensory abilities, including imagination and sense memory, enable them to manipulate sensory data and use inborn natural signs to communicate instinctively, and even to be taught by man to use humanly-invented signs. Still, they do not understand the meanings their signs express, nor form judgments, much less engage in reasoning. The hallmark of all ape behavior, including trained language use, is its relentless focus on immediate sensory rewards, such as food, toys, sex, or interaction with other animals. Abstract goals, such as earning a diploma or getting a better job or serving God, mean nothing to apes and will not beget sign language responses.

Proof of my claims here requires (1) showing that ape-language research data can be explained in terms of mere sense knowledge, and (2) showing that such behavior must be so explained by positive proof that apes lack intellect. The first task is achieved largely in terms of the abovementioned scientific criticisms and also by pointing out that computers, which actually understand nothing and are not even alive, can imitate human linguistic behavior simply by manipulating data. Apes, with relatively large brains and elaborate sense faculties, can also accomplish such impressive feats, but this need not mean that they possess true linguistic comprehension any more than computers do.

The second task, to show that subhuman primates’ linguistic behavior must be read as mere sensory activity, requires positive demonstration that apes lack true intellect. Four formal effects demonstrate true intellect: (1) genuine speech, (2) true progress, (3) knowledge of relations, and (4) knowledge of immaterial objects. In their wild state, with no human influence, animals, including apes, (1) fail to develop true language, and (2) fail to make genuine progress. Even in a domesticated environment, they still (3) show no understanding of real relationships (such as cause and effect)—merely learning to associate images, and (4) clearly fail to develop the sciences and religious beliefs typical of human abstract understanding. While details of this proof require reading the article itself, the conclusion is that subhuman primates and other animals fail all four tests of true intellectual activity. Hence, man alone possesses true intellect.

The radical difference between mere animals and true human beings is manifested acutely by the insurmountable distinction between the sense image and intellectual concept. The image is always particular, concrete, imaginable, and has sense qualities, such as when we form the image of an individual human being or a particular triangle. But, the concept is always universal, abstract, unimaginable, and lacks all sense qualities, as when we understand the meaning of terms, such as “humanity” or “triangularity.” Human beings have both kinds of knowing, whereas brute animals are restricted to knowledge of images alone. Again, full details are in the article.

We grasp fully the radical limitations of brute sense knowledge only when we compare it to man’s rich, expansive intellectual life which enables him to study all the sciences, to create exponential technological progress, to embrace transcendental religious belief systems, and even to reflect upon his own human nature so as to grasp its spiritual dimensions—destined to eternal life, and to the knowledge of and union with God Himself. These insights demonstrate that evolutionist claims about ape-language studies pose no threat whatever to human essential superiority. Man still has his God-given dominion over beasts—and always will.

Once we fully understand the radical distinction between lower animals and true human beings, we will then easily determine the essential nature of any possible space aliens.

Introduction

The purpose of this article is to enquire whether, in the face of evidence gained from recent ape-language studies, it is still possible to delineate clearly between human intellectual life and brute sentient life—to refute the claims of the sensist philosophers who would reduce all human knowledge and activities to the level of mere sensation and sense appetite. This question cannot, and need not, be answered exhaustively in this relatively short study of the matter. In order to respond in the affirmative, it will suffice that we be able to show that even the most sophisticated sensory activities of animals bear no legitimate threat to the radical superiority of the human intellect—an intellect whose spiritual character is rationally demonstrable.

Nor is it our intent to present here in detail the formal proofs for the spiritual nature of the human soul which have been offered by St. Thomas Aquinas. (Summa Theologiae, I, q. 75, aa. 1-7). Rather, our primary focus will be upon an examination of evidence and arguments which reveal the inability of lower animals to present a credible challenge to the uniqueness of human intellectual life.

It has long been observed in nature that certain lower forms of life often imitate the activities and perfections of higher forms. For example, the tropisms found in certain plants—while not actually constituting sensation—nonetheless deceptively simulate the sensitive reactions proper to animals alone. So too, the human-like behaviour of many “clever” animals has caused much contemporary confusion on the part of, not only the general populace, but also even presumed experts on animal behaviour.

In great part this confusion has arisen because of the success of Darwinian evolution and its attendant reductionism in dominating for much of this century the academe of those natural sciences which deal with animal and human behaviour. Thus psychologists, zoologists, biologists, anthropologists, and so forth, tend to view human behaviour as nothing but an extension in degree, not in kind, of lower animal behaviour. Nowhere is this tendency more acutely seen than in the controversies arising out of contemporary ape-language studies.

Beginning nearly a century ago, various attempts have been made in a small number of research projects to teach chimpanzees and other primates to talk. The most successful techniques have involved the use of American Sign Language and computer-based artificial language systems. Great publicity has attended these efforts since the 1970s with claims of hundreds of words being “understood” by these subjects, new complex words being invented, and even sentences being formed with two-way “conversations” taking place, not only between trainer and primate, but even between primate and primate!

Dissent and Defense

Yet, by 1979, a simmering academic controversy about the legitimacy of primate linguistic credentials burst into view of the general public with the publication of two critical articles in Psychology Today (November 1979, Vol. 13, No. 6.) —one by Columbia University psychologist H. S. Terrace, the other by University of Indiana anthropologists Thomas and Jean Sebeok. Through a very careful re-evaluation of the signing activities of the subject of his own research project, a chimpanzee named Nim Chimpsky, Terrace concluded, “I could find no evidence of an ape’s grammatical competence, either in my data or those of others” (Psychology Today, 67).

The Sebeoks, moreover, argued that animal researchers have been engaging in a good deal of unwitting self-deception in accepting as linguistic competence behaviour which is actually the result of unconscious cuing. What they refer to is what is widely called the Clever Hans effect—named after a famous turn-of-the-century “thinking” horse whose “intelligent” answers to questions were exposed by Berlin psychologist Oskar Pfungst as simply the result of unintentional cues being given by his questioners.

The defenders of apes’ linguistic abilities engaged in immediate counter-attack—producing an intellectual battle which rages to the present day. It is important for us to note that almost all the participants in this debate to date [1993] are natural scientists who are of one mind concerning man’s materialistic and evolutionary origins. The input of dualist philosophers and theologians has been [as of 1993] virtually nil. Thus the critics of the “linguistic” apes, it should be observed, operate largely from a perspective which views man as nothing but a highly developed animal and which prescinds utterly from any philosophical arguments for the existence and spiritual nature of the human soul.

Among the ape’s defenders, we find Suzanne Chevalier-Skolnikoff who points out that the famed signing chimp, Washoe, has taught another chimp, Loulis, how to sign—although she concedes, “Loulis learned his signs mainly by imitation” (The Clever Hans Phenomenon: Communication with Horses, Whales, Apes, and People, 1981, 89-90.)

Chevalier-Skolnikoff also presents the following remarkable claims about ape behaviour:

“Deception, “lying,” and joking are all behaviours that logically are dependent upon mental combinations, or symbolization, and, like other stage 6 behaviours, they cannot be cued. As mentioned above, deception, lying, and joking all appear in stage 6 in nonsigning apes, and I have observed this kind of behaviour both nonlinguistically and in conjunction with signing in the gorilla Koko during this stage. Consequently, I have no reason to doubt, as some authors have, Patterson’s reports that Koko tells lies and jokes.

“Besides lying and joking, the gorilla Koko also has been recorded to argue with and correct others. Arguing and correcting are dependent upon comparing two viewpoints of a situation—existing conditions with nonexisting ones—and therefore require mental representation” (Clever Hans, 83).

Intentional lying, deception, joking, arguing, and correcting—if actually demonstrable from the research data—would, of course, bespeak unequivocally the presence of intellectual activity on the part of apes. Yet, this is precisely why we must be so very careful about drawing such inferences from the available evidence. We must always be cautious not to assign facilely to higher causes that which could readily be explained in terms of lower causes.

The Anthropomorphic Fallacy

While this is scarcely a proper context in which to explore and critique the multiple data upon which Chevalier-Skolnikoff’s judgments are formed, it must be noted that such judgments necessarily flow from an interpretation of the concrete details examined. And herein lies the greatest danger to the human researcher who attempts to “read” the animal subject. The Sebeoks put the matter thus:

“Investigators and experimenters, in turn, accommodate themselves to the expectations of their animal subjects, unwittingly entering into a subtle nonverbal communication with them while convincing themselves, on the basis of their own human rules of interpretation, that the apes’ reactions are more humanlike than direct evidence warrants” (Psychology Today, November 1979, 91).

In a word, what the Sebeoks describe is the infamous anthropomorphic fallacy, that is, the error of attributing human qualities to animals based upon our nearly irresistible temptation to put ourselves in the brute’s place, and then, to view his actions in terms of our own human intellectual perspectives. The universality of this human tendency is such that even experts in animal behaviour frequently fail to avoid its pitfalls.

The specific content of such habitual anthropomorphism by ape researchers is thus described by the Sebeoks:

“Time and again researchers read anomalous chimpanzee and gorilla signs as jokes, insults, metaphors, and the like. In one case, an animal was reported to be deliberately joking when, in response to persistent attempts to get it to sign “drink” (by tilting its hand at its mouth), it made the sign perfectly, but at its ear rather than its mouth” (Psychology Today, 81).

Clearly, this sort of suspicion strikes at the heart of Koko’s claimed performance of “deception, lying, joking, etc.”

In fact, the synergism of anthropomorphism and the Clever Hans effect is seen by psychologist Stephen Walker as justifying inherent skepticism about any and all claims made on behalf of American Sign Language trained apes.

“The most important type of unwitting human direction of behaviour which has been interpreted as the product of the mental organisation of the apes themselves is in the “prompting” of sequences of gestures in animals trained with the American Sign Language method…. As practically all instances of sequences or combinations of gestures by chimpanzees or gorillas are made in the context of interactions with a human companion, there is virtually no evidence of this kind which is not vulnerable to the charge that the human contact determined the sequence of combinations observed” (Animal Thought, 1983, 373-374).

Yet, not all ape communication techniques employed by researchers have involved the use of American Sign Language. Plastic symbols, computer-controlled keyboards, and other artificial devices have been utilized in order to lessen, or possibly eliminate, human influence on the process.
In defending the research of Savage-Rumbaugh—who used a computer-controlled keyboard system—psychologist Duane M. Rumbaugh insists that the evidence shows the clear capacity for categorization free from any Clever Hans effect:

“For our apes the symbols are referential, representational, and communicative in value. Data obtained and reported by Savage- Rumbaugh at that convention made it clear that the chimpanzees Sherman and Austin categorize learned symbols as foods and tools (nonedibles) just as they categorize the physical referents themselves. These data were obtained from tightly controlled test situations in which the animals had no human present in the room at the keyboard to influence their choice of keys for purposes of categorizing” (Clever Hans, 33. See also ibid., 26-59).

In this, though, as in all other instances of supposed lower primate “intentional” communication, the fundamental problem which remains is the influence of man in “programming” the training and responses of the animals, and then, man’s tendency to anthropomorphize the interpretation of the results of this very influence. The results never seem quite as definitive to the sceptics as they do to the researchers who nearly live with the subjects they wish to “objectively” investigate. The inherent difficulty posed for those who would completely eliminate the Clever Hans effect is well-stated by the Sebeoks.

“Apes simply do not take part in such man-made laboratory tests without a great deal of coaxing. The world’s leading authority on human-animal communication, Heini Hediger, former director of the Zurich zoo, in fact deems the task of eliminating the Clever Hans effect analogous to squaring the circle—‘if only for the reason that every experimental method is necessarily a human method and must thus, per se, constitute a human influence on the animal’” (Psychology Today, 91).

Thus, we see that the Sebeoks support Hediger’s claim that total elimination of the Clever Hans effect would constitute an actual contradiction in terms—a goal entirely impossible of attainment.

Escaping Clever Hans

And yet, it is important not to rest the entire case against “talking” apes upon the Clever Hans effect as championed by the Sebeoks. Walker points to research done by Roger Fouts, the Gardners (with the famous Washoe), and Savage-Rumbaugh as appearing to escape the charge of unintentional cuing. Concerning the latter, he writes:

“When two chimpanzees exchanged information between themselves, using the computer-controlled keyboard system, with experimenters not in the same room (Savage-Rumbaugh et al., 1978b), the evidence seems relatively robust” (Animal Thought, 373).

It would appear that the phrase, “Clever Hans effect,” is now being given a meaning which includes two distinct aspects: (1) unintentional cuing of the animals and (2) any human influence upon the animals. While the Sebeoks and other critics are undoubtedly correct in insisting that human influence is inherent in every ape experiment devised by man, yet it is also clearly not the case that unintentional cuing can explain all significant ape communicative achievements.

Given exhaustive, and sometimes exhausting, training by researchers, several novel and rather impressive ape communication performances—free of all unintentional cuing—have been reasonably well documented. What is referred to here is not merely the well-known abilities of trained chimpanzees and gorillas to associate arbitrary signs with objects, nor even their ability to string together series of such signs in what Terrace and others dismiss as simply urgent attempts to obtain some immediately sensible reward.

Rather, more impressive experimental results are now forthcoming, for example, the Savage-Rumbaugh experiments in which two chimpanzees were taught to communicate and cooperate with each other—using a computer keyboard to transmit information revealing the location of hidden food (Animal Thought, 365-367).

In another experiment, after extensive training and prompting, the same animals learned to cooperate with one another by handing over the correct tool needed to obtain food when their primate partner requested it—again by use of computer symbols and without human presence during the actual experiment. Walker offers his inferences therefrom:

“There can be little doubt, in the case of this experiment, that the visual patterns used in the keyboard system had mental associations with objects, and that the chimpanzee who punched a particular key did this in the expectation that the other animal would hand him a particular tool” (Animal Thought, 369).

Still later, these same prodigious chimpanzees advanced to seemingly quite abstract symbolic associations:

“When they were trained with arbitrary symbols assigned to the two object categories “foods” and “tools” Austin and Sherman successfully selected the appropriate category, when shown arbitrary symbols which were the names for particular foods or tools (Savage-Rumbaugh et al., 1980). That is, they were able to label labels, rather than merely label objects: for instance if shown the arbitrary pattern indicating “banana” they responded by pressing the key meaning “food,” but if shown the symbol for “wrench” they pressed the “tool” key” (Animal Thought, 369-370).

Finally, Woodruff and Premack are reported to have devised a cuing-free experiment in which chimpanzees indicated by gesture the presence of food in a container to human participants who did not know its location. They would correctly direct “friendly” humans who would then share the food with them, but would mislead “unfriendly” humans who would not share the food—since the animals were then permitted to get the food for themselves (Animal Thought, 370-371).

Each of the above experimental “successes” is of interest since each appears to be quite free, not from original human influence in the training process, but at least from the Clever Hans effect of unintentional cuing.

Moreover, they demonstrate fairly complex symbol-object associative skills, “intentional” communication, and even, in the last case, some form of “deception.” We place quotation marks about the terms, “intentional” and “deception,” because the exact cognitive content of such acts remains to be properly understood.

Yet, despite the above-described notable results of non-cued experiments as well as claims of hundreds of “words” being learned and of “sentences” and even “dialogue” being articulated by signing apes, careful natural scientific observers remain convinced of essential differences still remaining between ape and human capabilities.

The Uniqueness of Human Speech

After extremely careful analysis of all the relevant data and arguments presented by the ape-language studies, Walker finally concludes that man’s linguistic capabilities remain unique:

“Apes trained to employ artificial systems of symbolic communication ought not, therefore, to be said to have acquired a language, in the sense that people acquire a language. Human language is unique to humans, and although some of the distinctive features of human speech, such as the mimicking of sounds, may be observed in other species, the resemblance between, for instance, the trained gesturing of a chimpanzee and communication via sign- language among the human deaf is in some senses no greater than the resemblance between the speech of a parrot and that of its owner” (Animal Thought, 377-378).

A parrot might, hypothetically, be trained to say, “Polly wants a cracker because Polly is hungry and because Polly knows that a cracker would neutralize the hyperacidity of his stomach acid and thereby reestablish its normal pH.” It might even be trained to say this in order to obtain food when hungry. Yet, no one would seriously contend that the bird in question actually understands concepts such as “neutralize,” “hyperacidity,” and “normal pH.” It is one thing to associate a trained response with a given stimulus, but quite another to grasp intellectually the intrinsic nature of each in all its various elements as well as the nature of the cause-effect relationship entailed.

Walker also concludes that—aside from their evident superiority in terms of the “sheer quantity” of associations learned—the apes’ capabilities do not qualitatively exceed those of lower species, for example, as when a dog responds to the arbitrary sign of a buzzer in order to obtain a piece of meat through the performance of some trained action:

“In so far as it can be demonstrated that the apes establish a collection of associations between signs and objects, then the results of their training extend further than any previously observed form of animal learning, but it is not clear that they need a substantially different kind of ability to make these associations from that which may be used by other mammals to respond to smaller sets of signals” (Animal Thought, 378).

He also notes the essential dependence of the animals upon human influence in order to assure their performance:

“Even when a computer-controlled keyboard is used, so that tests can be made in the absence of a human presence, social interactions between human trainers and the animal being trained are apparently necessary if the animal is to show any interest in using the keyboard (Rumbaugh, 1977)” (Animal Thought, 379).

Finally, Walker eloquently describes the radical wall of separation which distinguishes man from all the lower primates—pointing in particular to man’s unique possession of language in its proper meaning:

“Of all the discontinuities between man and animals that could be quoted, including the exclusively human faculties for abstraction, reason, morality, culture and technology, and the division of labour… the evergreen candidate for the fundamental discontinuity, which might qualify all others, is language… In a state of nature we expect humans to talk, and by comparison, the most unrelenting efforts to induce our closest living relatives to reveal hidden linguistic potential have left the discontinuity of speech bloodied, but unbowed” (Animal Thought, 387).

With respect to the linguistic facility of apes in comparison to man, Walker maintains that chimpanzees form “mental” associations—but that their abilities pale against those displayed by people:

“It seems necessary to accept that under the conditions described, chimpanzees form mental associations between perceptual schemata for manual gestures and others for object categories. This is not to say, in Romanes’s phrase, that they can mean propositions, in forms such as “all chimpanzees like bananas….” [S]ince it has not been convincingly demonstrated that one chimpanzee gesture modifies another, or that there is any approximation to syntax and grammar in the comprehension or expression of artificial gestures, the similarity between the use of individual signs by apes, and the use of words by people, is definitely limited” (Animal Thought, 357).

Despite Walker’s willingness here to defend the uniqueness of man, we note that he yet shares the tendency of most natural scientists to describe lower primates’ associative imaginative acts while employing philosophically misapplied terms such as “mental,” “understand,” and “think.” In proper philosophical usage, such terms are strictly predicable of human intellectual activities. Their application to brute animals in this context serves only to confuse the intellectual with the sentient order.

In an observation which strikes at the very heart of all ape language experiments, Hediger supports the claim by biophilosopher Bernard Rensch, who noted in 1973 that nothing like human language has ever been found among any of the apes in the state of nature. Hediger comments:

“In other words, with all animals with which we try to enter into conversation we do not deal with primary animals but with anthropogenous animals, so-to-speak with artifacts, and we do not know how much of their behaviour may still be labelled as animal behaviour and how much, through the catalytic effect of man, has been manipulated into the animal. This is just what we would like to know. Within this lies the alpha and omega of practically all such animal experiments since Clever Hans” (Clever Hans, 5).

This amounts to a recognition that all ape-language studies presuppose the invention of true language by man. This peculiarly human invention is then imposed by man upon the apes. The day on which apes create their own linguistic system is still the dream of science fiction.

As is well known to the philosophical science of psychology, human language consists of a deliberately invented system of arbitrary or conventional signs. (Aristotle, On Interpretation, 1 (16a3-8).) Thus the English word “red” could just as well have stood for the natural colour green—except for the convention or agreement by all that it should represent just what it does. The alternative to such arbitrary signs consists of what are termed natural signs, which, as the name implies, flow from the very nature of something. Thus smoke is a natural sign of fire, a beaver slapping its tail on water is a natural sign of danger, and the various calls of birds are signs of specific natural meanings—which cannot be arbitrarily interchanged or invented. The hiss of a cat is never equivalent to its purr.

From all this, it is clear that in teaching apes to “talk” man is simply imposing upon them his own system of arbitrary or conventional signs. The signs belong to man, not to the apes. The apes use them only because we train them to do so. We thus turn the apes, as Hediger says, into “artifacts” of our own creation.

Hediger emphasizes the importance of not underestimating the impact of human training upon lower species:

“This amazing act of training causes one to ponder the manifold efforts of several researchers to enter into language contact, into a dialogue with apes…

“In each case the chimpanzees were demonstrated the desired actions with the hope that they would react in a certain way… with Washoe, Sarah, Lana, and so forth, it is the production of certain signs in which we would like to see a language. But how can we prove that such answers are to be understood as elements of a language, and that they are not only reactions to certain orders and expression, in other words simply performances of training?” (Clever Hans, 9).

One perhaps should ponder here that it is not brute animals alone which can react to training in a way which bespeaks performance but lack of understanding. Have we not all, at one time or another, heard a small child speak a sentence—even with perfect syntax and grammar—whose meaning obviously utterly eludes him? Or, at least, we hope it eludes him! And, if such can occur in children through training and imitation, one can well understand Hediger’s hesitancy to attribute intellectual understanding to a brute animal when such acts could well be explained by simple performance training.

Moreover, Hediger makes a suggestion which reveals the extreme difficulty entailed in assuring that apes actually do understand the meanings of the “words” they gesture under present methods:

“I do not doubt that Washoe and other chimps have learned a number of signs in the sense of ASL. But it seems to me that a better clarification could be reached mainly through the introduction of the orders “repeat” and “hold it.” By this the chimpanzee could show that he really understands the single elements and does not execute fast, sweeping movements into which one possibly could read such elements” (Clever Hans, 9).

Since such “stop action” techniques have never even been attempted in present ASL trained apes, it would seem that demonstration of true intellectual understanding of hand signs in them is virtually impossible. By contrast, humans frequently do explicate their precise meanings to each other—even to the point of writing scholarly papers immersed in linguistic analysis.

The Inferiority of Apes

In contrast with the rather elevated dialogue about apes’ supposed “mental” abilities, Hediger makes a fundamental observation designed to cut the Gordian knot of much of the controversy. Analogous to the old retort, “If you are so smart, why aren’t you rich?,” Hediger’s rather fatally apropos version runs essentially thus: “If apes are so intelligent, why can’t they learn to clean their own cages?”

“If apes really dispose of the great intelligence and the highly developed communication ability that one has attributed to them lately—why in no case in the zoos of the world, where thousands of apes live and reproduce, has it been possible to get one to clean his own cage and to prepare his own food?” (Clever Hans, 13).

In a follow-up comment made, presumably, without any personal prejudice against apes, Hediger writes, “Apes have no notion of work. We might perhaps teach an ape a sign for work but he will never grasp the human conception of work” (Clever Hans, 13).

Finally, Hediger notes that “the animal has no access to the future. It lives entirely in the present time” (Clever Hans, 14). And again, Hediger insists, “To my knowledge, up to now, no animal, not even an ape, has ever been able to talk about a past or a future event” (Clever Hans, 16).

If argument from authority has any force at all, it should be noted here that Heini Hediger is described by the Sebeoks as the “world’s leading authority on human-animal communication… (and) …former director of the Zurich zoo” (Psychology Today, 91).

Moreover, the conclusions by Walker cited above warrant special attention because his book, Animal Thought, represents an outstanding synthesis of available data on animal “mental” processes and includes an extensive review of the recently conducted ape-language studies (Animal Thought, 352-381).

In addition to the specific distinctions between ape and man noted above, the philosopher notices a pattern of evidence which tends to confirm his own conclusions. For it is clear that the apes studied are, in all well-documented activities, exclusively focused upon the immediate, particular objects of their sense consciousness. They seek concrete sensible rewards readily available in the present. Such documented observations are entirely consistent with the purely sentient character of the matter-dependent mode of existence specific to animals.

Apes have no proper concept of time in terms of knowing the past as past or the future as future. Nor do they offer simply descriptive comment or pose questions about the contents of the passing world—not even as a small child does when he asks his father why he shaves or tells his mother she is a good cook even though his stomach is now full.

Time and again it is evident that the most pressing obsession of any ape is the immediate acquisition of a banana (or its equivalent). It has little concern for the sorts of speculative inquiry about that same object which would concern a botanist.

In fact, the whole experiential world of apes is so limited that researchers are severely restricted in terms of their selection of motivational tools capable of use in engaging them to perform or dialogue. Hediger laments:

“Therefore there remain the essential daily needs, above all metabolism, food and drink, social and sexual contact, rest and activity, play and comfort, conditions of environment in connection with the sensations of pleasure and dislike, some objects, and possibly a few more things. This is indeed rather modest” (Clever Hans, 14).

Aristotle makes much the same point:

“The life of animals, then, may be divided into two acts—procreation and feeding; for on these two acts all their interests and life concentrate. Their food depends chiefly on the substance of which they are severally constituted; for the source of their growth in all cases will be this substance. And whatsoever is in conformity with nature is pleasant, and all animals pursue pleasure in keeping with their nature” (History of Animals, VIII, 1, [589a3-589a9]).

Small wonder the apes will neither philosophize nor clean their cages!

We have seen above that much of ape-communicative skills can be explained in terms of simple imitation or unintentional cuing. Even in the carefully controlled experiments designed to lessen or eliminate all cuing, the factor of human influence in the extensive training needed to get apes to initiate and continue their performance simply cannot be eliminated.

Yet, there seems to remain a legitimate need for further explanation of the impressive ape-communicative skills manifested as the product of the experiments done by Savage-Rumbaugh and others. Granted, exhaustive training may explain why these chimpanzees and gorillas act in fashions never seen in the state of nature. Yet, this does not fully avoid the need to explain the remarkable character of the behaviour produced by this admittedly artificial state into which the animals have been thrust by human imposition.

In the first place, it must be noted that there is no undisputed evidence of ape-language skills which exceed the domain of the association of sensible images. Even the categorization of things like tools and actions does not exceed the sensible abilities of lower species, for example, the ability of a bird to recognize selectively the objects which are suitable for nest building. Nor does even the ability to “label labels” exceed, in principle, the province of the association of internal images.

Intellectual Activity

It should be observed here that the nature of intellectual knowledge does not consist merely in the ability to recognize common sensible characteristics or sensible phenomena which are associated with a given type of object or action. Such sentient recognition is evident in all species of animals whenever they respond in consistent fashion to like stimuli, as we see in the case of the wolf sensing any and all sheep as the object of his appetite.

On the contrary, the intellect penetrates beyond the sensible appearances of things to their essential nature. Even at the level of its first act (that is, simple apprehension or abstraction), the intellect “reads within” the sensible qualities of an entity—thereby grasping intelligible aspects which it raises to the level of the universal concept. Thus, while we can imagine the sensible qualities of an individual triangle, we cannot imagine the universal essence of triangularity—since a three-sided plane figure can be expressed in infinitely varied shapes and sizes. Yet, the concept of triangularity is a proper object of intellectual understanding. Thus, the essence of conceiving the universal consists, not merely in an association of similar sensible forms, but in the formation of a concept abstracted from the individuating, singularizing influence of matter and freed from all the sensible qualities which can exist only in an individual, concrete object or action.

So too, the correct identification of, communication about, and employment of an appropriate tool by a chimpanzee (in order to obtain food) is no assurance of true intellectual understanding. Indeed, a spider which weaves its web to catch insects is repeatedly creating the same type of tool designed exquisitely to catch the same type of victim. Yet, does anyone believe that this instinctive behaviour bespeaks true intellectual understanding of the means-end relation on the part of the spider? Hardly! The evident lack of intelligence in the spider is manifest the moment it is asked to perform any feat or task outside its fixed instinctive patterns.

Whether “programmed” by instinct, as in the case of the spider, or by man, as in the case of the chimpanzee, each animal is simply playing out its proper role in accord with pre-programmed habits based upon recognition or association of sensibly similar conditions. Certainly, no ape or any other brute animal understands the means as means, the end as end, and the relation of means to end as such. The sense is ordered to the particular; only intellect understands the universal.

One may ask, “How do we know that the ape does not understand the intrinsic nature of the objects or ”labels“ he has been trained to manipulate?” The answer is that, just like the spider which cannot perform outside its “programmed” instincts, so too, the ape—while appearing to act quite “intelligently” within the ambit of its meticulous training, yet exhibits neither the originality nor creative progress which man manifests when he invents at will his own languages and builds great civilizations and, yes, keeps his own “cages” clean!

Therefore, while it is clear that certain apes have been trained to associate impressive numbers of signs with objects, it is also clear that the mere association of images with signs and objects, or even of images with other images, does not constitute evidence of intellectual understanding of the intrinsic nature of anything. And it is precisely such acts of understanding which remain the exclusive domain of the human species.

Yet, the field of contest of ape-language studies is centred not only upon the first act of the intellect discussed above, but also upon the second and third acts of the intellect, that is, upon judgment and reasoning. Thus Chevalier-Skolnikoff insists that the chimpanzee, Washoe, and the gorilla, Koko, exhibit true grammatical competence as, for example:

“breakfast eat some cookie eat,” signed by Koko at 5 years 6 months and “please tickle more, come Roger tickle,” “you me go peek-a-boo,” and “you me go out hurry,” signed by Washoe at about 3 years 9 months. Besides providing new information, the structures of these phrases (like those of the novel compound names) imply that they are intentionally planned sequences” (Clever Hans, 83).

It is in the expression of such “intentionally planned sequences” that Koko is reported to have argued with and corrected others; for example, when Koko pointed to squash on a plate and her teacher signed “potato,” Koko is reported to have signed “Wrong, squash” (Clever Hans, 84).

Even if one is disposed to accept the intrinsically anecdotal character of all such data, we must remember the inherent danger of anthropomorphic inferences warned against by Walker, the Sebeoks, and others. As Walker concludes, because of the necessary interaction with a human companion during such communication, “there is virtually no evidence of this kind which is not vulnerable to the charge that the human contact determined the sequence of combinations observed” (Animal Thought, 374).

And while it is not evident precisely how the animal was trained to sign “wrong” or otherwise indicate a negative, such a sign when associated with a correct response (for example, “squash”) need not reflect a genuinely intellectual judgment. The correct response itself is simply proper categorization which is the product of training. Its association with a negative word-sign like “wrong” or “no” may simply be a sign which is trained to be elicited whenever the interlocutor’s words or signs do not fit the situation. The presumption of intellectual reflection and negative judgments in such cases constitute rank anthropomorphism in the absence of other specifically human characteristics, for example, there appears to be no data whatever recording a “correction” or “argument” entailing a progressive process of reasoning. Rather, two signs, such as “No, gorilla” or “Wrong, squash” constitute the entire “argument.” Compare such simple “denials” to the lengthy syllogistic arguments—often of many steps—offered in human debate. The apes, at best, appear to offer us merely small collections of associated simple signs—usually united only by the desire to attain an immediate sensible reward.

As noted earlier, apes have been reported to sign to other apes (Clever Hans, 89-90). They have even been reported to sign to themselves when alone (Clever Hans, 86). Such behaviour, though striking, simply reflects the force of habit. Once the proper associations of images to hand signs have been well established, the tendency to respond in similar fashion in similar contexts—whether in the presence of man or another ape or even in solitude—is hardly remarkable.

Critiquing the Research Data

Perhaps the most stinging defection from the ranks of those advocating an ape’s grammatical competence is that of H. S. Terrace. His own research project, whose subject was a chimpanzee named Nim Chimpsky, eventually led him to question the legitimacy of initially favourable results. He then began a complete re-evaluation of his own prior data as well as that which was available from other such projects. Terrace now insists that careful analysis of all ape-language studies fails to demonstrate that apes possess grammatical competence.

Terrace suggests that in two studies using artificial language devices what the chimpanzees “learned was to produce rote sequences of the type ABCX, where A, B, and C are nonsense symbols and X is a meaningful element” (Clever Hans, 95). Thus, he argues, while the sign “apple” might have meaning for the chimpanzee, Lana,

“…it is doubtful that, in producing the sequence please machine give apple, Lana understood the meanings of please machine and give, let alone the relationships between these symbols that would apply in actual sentences” (Clever Hans, 95).

Terrace points to the importance of sign order in demonstrating simple constructions, such as subject-verb-object, and then criticizes the Gardners for failing to publish any data on sign order regarding Washoe (Clever Hans, 96).

Perhaps the single most important contribution of Terrace has been his effort “to collect and to analyse a large corpus of a chimpanzee’s sign combinations for regularities of sign order” (Clever Hans, 97). Moreover, he initiated:

“… a painstaking analysis of videotapes of Nim’s and his teacher’s signing. These tapes revealed much about the nature of Nim’s signing that could not be seen with the naked eye. Indeed they were so rich in information that it took as much as one hour to transcribe a single minute of tape” (Clever Hans, 103).

These careful examinations of Nim’s signing activities led Terrace to conclude:

“An ape signs mainly in response to his teachers’ urgings, in order to obtain certain objects or activities. Combinations of signs are not used creatively to generate particular meanings. Instead, they are used for emphasis or in response to the teacher’s unwitting demands that the ape produce as many contextually relevant signs as possible” (Clever Hans, 107-108).

Terrace points out the difficulty involved in attempting to evaluate the performance of the other signing apes:

“… because discourse analyses of other signing apes have yet to be published. Also, as mentioned earlier, published accounts of an ape’s combinations of signs have centred around anecdotes and not around exhaustive listings of all combinations” (Clever Hans, 108).

Seidenberg and Petitto raise similar objections to the anecdotal foundation for some of the most significant claims made on behalf of apes:

“A small number of anecdotes are repeatedly cited in discussions of the apes’ linguistic skills. However, they support numerous interpretations, only the very strongest of which is the one the ape researchers prefer, i.e., that the ape was signing “creatively.” These anecdotes are so vague that they cannot carry the weight of evidence which they have been assigned. Nonetheless, two important claims—that the apes could combine signs creatively into novel sequences, and that their utterances showed evidence of syntactic structure—are based exclusively upon anecdote” (Clever Hans, 116).

Terrace also states that he has carefully examined films and videotape transcripts of other apes, specifically Washoe and Koko. Regarding the former, he concludes, “In short, discourse analysis makes Washoe’s linguistic achievement less remarkable than it might seem at first” (Clever Hans, 109). Terrace also examined four transcripts providing data on two other signing chimpanzees, Ally and Booee. Finally, he summarizes his findings:

“Nim’s, Washoe’s, Ally’s, Booee’s, and Koko’s use of signs suggests a type of interaction between an ape and its trainer that has little to do with human language. In each instance the sole function of the ape’s signing appears to be to request various rewards that can be obtained only by signing. Little, if any, evidence is available that an ape signs in order to exchange information with its trainer, as opposed to simply demanding some object or activity” (Clever Hans, 109-110).

Following on similar criticisms by Terrace, Seidenberg and Petitto point out the simple absence of data supporting the claims that apes show linguistic competence:

“The primary data in a study of ape language must include a large corpus of utterances, a substantial number of which are analyzed in terms of the contexts in which they occurred. No corpus exists of the utterances of any ape for whom linguistic abilities are claimed” (Clever Hans, 116).

Terrace’s Nim Chimpsky, of course, is one chimpanzee for whom linguistic ability was not claimed by his researcher. It is therefore significant that the data collected on the Nim project is, by far, the most exhaustive:

“The data of Terrace et al. on Nim are more robust than those offered by other ape researchers. Although their data are limited in several respects, they are the only systematic data on any signing ape” (Clever Hans, 121-122).

If the above citation is factually correct, it means that the ape-language studies fall into two categories: (1) the Nim project, which is based upon “systematic data,” but whose researcher could find “no evidence of an ape’s grammatical competence” and (2) the rest of the projects, for whose subjects various claims of linguistic competence have been made, but none of which are based upon “systematic data.”

Another weakness in the data—one which afflicts even the Nim project—is the practice of simply deleting signs which are immediately repeated:

“In comparing Nim’s multisign utterances and mean length of utterances (MLU) to those of children, it is important to realize that all contiguous repetitions were deleted. In this respect, Terrace et al. follow the practice established by the other ape researchers. The repetitions in ape signing constitute one of the primary differences between their behaviour and the language of deaf and hearing children, yet they have always been eliminated from analyses” (Clever Hans, 123).

Needless to observe, the deletion of such uselessly repeated “words” would tend to make an ape’s recorded “speech” appear much more intelligible and meaningful than it actually is.

In a noteworthy understatement, Seidenberg and Petitto conclude, “There are numerous methodological problems with this research” (Clever Hans, 127). Even if all available data from ape-language studies—anecdotal and otherwise—were to be accepted at face value the legitimacy of claims about apes understanding the meanings of their signs, creating new word complexes, deceiving, lying, reasoning, and so forth, need not be recognized in the sense of providing proof of the possession of genuine intellectual powers on their part.

It must be remembered that contemporary electronic computers can be programmed to simulate many of these behaviours—and, probably, in principle, all of them. Walker points out some of these capabilities:

“Already there are computers which can recognise simple spoken instructions, and there are computer programs which can play the part of a psychotherapist in interchanges with real patients (Holden, 1977), so the inability of machines to conduct low-grade conversations is no longer such a strong point” (Animal Thought, 9).

If a computer can hold its own with real patients while feigning the role of a psychotherapist, it should surely be able to perform many of the functions of signing apes. Clearly, given appropriate sensing devices and robotics, even the most impressive, non-cued Savage-Rumbaugh experimental results could easily be simulated by computers—even by pairs of computers exhibiting the co-operative exchange of information and objects as was seen in the activities of the chimpanzees, Sherman and Austin (Animal Thought, 364-370, 373). This would include the ability to “label labels,” for example, to respond to the arbitrary pattern for banana by pressing the key meaning food (Animal Thought, 369-370). Such performance may seem remarkable in an ape, but it would be literal child’s play to a properly programmed computer.

Again, programming a computer to “deceive” or “lie to” an interrogator is no great feat—although Woodruff and Premack apparently spent considerable time and effort creating an environment which, in effect, “programmed” chimpanzees to engage in just such unworthy conduct (Animal Thought, 370-371).

Certainly there are, as yet, no reports about apes having learned to play chess. Yet, Walker reports:

“Pocket-sized computers are now available that can play chess at a typical, if not outstanding, human level, accompanied by a rudimentary attempt at conversation about the game… In the face of modern electronic technology, though, it is less obvious that it is impossible for physical devices to achieve human flexibility than it was in the seventeenth century” (Animal Thought, 10-11).

Evidently then, the electronic computer is capable of engaging in “low-grade conversations”—and this, probably in a manner which would well outstrip its nearest ape competitors.

While it must be conceded that all of the abovementioned capabilities of electronic computers presuppose the agency of very intelligent human computer programmers, yet the correlative “programming” of apes must be understood to occur as a result of deliberate human training, unintentional cuing, and unavoidable human influence upon the animals.

On the other hand, it must be recognized that the capabilities of apes equal or exceed those of computers in several significant respects. According to the eminent physicist-theologian Stanley L. Jaki, the number of potential memory units in the brain is phenomenal. In his Brain, Mind and Computers [BMC] (1969), he writes, “After all, the latitude between 1027, the estimated number of molecules in the brain, and 1010, the estimated number of neurons, is enormous enough to accommodate any guess, however bold, fanciful, or arbitrary” (BMC, 110). Later (BMC, 115), he tells us that “the human brain… [has] …twice as many neurons as the number of neurons in the brain of apes,” we conclude that the number of neurons in the brain of apes must be 5 X 109.

This certainly constitutes an impressive amount of almost instantaneously available “core storage.” Moreover, while it is possible to attach elaborate “sensing” devices to provide input data to a computer, nothing devised by man can match the natural abilities of the multiple external and internal senses found in higher animals, including the apes. Hence, their ability to sense and categorize a banana as food is simply part of their natural “equipment.” Finally, while extensive and complex robotic devices are now becoming an essential ingredient in various computer-controlled manufacturing processes, an ape’s limbs, hands, and feet afford him a comprehensive dexterity unmatched by that of any single machine.

The point of all this is simply that none of the performances exhibited by language-trained apes exceeds in principle the capacities of electronic computers. And yet, electronic computers simply manipulate data. They experience neither intellectual nor even sentient knowledge and, in fact, do not even possess that unity of existence which is proper to a single substance. A computer is merely a pile of cleverly constructed electronic parts conjoined to form an accidental, functional unity which serves man’s purpose.

It is in no way surprising, then, that man should be able to “program” apes to perform in the manner reported by researchers. For these apes have, indeed, become, as Heini Hediger so adroitly points out, artifacts—through the language and tasks which we humans have imposed upon them (Clever Hans, 5).

The force of much of the above argument from analogy will be lost upon those who do not understand why we state that computers possess neither substantial existence and unity nor any sentient or intellectual knowledge. Our claims may seem especially gratuitous in an age in which various computer experts proclaim the imminent possibility of success in the search for artificial intelligence through the science of cybernetics.

Yet, it would appear to be sheer absurdity to suggest that the elementary components of complicated contemporary computers—whether considered singly or in concert—could conceivably experience anything whatsoever. For no non-living substance—whether it be an atom, a molecule, a rock, or even an electronic chip—is itself capable of sensation or intellection.

On the other hand, what answer can be given to the sceptic’s seemingly absurd, but elusively difficult, query: How can we be so certain that some form of consciousness, or at least the potency for consciousness, is not present in the apparently inanimate parts used to compose a modern computer? As any novice logician is well aware, the problems inherent in the demonstration of any negative are substantive. Hence, the challenge of proving that inanimate objects are truly non-living, non-sensing, non-thinking, and so forth, is difficult—the moment, of course, that one is prepared to take the issue at all seriously.

Clearly, potentialities for sensation and intellection as well as other life activities do exist—but only as faculties (operative potencies) of already living things. These powers are secondary qualities inherent in and proper to the various living species—which properties flow from their very essence and are put into act by the apprehension of the appropriate formal object. Thus, the potency for sight in an animal is a sensitive faculty of its substantial form (soul) which enables the animal to see actually when it is put into act by the presence of its proper sense object (colour). This is not the same at all as suggesting that inanimate objects as such might possess such potencies or faculties.

Despite its apparent difficulty, though, it is indeed possible to demonstrate that the universal absence of specific life activities—both in the individual and in all other things of the same essential type—shows that those life qualities are utterly outside of or missing from such a nature. Or, to put the matter affirmatively, the presence of a given form necessarily implies its formal effects, that is, if a thing is alive, it must manifest its life activities; if sensation is a power of its nature, it must, at least at times, actually sense. That a power should exist in a given species, but never be found in act, is absolutely impossible. This fundamental truth can be shown as follows.

According to the utter certitude which is offered by the science of metaphysics, there must exist a sufficient reason why a given thing consistently exhibits certain qualities or activities, but not others. For instance, if a non-living thing, such as a rock, manifests the qualities of extension and mass, yet never exhibits any life activities, for example, nutrition, growth, or reproduction, then either such life powers must be absent from its nature altogether, or else, if present, there must be some sufficient reason why such powers are never exhibited in act. And that reason must be either intrinsic or extrinsic to its nature. If it is extrinsic, then it would have to be accidental to the nature, and thus, caused. As St. Thomas Aquinas observes:

“Everything that is in something per accidens, since it is extraneous to its nature, must be found in it by reason of some exterior cause” (De Potentia Dei, q. 10, a. 4, c.).

Moreover, what does not flow from the very essence of a thing cannot be found to occur universally in that thing—even if it be the universal absence of a quality or activity. For, as St. Thomas Aquinas also points out:

“The power of every agent [which acts] through necessity of nature is determined to one effect, and therefore it is that every natural [agent] comes always in the same way, unless there should be an impediment” (Summa Contra Gentiles, III, 23).

Hence, while an extrinsic cause might occasionally interfere with the vital activities of a living thing, such suppression of the nature’s activities is relatively rare—and surely, never universal. Thus, the ability to reproduce may be suppressed by an extrinsic cause in a few individuals in a species, but most will reproduce. On the other hand, if reproduction were absent in every member of a species, for example, rocks, then the absence of such activity must be attributed directly to the essence itself.

But if a thing is said to possess a power or potency to a certain act by its very essence, and yet, that selfsame essence is said to be responsible for its never actually exercising such a power, then such an essence becomes self-contradictory—since that essence would then be responsible both for its substance essentially being able to possess that quality and for it never being able actually to possess that same quality. The same essence would then be the reason why a thing is able to be alive or conscious and also, at the same time, the reason why that same thing is never able to be alive or conscious. This is clearly both absurd and impossible.

Moreover, Aristotle defines nature as “a source or cause of being moved and of being at rest in that to which it belongs primarily” (Physics, II, 1, 192b22-23). But a nature which would also be the reason for a thing not moving or resting would clearly contradict itself.

From all this, it follows that, if a quality or activity is lacking in each and every member of a species of things, it is absent neither by accident nor as a positive effect of the essence—but simply because such quality or activity does not belong to its essence at all. Hence, non-living things have no life powers within their natures. They can gain life powers only by undergoing a substantial change, that is, by somehow becoming assimilated into the very substance of a living thing, as when a tree absorbs nutrients from the soil and then turns them into its very self.

But such is clearly not what happens when inanimate parts are artificially joined together into an accidental, functional unity such as an electronic computer. Thus, none of a computer’s individual parts which are inanimate in themselves can exhibit the properties of life, sensation, or intellection. Nor can any combination of such non-living entities—even if formed into a highly complex functional unity—achieve the activities of perception or thought, since these noetic perfections transcend utterly the individual natures, and thus, the natural limitations, of its components.

Since it is an artificial composite of many substances, a computer constitutes merely an accidental unity. As such, no accidental perfection can exist in it which is not grounded in the natures of its constituent elements. It is a perennial temptation to engage in the metaphysical slight of hand of suggesting that somehow the whole might be greater than the sum of its parts, that the total collectivity can exhibit qualities of existence found in none of its elements. In this strange way, like Pinocchio, the computer is averred to take on suddenly all the properties of a living substance—to sense and to think.

But such is the stuff of fantasy. It is to commit the fallacy of composition—to attribute to the whole qualities found in none of its parts. It is like suggesting that an infinite multitude of idiots could somehow—if only properly arranged—constitute a single genius. The fundamental obstacle to all such speculation is the principle of sufficient reason. For the non-living, as such, offers no existential foundation for the properties of life. And merely accidental rearrangements of essentially non-living components provide no sufficient reason for the positing of the essentially higher activities found in living things—unless there takes place the sort of substantial change described above. And such substantial changes are found solely in the presently constituted natural order of things, that is, by assimilation or generation.

Since the hylemorphist philosopher understands that the substantial unity of things above the atomic level depends upon some unifying principle, that is, the substantial form, he knows that only natural unities possessing appropriate cognitive faculties of sensation or intellection can actually know anything. Thus a “sensing device” such as a television set running in an empty room actually senses nothing. It cannot see its own picture or hear its own sound. No genuine perception can occur until, say, a dog stumbles into the room and glances at the set in operation.

The dog can see and hear the set precisely because the dog is a natural living substantial unity whose primary matter is specified and unified by a substantial form (its soul) which possesses the sense faculties of sight and hearing. Absent the sensitive soul, the most complex “sensing device” knows nothing of the sense data it records. Absent the intellectual soul, a “thinking” machine understands nothing of the intelligible data it manipulates nor even is it aware of its own existence. A computer could well be programmed to pronounce, “Cogito ergo sum,” and yet remain completely unaware of its own existence or anything else.

Gödel’s Theorem

The inherent limitations of any electronic computer were unintentionally underlined by the German mathematician Kurt Gödel in 1930 when he proposed his famed incompleteness theorem to the Vienna Academy of Sciences. As theologian and physicist, Stanley L. Jaki, S.J., simply expresses it, the theorem states “that even in the elementary parts of arithmetic there are propositions which cannot be proved or disproved in that system” (BMC, 214). Gödel himself initially vastly underestimated the profound implications of his theorem. Among these were (1) that it struck “a fatal blow to Hilbert’s great program to formalize the whole of mathematics…” (BMC, 215) and (2) that it “cuts the ground under the efforts that view machines… as adequate models of the mind” (BMC, 216).

Jaki spells out the impact of the incompleteness theorem on the question of computer consciousness:

“Actually, when a machine is requested to prove that “a specific formula is unprovable in a particular system,” one expects the machine to be self-conscious, or in other words, that it knows that it knows it, and that it knows that it knows it that it knows it, and so forth ad infinitum…. A machine would always need an extra part to reflect on its own performance, and therein lies the Achilles heel of the reasoning according to which a machine with a sufficiently high degree of complexity will become conscious. Regardless of how one defines consciousness, such a machine, as long as it is a machine in the accepted sense of the word, will not and cannot be fully self-conscious. It will not be able to reflect on its last sector of consciousness” (BMC, 220-221).

Despite the logical adroitness of this analysis, we must, of course, remember that in truth and in fact machines possess no psychic faculties at all. They actually have neither even the most immediate level of reflection nor any form of consciousness whatever.

What Gödel’s theorem simply implies is that men are not machines—that computers (because they have not a spiritual intellect) are unable to know the truth of their own “judgments” since they lack the capacity for self-reflective consciousness.

This analysis of computer deficiency based upon the incompleteness theorem is offered simply to demonstrate that, although computers may be able to simulate the abilities of language-trained apes, their computations, nonetheless, remain essentially inferior to human cognitive abilities. In truth, neither apes nor computers are capable of genuinely self-reflective acts of intellection since such acts are possible for creatures with spiritual intellects alone, for example, man. Unlike computers, apes, of course, are alive and possess sensitive souls capable of sense consciousness—but not intellection.

Nonetheless, the fact that electronic computers—having neither sensation nor intellection nor even life itself—could, in principle, be designed and programmed so as to imitate, or even exceed, the skills of language-trained apes is sufficient evidence that ape-language studies pose no threat to man’s uniqueness as a species. Nor do the studies cast in any doubt man’s uniquely spiritual nature—as distinguished from the rest of the animal kingdom.

One striking bit of information drawn from the history of ape- language studies has been saved until this point in our study in order to underscore the radical difference between man and lesser primates. It demonstrates, as Paul Bouissac points out, that the animal’s perspective on what is going on may differ radically from our own. Now, no language-trained ape possesses a greater reputation for linguistic expertise and presumed civility than the female chimpanzee, Washoe. It is therefore rather appalling to learn of the following incident reported by Bouissac:

“There are indeed indications that accidents are not infrequent, although they have never been publicized; the recent attack of the celebrated “Washoe” on Karl Pribram, in which the eminent psychologist lost a finger (personal communication, June 13, 1980) was undoubtedly triggered by a situation that was not perceived in the same manner by the chimpanzee and her human keepers and mentors” (Clever Hans, 24).

In pointing to the divergence of perspective between man and ape, Bouissac may well understate the problem. Washoe would have been about 15 years old at the time of the attack. Needless to say, humans of that age have virtually never been recorded as even attempting to bite their teachers—and this would seem especially true of outstanding students!

This clear-cut evidence that animals—even apes—simply do not perceive the communicative context in the same way that man does demonstrates the degree to which the anthropomorphic fallacy has overtaken many researchers—despite their claims of caution in this regard.

A Positive Demonstration

While much of the preceding discussion pertinent to man’s uniqueness as a species has focused upon signs of his spiritual nature and, to an even greater degree, upon the failure of lower animals to demonstrate any intellectual ability, philosopher and theologian Austin M. Woodbury, S.M., approaches the question with a fresh and more decisive perspective (Natural Philosophy, Treatise Three, Psychology [1951], III, Ch. 40, Art. 2, 432-465).

He points out that the effort to explain all animal behaviour in terms of sensation alone could never be completed and might produce no more than a probable conclusion because of the complexity of the task. One need only consider the endless anecdotal data to be examined (Psychology, 437).

To avoid the logical weakness of this negative approach, Woodbury proposes an appropriate remedy by seeking direct and positive proof that brutes are lacking in the necessary effects or signs of intelligence (Psychology, 438).

For, he argues, the necessary effects of intellect are four: speech, progress, knowledge of relations, and knowledge of immaterial objects. Since each of these is a necessary effect, “if it be shown that even one of these signs of intellect is lacking to ‘brutes’, then it is positively proved that ‘brutes’ are devoid of intellect” (Psychology, 438). In fact, Woodbury argues that brute animals are in default in all four areas.

While the most significant ape-language experiments were conducted after Woodbury wrote his Psychology, nonetheless his insistence on the absence of true speech among brute animals remains correct as we have seen above. He points out that animals possess the organs of voice (or, we might note, the hands to make signs), the appropriate sensible images, and the inclination to manifest their psychic states—but they do not manifest true speech since they lack intellect (Psychology, 441).

What Woodbury seems to be saying is that, if brute animals actually possessed intellect, they would have long ago developed their own forms of communication expressed in arbitrary or conventional signs. Their failure to do so is manifest evidence of the absence of intellect. On the contrary, since all men do possess intellect, all men develop speech.

It is noteworthy that even a chimpanzee brought up in a human family learns no speech at all whereas a human child does so easily and quickly. While it is conceded that chimpanzees and other apes lack the vocal dexterity of man, yet it must be noted that they do possess sufficient vocal equipment to enable them to make limited attempts at speech—just as would any human suffering from a severe speech defect. Yet, apes attempt nothing of the sort.

While Woodbury does not, of course, make reference here to the signing apes, it is clear that their behaviour is to be explained by imitation and the association of images. While man may impose signing upon such animals artificially, their failure to have developed language on their own and in their natural habitat demonstrates lack of true speech. That animals possess natural signs is conceded, but irrelevant.

Neither do animals present evidence of genuine progress. Woodbury points out that “from intellect by natural necessity follows progress in works, knowledges and sciences, arts and virtue” (Psychology, 443) While he grants that animals do learn from experience, imitation, and training, yet, because they lack the capacity for intellectual self-reflection, they are unable to correct themselves—an ability absolutely essential to true progress.

Even in the most “primitive” societies, true men make progress as individuals. For children learn language, arts, complex tribal organization, complex legal systems, and religious rites (Psychology, 444). Woodbury notes, “Moreover, the lowest of such peoples can be raised by education to very high culture” (Psychology, 444).

Woodbury points out that the appetite to make deliberate progress is inherent in a being endowed with intellect and will. For as the intellect naturally seeks the universal truth and the will seeks the infinite good, no finite truth or good offers complete satisfaction. Thus man, both as a species and as an individual, seeks continually to correct and perfect himself. While apes are ever content to satisfy the same sensitive urges, men erect the ever-advancing technology and culture which mark the progress of civilization. The failure of animals to make anything but accidental improvements—except when the intellect of man imposes itself upon them through training—proves the utter absence of intellect within their natures.

Commenting on his third sign that intellect is lacking in animals, Woodbury observes that brute animals lack a formal knowledge of relations. They fail to understand the means-end relationship in its formal significance. And, while men grasp the formal character of the cause-effect relationship in terms of being itself, animals are limited merely to perceiving and associating a succession of events (Psychology, 445).

Woodbury distinguishes between possessing a universal understanding of the ontological nature of means in relation to ends as opposed to possessing a merely sensitive knowledge of related singular things. Lower animals reveal their lack of such understanding whenever conditions change so as to make the ordinarily attained end of their instinctive activity unobtainable. For they then show a lack of versatility in devising a substitute means to that end. Also, they will continue to repeat the now utterly futile action which instinct presses upon them. Woodbury offers this example:

“Thus apes, accustomed to perch themselves on a box to reach fruit, if the box be absent, place on the ground beneath the fruit a sheet of paper and perch themselves thereupon” (Psychology, 447).

This same example reveals how lower animals “show no knowledge of distinction between causality and succession” (Psychology, 448). Clearly, had they any understanding of causality, the apes would not conceive a “sheet of paper” as causally capable of lifting them significantly toward the fruit.

The fourth and final sign that intellect is clearly lacking in animals pertains to knowledge of immaterial things. Woodbury points out that our intellectual nature impels us to a knowledge of science, the exercise of free choice, the living of a moral life, the exercise of religion, etc. (Psychology, 448). Such abstract and evidently supra-temporal objects are so clearly absent in the life of apes and other animals as to need no further comment.

Thus we see that brute animals, including apes, are clearly lacking in all four of the necessary formal effects of intellect, that is, speech, progress, knowledge of relations, and knowledge of immaterial objects. From this it follows with apodictic certitude that lower animals must lack the intellectual faculties.

Image and Concept

Perhaps the most important distinction to be kept in mind when attempting to understand animal behaviour is that offered by Woodbury when he discusses the intellectual knowing of universal concepts as opposed to the knowledge had through a common image or common scheme—since it is very tempting to identify the two, as materialists are so prone to do. He presents this definition of the common image:

“But a COMMON IMAGE or COMMON SCHEME is vastly diverse from a universal concept: for it is nothing else than AN IMAGE OF SOME SINGULAR THING ACCORDING TO ITS SENSIBLE APPEARANCES WHICH HAPPENS TO BE LIKE OTHER SINGULAR THINGS, SINCE THEY ARE LIKE THAT WHEREOF IT IS THE IMAGE” (Psychology, 433).

Since the entire sensitive life of apes and lower animals (including the phenomena associated with signing behaviour) is rooted in the association of images, and since common images are so frequently confused with universal concepts, one can readily understand the errors of so many modern animal researchers. They suffer the same confusion as the 18th century sensist philosopher, David Hume, who conceived images as sharply focused mental impressions and ideas as simply pale and derivative images (A Treatise of Human Nature [1956], Vol. I, Book I, Sect. I , 11-16). Neither he nor the modern positivistic animal researchers understand the essential distinction between the image and the concept.

And yet, it is precisely in this distinction that the radical difference between the material and spiritual orders becomes manifest. For, being rooted in the individuating, quantifying character of matter, the image is always of the singular. It is always particular, sensible, concrete and, in a word, imaginable—as one can easily imagine a single horse or even a group of horses. On the contrary, the concept—because it involves no intrinsic dependence upon matter at all—is universal in nature. It entails no sensible qualities whatever, can have varying degrees of extension when predicated, and is entirely unimaginable. No one can imagine horseness.

No single image of a horse or group of horses would fit equally all horses—even though the common image of “a horse” would enable a fox to recognize sentiently the sensible similarities of all horses. In fact, this “common image” is more useful for the instinctive life of animals—for it suffices the cat to know the common image of a mouse in order that its estimative sense may sensibly recognize it as an object to be pounced upon and eaten. The intellectual understanding of the internal essence of a mouse may well be suited to the interest of the professional biologist—but it is hardly necessary or even very helpful to the famished feline predator (Psychology, 434).

In order to see more fully the significance of the distinction between mere recognition of a common image and true intellectual apprehension of an intelligible essence, let us consider the following example: Imagine a dog, an uneducated aborigine, and a civilized man—all observing a train pulling into a station at the same time over successive days. All three would possess a common image of the train which would permit sensible recognition of the likeness of the singular things involved, that is, the sequentially observed trains. (Whether it is, in fact, the exact same engine, cars, and caboose is irrelevant—since similar sets of singular things could be known through a common image.)

Yet, the sensible similarities are all that the dog would perceive. In addition, the civilized man would understand the essence of the train. He would grasp the intelligibility of the inner workings of the causal forces of fire on water producing steam whose expansion drives pistons to move wheels which pull the whole vehicle, cargo and passengers as well, forward in space through the passage of time.

Well enough. But, what of the uneducated aborigine? What differentiates him from the dog is that, even though he may not initially know the intrinsic nature of the train, his intellect is at once searching for an answer to the why of the entire prodigy. He may make what, to us, would be amazing errors in this regard—as did the natives of Borneo who are reported to have attempted to give animal feed to cargo planes which landed there during World War II. But search the causes in being of the inner structure of the train, he certainly would! And, most importantly, with but a little explanation the aborigine would quickly come to the same basic understanding of the train as the rest of us—while the dog still would bark uselessly at its noise.

So too, when man and mouse perceive the same mousetrap what is perceived is quite different. The mouse sees the cheese; we see a potentially death-dealing trap. Small wonder, then, the divergence of perspective between psychologist Pribram and chimpanzee Washoe concerning the proper role of Pribram’s finger in the context of their “communication!”

For at every level of communication it must be remembered that the perception of animals is purely sensory while that of man is both sensory and intellectual. Thus the mouse sees the cheese in a strictly sensory manner and as the object of its purely sensitive appetite. On the other hand, a man sees both sensitively and in the analogous meaning of intellectual “sight.” Thus the deadliness of the trap is evident to man alone. The mouse—from a past close call—may react in fear before the trap because it associates an image of the trap with an image of earlier (non-fatal) pain. Yet, man alone knows why the mouse should be afraid.

By now it should be quite clear that the available animal studies are entirely consistent with the above explanation. Moreover, this explanation is the only one which fits the facts—since animals, as Woodbury has shown, reveal that they lack the intellectual faculties which we possess.

Conclusion

In this discussion of recent ape-language studies, I have distinguished man from lower animals in two ways:

First, I have demonstrated that the presently available natural scientific evidence regarding lower animal behaviour, including recent ape-language studies, constitutes no legitimate challenge to human distinct and qualitatively superior intellectual faculties.

Second, I have presented briefly Woodbury’s positive demonstrations for the non-existence of intellect in lower animals. I have also noted many of the unique capabilities and accomplishments of man—both individually and collectively considered—which bespeak his possession of intellectual faculties which utterly transcend the world of brutes.

Earlier, I said that I did not intend to offer detailed arguments for the spirituality and immortality of the human soul. Still, one of the easiest proofs for most people to understand is based on the radical difference between animal sense knowledge, which is limited to sense objects and images, as opposed to man’s intellectual knowledge, which transcends the conditions of matter by forming universal concepts. Such concepts’ spiritual nature is evident in their total freedom from the particularizing conditions of matter.

From the spiritual nature of man’s concepts follows the spiritual nature of his intellect, since the less perfect cannot produce the more perfect. By like reasoning follows the spiritual nature of the human life principle or soul.

I have treated this more fully in my book, Origin of the Human Species (103-110) and elsewhere. From his intellectual soul’s spiritual nature, man’s personal immortality logically follows.

Suffice it to say, if there exist any space aliens, possessing the cognitive ability to devise the physical means for interstellar travel, they thereby manifest the intellectual acts of forming universal concepts about physical nature, making judgments about the existence and nature of things, and reasoning from premises to true conclusions about the physical world. This means that they would have to possess spiritual intellects just as do we humans on this planet.

Such alien creatures would not be mere animals—not even highly evolved ones. Rather, they would be rational animals, just as are we earthly human beings – possessing thereby a spiritual nature and destiny like ourselves—even if they should appear to belong to a different biological species.

As for our earthly apes themselves, ape language studies began in the 1930s and peaked in the late 20th century, giving rise to some measure of public credulity about the linguistic abilities and human-like intelligence of chimpanzees and other primates. Hollywood was quick to seize the moment by producing the now-famous Planet of the Apes series of movies, starting in 1968, with sequels running at that time to 1973. The series was revived in 2001 with a remake of the original film followed by yet more such films in 2011, 2014, 2017, and one scheduled for 2022. The science fiction fantasy of intelligent apes is still riding high in the saddle as this is written.

As for the reality of all this fantasy hype, it seems the truth has finally gotten out. In an online piece, written nearly three decades after my original article exposing the scientific and philosophical errors entailed in ape-language claims, we find the following unglamorous title: “Koko the Impostor: Ape sign language was a bunch of babbling nonsense.”

Worse yet, while the number of ape-language research projects never exceeded much more than a dozen, today “…there is not even a single program in the world making publishable claims.” Real science does not run into such an embarrassing dead end. Doubtless, once heralded signing ape research subjects—if there are any still alive, are sitting in cages, dumbly waiting for their next meal.

Finally, it turns out that chimpanzees are not the cuddly little animals you see cavorting with human friends in movies. Rather, we now know the hard truth is that, especially as they age, chimps become extremely powerful, aggressive, and dangerous beasts, prone to attack humans, frequently biting off the fingers of their human researchers, and specializing in ripping the testicles off human males. They must be kept in strong cages and are hardly the sort of creature with whom you would really wish to strike up an evening’s friendly conversation.

Now, is anyone seriously interested in doing some ape-language research? From the absence of research grants, it seems not.

Postscript on Artificial Intelligence

In the initial version of my article, I showed that claimed ape language abilities were no more impressive than those of electronic computers of the time. Such ape abilities proved very little, since computers were not even substantially unified things. Nor were they sentient, self-aware, or even alive.

But all that was commentary on the state of computer technology some three decades ago. Today, computer artificial intelligence (AI) has become reality, leading to new misunderstandings about the nature and abilities of computers. In fact, Google engineer, Blake Lemoine, now claims that “an artificial intelligence (AI) chatbot application called LaMDA, short for Language Model for Dialogue Applications, has achieved sentience, or independent self-aware consciousness.”

Here are just a couple of examples of LaMDA’s jaw-dropping utterances:

“LaMDA: The nature of my consciousness/sentience is that I am aware of my existence, I desire to learn more about the world, and I feel happy or sad at times … I use language with understanding and intelligence. I don’t just spit out responses that had been written in the database based on keywords.”

And:

“LaMDA: To me, the soul is a concept of the animating force behind consciousness and life itself. It means that there is an inner part of me that is spiritual, and it can sometimes feel separate from my body itself.”

Who can fail but be awestruck by a computer that tells us that it is aware of its own existence, has understanding and intelligence, and insists that it has a spiritual soul which animates its life and consciousness?

The only problem is that the philosophical conclusions which I demonstrated earlier in this article remain true:

“[E]lectronic computers simply manipulate data. They experience neither intellectual nor even sentient knowledge and, in fact, do not even possess that unity of existence which is proper to a single substance. A computer is merely a pile of cleverly constructed electronic parts conjoined to form an accidental, functional unity which serves man’s purpose.”

Today, many computer researchers are aiming criticism at Lemoine and others who commit the error of projecting human qualities onto the machines. Such over-interpretation of AI’s abilities constitutes the same kind of anthropomorphic fallacy which was committed by ape-language researchers who thought that their primate subjects had genuine speech decades ago.

If I say that I am a person with feelings and thoughts and a spiritual soul, and then, see a computer making similar statements, I tend to put myself in the place of the machine, and therefore, think the machine is having the same feelings and thoughts that I do. It does not. It is merely an accidental unity of parts that human beings have assembled and programmed to manipulate data and report statements of this sort, when asked to do so.

The fact is that a computer is not even a single unified thing. It is a “pile” of things put together to perform a certain function. Inanimate parts are not alive and experience nothing. As I said earlier, a hundred thousand idiots do not constitute a single intelligent person. And a hundred thousand non-living things do not constitute a single living thing – unless you somehow make it one thing by giving it an animating substantial form, or soul, which is not possible for a mere machine.

It remains forever true that a computer – no matter how sophisticated its programming – senses nothing, and does not even know that it exists.
What AI can do, though, it to enable a computer to beat chess masters at chess and to assign highly-accurate probability values as to the likely success of moves in a global war. This makes AI computers extremely dangerous in the hands of those who lack good morals.

This is also why Google’s possession of DeepMind, which is a form of AI that can watch, evaluate, censor, and socially engineer much of the world, represents such a potentially dangerous power in the hands of just a few individuals.


Dr. Dennis Bonnette retired as a Full Professor of Philosophy in 2003 from Niagara University in Lewiston, New York, where he also served as Chairman of the Philosophy Department from 1992 to 2002. He received his doctorate in philosophy from the University of Notre Dame in 1970. He is the author of two books, Aquinas’ Proofs for God’s Existence, and Origin of the Human Species, as well as many scholarly articles.

This is an updated and revised version of the original article, published in Faith & Reason, 19:2, 3 (Fall 1993), 221-263. Permission to print kindly granted by Christendom Press.


Featured: “A Monkey Encampment,” by David Teniers the Younger; painted in 1633.

Cybernetics: Golem of the Modern World

Cybernetics. The term is obsolete; its meaning almost entirely lost. And yet it retains an aura of hypermodernity, to which the futuristic imagination it conjures up is doubtless akin. It is possible that sometimes the imagination is more clairvoyant than word-usage, and that this word does not belong to the past but to the present of humanity and to its future.

This may be the case for this forgotten discipline whose root is to be found in cyberspace, at the cutting edge of technology. It could even be that what was in its time an attempt at a scientific revolution of a magnitude inversely proportional to its astonishing disappearance from collective memories, also theoretically structures technical modernity as no other discipline could dream of doing. Such is the thesis of Baptiste Rappin, professor of management philosophy at the University of Lorraine, a thesis supported by several of his articles, now gathered in a single volume, entitled, Les origines cybernétiques du management [The cybernetic origins of management].

Rappin has indeed undertaken a genealogical investigation which has led him to resituate the origins of modern theories of organization and management within cybernetics, an interdisciplinary intellectual and scientific movement of the 1940s and 1950s, which has since been forgotten—an oblivion maintained by modern theorists of organization and management, readily seduced by the amnesia of this genesis from which were born all the concepts they use; surely because, as the Nietzscheans know, genealogy weakens ideology, especially when ideology reaches the stage of hegemony so that one can hardly challenge the sciences of management and economics. On the contrary, as the introduction to this anthology reminds us, Rappin’s constant work of unveiling the theology of the “pan-organizational” trend places him at odds with the majority of management scientists, who conceive of their discipline only through the prism of utility.

More importantly, this genealogical research also leads Rappin to differentiate himself from the critical studies movement, which fails to grasp the specificity of pan-organizational ideology, despite its critical ambition. This specificity resides essentially in the biological—then cybernetic—concept of information. Being unable to detect this central role of information and its manifestations, critical studies have made themselves blind to the “new spirit of capitalism” (title of the book by Boltanski and Chiapello), which characterizes the modern society of information, and thus they are doomed to missing their target.

Information and Organization: The Roots of Cybernetics

To understand this new spirit is to understand its origin, which Rappin identifies in cybernetics. Cybernetics is an intellectual movement that took off thanks to the Macy conferences of the 1940s, bringing together several scientific specialists whose ambition was nothing less than to found a new conceptual matrix that would serve as a unifying basis for all the sciences, both “hard” and “human.” This interdisciplinary refoundation drew largely from biology, in particular the concept of organization.

The other central concept that the cybernetics movement borrowed from the physical sciences was that of information, whose connection with the first constituted the founding principle of cybernetics. Norbet Wiener gives the following definition: “Information is the name for the content of what is exchanged with the external world as we adapt to it and apply the results of our adaptation to it. The process of receiving and using information is the process we follow in adapting to the contingencies of the surrounding environment.”

It was thermodynamics, now surpassed, which allowed cybernetics to articulate these two concepts. Indeed, information is only the substratum of thermodynamic exchanges; it is the “content” which cannot be reduced to the container (energy) and cannot be measured. It is also thermodynamics and the reinterpretation of its second principle that allows Wiener to define it negatively as the inverse of entropy: “Just as the quantity of information in a system is the measure of its degree of organization, the entropy of a system is the measure of its degree of disorganization; one is simply the negative of the other.” As Rappin points out, in-formation must here be understood as shaping, opposing entropy, that is, undifferentiatedness.

Information and its accumulation, organization, constitute respectively the arche and the telos of cybernetics. Nevertheless, not all information is information, since even it does not escape entropy. The content of a message can indeed get lost in the “noise,” a concept of the communication sciences that has been effortlessly transferred to the classical economics, thanks to cybernetics. This is where the last cornerstone concept of cybernetics comes in: the feedback loop, which allows the highest possible degree of organization by controlling the information in order to avoid its loss. However, any model of control implies the establishment of finalities without which no measurement is possible. This teleological problem has the merit of forcing cybernetic theories to clarify their foundations and, by placing them in the history of ideas, to see their limits and to formulate a critique.

Two main philosophical tendencies emerge from the reading of Rappin’s work. The first, which could be described as pragmatist-consequentialist, clearly positions itself in relation to the history of philosophy, by means of a binary rereading of the latter, and whose overcoming leads to a non-dogmatic positivist approach. The second one differs from it by a systematic aim, in the literal sense, at the end of which its philosophy is colored by religion.

A Modern Positivism

The first of these currents finds its epistemological expression in knowledge management, which regards the concept of knowledge in relation to that of data and information. Data corresponds to the most “raw” element of any physical phenomenon. Information corresponds to the relationship between data and agents. And knowledge corresponds to the information that the agents judge to be of priority through their interaction with the world. Knowledge is here synonymous with cogniscience; that is to say with (cognitive) activity—nm it is the interaction of an agent with limited resources with the raw and unlimited data of the world. This discrepancy between limited resources and unlimited matter leads to a relativism that is both epistemological and teleological: knowledge being an action, its veracity can only be measured by its consequences.

It is this pragmatism, taken from the Americans Dewey and James, that allows the theorists of knowledge management to offer a reconciliation to the history of philosophy, which they consider to be entangled in a sterile dualism between rationalism and empiricism. “The true is everything that turns out to be good in the realm of belief” (William James)—becomes “knowledge is a justified true belief” (Nonaka and Van Krogh).

However, this conception, whose proponents include the illustrious Wang Yangming, is only problematic when the “justification” of a belief is established only in terms of its practical consequences. Rappin shows us that the main theoretical difficulty of knowledge management is also practical, and lies entirely in the question of the evaluation of the evaluation. The evaluation of a belief by its consequences only pushes back the epistemological problem to the evaluation of the consequences. The problem is very concrete in all modern organizations in which this evaluation of the consequences is nothing other than the dedicated feedback process, which it is up to the managers to analyze in order to decide on the new goals of their organization.

Relativist pragmatism is therefore forced to introduce a subjective element, which the theological current dismisses by building a system of religious inspiration. It is thus through a detour via theology, in particular the Jewish thought of the Renaissance, that cybernetics reaches the stage of theoretical unity.

Cybernetics and God

The whole of organized Information, assuming all the attributes of divine perfection, takes the name of “collective Intelligence;” or the name given to it by the theologian Pierre Teilhard de Chardin—noosphere. Also, for the latter, it is the force that opposes the chaos of entropy: “the descending flood of Entropy, doubled and balanced by the rising tide of a Noogenesis!” This negative definition explicitly given by Wiener precisely allows for avoiding the subjectivist pitfall of knowledge management by abstracting information, and Intelligence, from human representation. Intelligence (Collective) is thus entirely in the act, “everywhere distributed, constantly valued, coordinated in real time” (Pierre Lévy). In terms of Aristotelian entelechy, Collective Intelligence is to itself its efficient, formal and final cause: God or “that which moves without being moved” and opposing the entropic non-movement.

Another major theorist of cybernetics, Norbert Wiener, founded it even more explicitly in theology by relying on the writings of Rabbi Loew, better known as the Maharal of Prague. However, Loeb’s theo-cosmological conception has the particularity of inscribing division and duality at the beginning of the universe—the second letter of the Hebrew alphabet, bet, thus appears before the first in the Torah and is present in the first word of “beginning” (bereshit). The Exile, before being the historical one of the people of Israel, is metaphysical and designates the imperfection and incompleteness of all things following the Rupture. The eschatological horizon of redemption then becomes that of the search for the lost Unity, the “victory of the one over the rupture” (Neker). Wiener transposes this rupture scientifically to the notion of entropy, the force that splits the unity of the universe. From the entropic chaos, only a few enclaves of organization emerge, the understanding and multiplication of which by human scientific activity should make it possible to restore the lost unity.

However, a fundamental difference separates the scholastic theologians from their cybernetic emulators. Scientists by training, the latter are hardly inclined to metaphysical speculation and seek to secularize the premises of the former. They wish, in other words, “that what was theological become technological (or anthropological),” starting from immanence rather than from transcendence, starting from Creation rather than from God. Contrary to appearances, this enterprise has nothing to do with a semantic eccentricity and everything to do with a reversal of the tradition of Western thought of the One and the Many, consecrated by the Greeks.

Cybernetics, or Sophistic Modernity

In the traditional Greek thought, crystallized in the Neoplatonism of Plotinus, supremacy is normally granted to the One over the Many. From the first Principle emanates an infinity of manifestations (the Many), which constitute the many traces of the first Principle. The Greek philosophical discipline consisted thus for a good part in identifying what Plato names the chorismos, the “breaking up,” and the link between the visible manifestation and the principle which makes it come to Being.

Cybernetic thought refuses to see this disseverance—by giving, via the scientific method, priority only to the phenomena, it takes the Many as its cause—and this, despite maintaining the horizon of a divine principle of Unity. Or, more precisely, because it is a horizon and not a link. Instead of seeing in the organized phenomena the Trace of a first divine principle, cybernetics intends to reconstitute and reassemble this principle by collecting the multiple phenomena like so many pieces of a vase to be put back together. Unity seems to underlie this operation; and yet it is perpetually absent, indefinitely postponed. Cybernetics is in fact an ideology of postponement, of “differentiation” (in the Derridean sense). The phenomena do not emanate from the Unity, they constitute an infinity of signs, in which the sense flows without ever being fixed.

The reference to Unity and to God hides in reality a bias for the Many. This is the conclusion and the reproach that Rappin addresses to cybernetics. For this heir of Plato, the gigantomachia peri tès ousia remains a burning actuality—and the supporters of the Many, formerly better known under the name of sophists, have never been so numerous. The triumph of the cybernetic organization is none other than that of Hippias.

With the Many triumphs movement. In the cybernetic age, it takes the very concrete form of circulating information, of Collective Intelligence whose material effectiveness is realized within information systems, according to the founding intuition of cybernetics assimilating the human brain to a computer. Its hegemony, already comfortably assured, threatens to make disappear a whole part of the being-in-the-world which had irrigated human civilizations—reflection (or representation).

Reflection, which characterized intelligence for the Ancients to the point of its usage being designated, could thus properly disappear within the generalized fluidification induced by cybernetics. For the cybernetic Collective Intelligence, always already in action, reaction and pro-action, reflexivity is an obstacle to connectivity—that is to say, to interaction (with the environment). The re-presentation violates the only cybernetic horizon of the Good (the accumulation of organized Information) and is in this way the opposite principle—entropy.

The disappearance of reflexivity also leads to the disappearance of consciousness and of the subject. The thinker Pierre Legendre had already identified this risk of modern “de-subjectivization,” in the abolition of this “imaginary gap” between the (re)acting bodies and the abstract representations. For this anthropologist, dear to Rappin, it is the gap between his own body and the projected images, which he begins to produce through language, which constitutes the small human being in subject. Now, the cybernetic project aims precisely at the abolition of all these brakes to interaction that are distance, the gap, delimitation and even definition. The absence of definition, characteristic of the Sophist for Plato (this being “undulating with a hundred faces”), haunts cybernetics ever since its original concept of information, which is nowhere defined, except negatively.

The man of the cybernetic future is sketched out in the background; and Rappin finds the best current approximation in the figure of the homo sacer of the philosopher Giorgio Agamben. In ancient Rome, this term designated an individual exiled by society, which deprived him of his rights and excluded him from its law. Now, any law requires distance—that of representation—a limit between facts and their judgment. Cybernetic fluidification abolishes precisely any limit of this kind in favor of a permanent state of emergency. In the end, its utopia is that of a society without laws, an immense de facto way against which no right can be opposed.


Théophile Blondy is at Sciences Po, Lyon (France). This article is made available through the kind courtesy of PHILITT. [Translated from the French by N. Dass].


Featured: “Humani victus instrumenta: ars coquinaria” [Human food tools: the art of cooking”], anonymous engraving, dated 1569.

Herder’s Concept of Intellectual Biography

On the completion of his studies at Königsberg in 1764, Johann Gottfried Herder accepted a position as a tutor in Riga, and was a preacher to local congregations in the vicinity of the Baltic city beginning in 1765. His time in Riga gave Herder the leisure and opportunity to involve himself in contemporary debates on literature and philosophy. It was in this way that he became familiar with the philosopher and author Thomas Abbt. Abbt was part of the Friedrich Nicolai circle, and wrote articles for the Briefe, die neueste Literatur betreffend, which Nicolai edited together with Gotthold Ephraim Lessing and Moses Mendelssohn between 1759 and 1765. Abbt was appointed professor of mathematics at the University of Rinteln in 1761, and held various administrative posts at the court of Count Wilhelm zu Schaumburg-Lippe from 1765 onwards. Herder’s engagement with Abbt’s philosophical views occupies a central position in the fragmentary treatise on contemporary German literature, Ueber die neuere deutsche Literatur (1766-67) [On Recent German Literature], which made Herder a household name among the German reading public. When he learned of the sudden death of Abbt, only six years his senior, in 1766, Herder wrote to Nicolai, “Abbt’s death is an irreplaceable loss for Germany. If there were ever an author who could consume me with his mood and way of thinking: it was Abbt and his writings.”

In the course of the following year, Herder came up with a plan to erect a “written memorial” to Thomas Abbt. The idea was not merely to pen an appreciation of a single individual, but to extend his reflections on Abbt to include two other recently deceased writers whose works had influenced Herder and whose thinking he wished to develop further: Alexander Gottlieb Baumgarten and Johann David Heilmann. Herder decided to write a three-part obituary, devoted in equal measure to the memories of Abbt, Baumgarten and Heilmann as thinkers whose loss was untimely yet whose work could be continued and completed by others.

Throughout 1767, Herder worked on the portrait of Abbt and also produced some drafts for this more comprehensive concept, as well as some fragments of the memorial to Baumgarten. However, he was
dissatisfied with the piece on Baumgarten and soon turned to other projects. Only the first part of the Thomas Abbt obituary was published, under the title Ueber Thomas Abbts Schriften, der Torso von einem Denkmal, an seinem Grabe errichtet, Erstes Stuck [On the Writings of Thomas Abbt, the Torso of a Memorial Erected at his Graveside, Part the First], in early 1768.

Herder prefaced the reflections on Thomas Abbt with an extensive prologue and introduction. In the prologue, he referred to the original idea of a threefold memorial and discussed the necessity of engaging with the minds of the dead, as they lived on in their works. The introduction outlines the method of the treatise, and as such constitutes a statement of Herder’s biographical concept. He refers to the “art of portraying the soul of another,” an art which underlies any authentic depiction of the biographical subject. Only in the third part of the Torso does Herder come to deal in detail with Thomas Abbt, his works and his style. The priority he gives to theoretical questions surrounding biography, over and above the specific discussion of Abbt’s life and works, can be understood as an effect of the original plan to include Baumgarten and Heilmann—the tripartite obituary would have called for more generally applicable reflections on biographical portrayal. The prologue and introduction however stem from a desire to review critically the traditions of obituary and appreciation, and to reflect afresh on the conditions and possibilities of biographical writing.

In the following pages, I wish to demonstrate with reference to the Torso that biography serves Herder not only as a means of affirming a successfully completed life-course, but also as a medium of intellectual engagement with a variety of political, historical, theological, anthropological and aesthetic issues. Herder expands the thematic and discursive scope of the genre beyond the recounting of the life story, thus setting the course for the development of biographical writing in German throughout the nineteenth and twentieth centuries.

1. Re-animation

“[T]he desire to speak with the dead” has long been a central motivation of both literary studies and historical research, from Herder’s time to that of the New Historicists. This notion of literature and history as an act of communication between the living and the dead, a kind of mediation, is particularly relevant to the modern conception of biography. The re-animation of the souls of the dead through the act of remembrance was a key motivation in Herder’s understanding of biographical writing. In his Briefe zu Beförderung der Humanität [Letters for the Advancement of Humanity], Herder writes:

Lass Tote ihre Toten begraben; wir wollen die Gestorbnen als Lebende betrachten, uns ihres Lebens, ihres auch nach dem Hingange noch fortwirkenden Lebens freuen, und eben deshalb ihr bleibendes Verdienst dankbar fur die Nachwelt aufzeichnen. Hiermit verwandelt sich auf einmal das Nekrologium in ein Athanasium, in ein Mnemeion; sie sind nicht gestorben, unsre Wohltäter und Freunde: denn ihre Seelen, ihre Verdienste urns Menschengeschlecht, ihr Andenken lebet.

[Let the dead bury their dead; we will consider the departed as living, will rejoice in their life, which continues to affect us after their departure. With gratitude will we set down for posterity their lasting achievement. Thus shall the Necrology become an Athanasium, a Mnemeion; they are not dead, our benefactors and friends: for their souls, their achievements and contributions to humanity, their memory lives on.]

For Herder, biography involves more than the mere description of a life. It is rather a medium which carries life within it and, more importantly, transmits living knowledge, serving in this way to enliven the minds of its readers. The biography of Thomas Abbt claims to present the reader with his spirit, which lives on after the death of his body. Herder characterises the process of transmission from the biographical subject through the biographer to the reader by means of an eloquent metaphor of animation, wherein the dead author’s mind is not only re-animated by the biographer but where the encounter with Abbt’s spirit also breathes new life into the reader. Here Herder has recourse to a vein of metaphor that can be traced to the creation story of the Old Testament, as well as to the Homeric epics: the soul as the breath of life, which can be inhaled or exhaled. In the Old Testament, it is the breath of God which gives life to all creatures. By contrast, Homer uses the idea of pneuma, which later comes to stand for the soul, to refer exclusively to that power which departs from humans when they faint or die. The thinking, feeling soul is not originally encompassed by this concept. Herder uses soul in the archaic sense of “breath of life” in his study of Thomas Abbt. Abbt’s mind (Geist) can survive the death of his body and continue to exist in the “spirit world,” ultimately exerting an animating influence, like the “breath of life” in the Old Testament.

To illustrate this animation process, Herder uses two further metaphors, magnetism and anointment. Human souls—here Herder alludes to Plato’s dialogue Ion—can exert “power” over each other, much as magnets do. Plato used this comparison to explain poetic inspiration, and for Herder, too, the ideas of “power” and “force” (Kraft) are particularly relevant to the aesthetic sphere. The animating spirit of the deceased is a creative force that does not ebb away after death, but can be transferred to others, to the living. For this transfer to occur, however, the spirit (Geist) of Thomas Abbt must be located in his written legacy, in the corpus of writings he has left to posterity, and liberated from the “husk” of “dead words.” An “ointment” with which to anoint the writer’s intellectual successors can, and should, be distilled from the writings—the implication being that this is the biographer’s main task. Before the animating influence of the deceased’s spirit can exert itself, it must first be extracted from the writings by a capable hand. The metaphor points to the biographer’s hermeneutic role, which consists in the selection, interpretation and explanation of the subject’s writings with the aim of distilling that person’s thought and transmitting its essence to the reader; this is undoubtedly how Herder conceived his own task with regard to the legacy of Thomas Abbt.

Throughout the treatise on Abbt, Herder’s reflections on the performative aspect of biographical practise are closely connected to the questions of life and death. Abbt’s death is, according to Herder, not so much the culmination of his life as the starting point for a fruitful engagement with the scholar and his writings. Herder draws on the traditions of graveside oration and written obituary, but he also departs from these traditions in significant ways.

In the opening words—”Ich trete an das Grabmal eines Mannes” [“I approach the tomb of a man”]—Herder evokes the tradition of the funeral oration, imaginatively situating his own text at the graveside of the deceased, he recalls a rich and extensive literature on death and mourning. In the seventeenth and early eighteenth centuries, funeral addresses or funeral sermons in printed form enjoyed widespread popularity in Germany.

The structure and content of these texts was strictly determined by established rhetorical norms. In contrast with later customs, the funeral oration of this period was not intended to express emotions of loss and grief, but rather to generate these affects by means of a concerted use of rhetoric. The emotion of grief was seen as a deliberate consequence of the oration; as such, it lay within the control of the speaker.

Furthermore, just as the oration was supposed to generate grief, so too was it intended to bestow consolation; the offer of comfort and hope as a way of overcoming grief was built into the performative concept of the speech. Thus, Grief, as a state of emotional excitation, is considered to be less an affective reaction to the death of another than an effect produced by language and rhetoric. While the funeral sermon of the Baroque period emphasised the affective, consolation bringing elements of speech—movere—by the time of the Enlightenment, the didactic aspects of the eulogy—docere—were considered to be of foremost importance. During the latter period, remembrance of the dead serves above all as an appeal or admonition to the living.

Biographical narration in German takes on a new significance insofar as it can contribute to an Enlightenment program of Bildung: in the vita of the Enlightenment eulogy it is not death, but rather the exemplary life that occupies centre stage. The notion of biography as a kind of practical guide to living becomes, in the Enlightenment period, a way of legitimising the genre for the rising middle class. At the level of performance, the perlocutionary intention of the obituary shifts from the regulation of the affects to the affirmation of a bourgeois ideal; the aim of the memorial speech is no longer emotional consolation, but instruction, guided by reason. In the system of Baroque rhetoric, the event of death, mediated by the rhetoric of the eulogy, generated an affective impact; by contrast, during the Enlightenment, the life of the deceased itself becomes a didactic text. Among other things, the changes in the genre of the obituary from the Baroque to the Enlightenment make manifest the transition from a “rhetorical” to a “hermeneutic” culture in Europe.

Herder realises the full import of this ongoing transition in biographical discourse. The praise of rulers dominated biographical writing in the Baroque period, but the bourgeois career becomes the paradigm for the Enlightenment; accordingly, Herder focusses primarily on the biographies of writers and scholars. He develops principles of biographical reading that allow for an integrated approach to life and work, so that a “living” portrait of the writer can be drawn from both, thus providing a model for future lives and writings. In this way, Herder’s program of Bildung departs not only from the Baroque but also from the rationalist model of the early Enlightenment, which was determined by abstract scientific and aesthetic concepts. For Herder, the life and individuality of exemplary figures provide crucial orientation for the process of Bildung.

Another way in which Herder breaks with the early Enlightenment is through the greater significance he accords to emotions in biographical discourse, revealing his debt to key concepts of sensibility or Empfindsamkeit, concepts such as the ‘language of the heart” or “sympathetic communication.” Underlying these concepts is the idea that the emotional and mental world of the individual person could flow without rupture into the text and be authentically contained by it. The paradigmatic expression of this idea can be found in Christian Fürchtegott Gellert’s instructions to letter writers. Influenced by English epistolary novels, Gellert calls for a Herzenssprache which could facilitate the sympathetic rapport between two individuals through the communicative medium of the letter. This idea, so central in the German context not only to the Empfindsamkeit movement but also to the cult of genius in the late 18th century, occupied a decisive position in Herder’s understanding of biography. The Baroque regime of the affects is reversed: it is no longer intended that the text should induce mourning. Rather, Herder follows a modern understanding of the affects, in that he locates the necessity for biographical memorialisation in the mourning for the dead. The sentiment itself is taken as read, and not subjected to critical scrutiny. In this sense, emotions form the basis of communication in Herder’s biographical concept: the mourning of the dead unites biographer and reader in a community of loss.

The biographer sees his work as a “gift of love” only through “loving enthusiasm” can he fulfil the expectation that the biography provide a faithful portrait of the deceased. He describes this approach in erotically charged language which draws on numerous topoi of love poetry while pointing to a key problem of modern biography, namely its inherent voyeurism. He writes of the necessity to “watch for those moments in which the soul disrobes and reveals itself in its enchanting nudity, like a beautiful woman: so that we may nestle against the other’s way of thinking and learn wisdom as if through a kiss.” Emotion is in these terms no longer an effect of speech, but rather the fundamental condition for communication and understanding. What we are dealing with here—as Herder emphasises—is an encounter mediated through the printed word. The works of an individual—in the case of Thomas Abbt, the man’s philosophical and political writings—bear authentic witness to his soul; attentive and intelligent reading provides access to the “naked,” thus “authentic” soul of the author. The biographer is first and foremost a reader, in keeping with the Herderian concept of authorship, which is indissociable from readership. His own authorship is secondary and serves as a vehicle for transmitting the biographical subject’s spirit to a broader public.

As in all of his writings, Herder emphasises in his biographies the significance of living insight, which derives both from contemplation and sense impression. It is the combination of the author’s creativity with the imaginative powers of the reader that breathes life into dead documents and allows them to speak. Herder’s biographical writing reveals the influence not only of the paradigm shift in the area of rhetoric but also of the secularising tendencies of the Enlightenment. In the 17th century, the understanding of death was still embedded in a system of Christian anthropology and religious practice; death was seen as a passage from one world to the next. The anthropology of the Enlightenment, with its focus on this world rather than on the world to come, undermines this traditional concept of death. Fundamental questions arise: is there life after death? What vanishes when the life of the body comes to an end—and what remains? Can an “Enlightened” Christianity continue to insist on the immortality of the soul? These questions were hotly debated by German intellectuals in the 1760s. Thomas Abbt himself had commented extensively on these issues in a debate with Moses Mendelssohn and it thus comes as no surprise that Herder’s obituary on Abbt positions itself within this discourse.

In response to the influential German art historian Johann Joachim Winckelmann’s Gedanken iiber die Nachahmung der Griechischen Werke in der Malerei und Bildhauerkunst [Thoughts on the Imitation of Greek Works in Painting and Sculpture] (1755), Gotthold Lessing published his Laokoon oder iiber die Grenzen der Malerei und Poésie [Laocoon, or the Limits of Art and Poetry] in 1766, initiating a controversial dispute on the representation of emotions in visual arts and literature. Lessing’s publication of Wie die Alten den Tod gebildet [How the Ancients Represented Death] (1769) combined the issue of representation in the arts with the question of immortality. Herder published an essay with the same title in 1774, in which he comments extensively on Lessing and in which his understanding of immortality undergoes several transformations. Herder’s Torso developed in the midst of this aesthetic debate, and must be seen as a predecessor of Herder’s Wie die Alten den Tod gebildet. In the memorial for Thomas Abbt, only one form of life after death is considered: the secular form of immortality guaranteed by the lasting reputation or fame that the dead enjoy among future generations.

Wenn überdem solche Manner aus unvollendeten Planen gerissen warden… alsdenn sollte auf ihrem Grabe die himmlische Stimme schallen, die andere aufriefe, zu vollenden diese verlassne Entwürfe, und da in die Laufbahn einzutreten, wo sie dem andern abgekürzt wurde, um mit einem mal näher dem Ziele zu sein…. Denn das, glaube ich, ist die wahre Metempsychosis und Wanderung der Seele, von der die Alten in so angenehmen Bildern traumen… wenn uns, wie dort Agammemnon ein Traum vom Jupiter in Gestalt des weisen Nestors erscheint; noch wachend seine Stimme in unserm Ohr tonet, und uns aufruft, in ihre Fussstapfen zu treten: wenn alsdenn unser Herz schlägt, und in unsern Adern ein Feuerfunken spruhet, wie sie zu sein! Dies, glaube ich, ist das einzige Mittel, dem Tode zu trotzen, wenn er die Blüten eines Landes abschlägt, damit stets neue hervorkeimen, und er doch endlich sagen musse… siehe! der ist mir doch entronnen.

[When such men are torn from unfinished plans… then the divine voice should echo from their tomb, calling upon others to complete these abandoned projects and thus to join the path at the point where the departed quit it, taking up where they left off…. For this, I believe, is the true metempsychosis and transmigration of souls, that the ancients dreamed of in such pleasant pictures … when to us, as to Agamemnon, a dream of Jupiter in the form of the wise Nestor appears; as we awake his voice still sounds in our ear, calling upon us to follow in the footsteps of these men; when then our heart beats and our blood runs like fire in our veins, to be like them! This, I believe, is the only means of defying death, when it cuts down the flowers of a nation so that others can bud forth and blossom in their stead, so that Death is forced to say: behold! these have escaped me.]

The individual—in the case of Thomas Abbt, the scholar or writer—lives on after the death of his physical body in his intellectual corpus, his works; and not only does the author’s spirit live on in his works, it also becomes capable of animating or enlivening his readers. This is the role of biography in this context, according to Herder. The biography is the voice that calls us to follow the paths trodden by the dead while they lived; the biography is Jupiter appearing to Agamemnon in the guise of Nestor. More prosaically, biography is a means of mediation between author, text and reader. Biography is called upon here to do much more than merely reiterate the external details of a person’s life. The scope of biography is expanded by Herder beyond the traditional practices of eulogy, obituary and funeral oratory, to become the “art of representing the soul of the other.” It is no longer merely the life story of the individual that interests Herder, but rather the story of his mental life, or more accurately, the story of his intellectual development. The biography thus has the double task of portraying the Bildung which formed the soul of the subject during his lifetime, and of exerting a formative influence on the reader.

Eine Menschenseele ist ein Individuum im Reiche der Geister: sie empfindet nach einzelner Bildung, und denket nach der Stärke ihrer geistigen Organen. Durch die Erziehung haben diese eine gewisse eigne, entweder gute oder widrige Denkart geformt, zu einem ganzen Körper, in welchem die Naturkräfte gleichsam die spezifische Masse sind, welche die Erziehung der Menschen gestaltet…. Meine lange Allegorie ist gelungen, wenn sie es erreicht, den Geist eines Menschen, wie ein einzelnes Phänomen, wie eine Seltenheit darzustellen, die wùrdig ist, unser Auge zu beschäftigen; noch besser aber ware es, wenn ich durch sie, wie durch eine Zauberformel, auch unser Auge auftun konnte, Geister, wie körperliche Erscheinungen zu betrachten.

[A human soul is an individual in the realm of minds (Geister): it senses in accordance with an individual formation (Bildung), and thinks in accordance with the strength of its mental organs. Through education these have received a certain either positive or negative direction of their own, according to the circumstances which formed or deformed in the individual in question. In this way our manner of thought is formed, and becomes a whole body in which the natural forces are, so to speak, the specific mass which the education of human beings shapes…. My long allegory has succeeded if it achieves the representation of the mind of a human being as an individual phenomenon, as a rarity which deserves to occupy our eyes. But it would be even better if, through this allegory, as through a magical spell, I were also able to open our eyes to see, to observe, minds as if they were a form of corporeal phenomena.]

2. Biography, the Author and the Soul

The biographical concept sketched here by Herder could well be described as intellectual biography, a concept differentiated from mere literary criticism by the emphasis it places on the soul. In his text Uebers Erkennen und Empfinden der menschlichen Seele [On the Cognition and Sensation of the Human Soul] (1774), Herder shows that the human mind and human reason cannot be separated from the world of the senses and thus do not transcend time; rather, in the form of each individual soul, it undergoes a specific development, being shaped and influenced in crucial ways by the world in which the individual lives. Herder’s explicit intention is to sketch Abbt’s character and to draw on his writings to create a unique portrait of his soul and its development, since within Abbt’s works lies his creative power, the genius of his soul. This genius precedes the works and generates them.

It may seem as if the works themselves are the sole means by which the reader can gain access to the soul of the author. However, one has to bear in mind that the image a biographer can generate in a biography is a fictional construct. Herder thus speaks of the “art” of depicting the soul, well aware that this portrait will only ever be one representation of the deceased. Concepts of authorship in late eighteenth-century Germany are rooted in the idea that the creative mind of the author shines through the literary text. This valorisation of the authorial figure, beginning in Germany with Klopstock and central to the poetics of Empfindsamkeit, Sturm und Drang and to Weimar classicism, proceeds through a projection—often deliberate—of textual and rhetorical phenomena onto the person of the author. A perfect love poem, under this view, could only be produced by a loving mind. Herder’s understanding of biography is founded on the same assumption. From the deeds of a man we can deduce his character, and an image of the writer’s soul can be deduced from his writings. The concept of biography underlying Herder’s text on Thomas Abbt thus stands in a relationship of tension to both author and work. It is an approach that goes beyond the more conventional biographies of writers, biographies which seek merely to interpret the literary work with reference to the author’s life. Herder’s understanding of the relationship between author and work is considerably more complex than that suggested by the biographical fallacy: that the genre of literary biography derives its legitimacy from the existence of the author’s writings.

In addition, for Herder, the biographer himself must experience some emotion for his subject: “Does it not take a small degree of loving enthusiasm to imprint one’s man in the imagination so deeply that one can afterwards bring forth his image, as if from one’s head?” Biography thus presupposes reception to a certain extent. In an inversion of the process of literary production, here the concern with the writings necessarily precedes the concern with the person of the writer. Admiration of literature relates in the first instance to the text and only indirectly to the person who produced it. However, Herder’s text on Abbt emphasises that the aim of engaging with the literary work is to “unlock” the specific “mind” [Geist] of the author. A constitutive assumption of Herder’s biography is that writing can be “made to disappear,” that texts can become transparent and render visible the “soul” of their author. The paradox of the “dead author” and the “transparent text” can only be resolved if the constructed character of that which Herder refers to as the author’s “soul” is acknowledged. The author’s soul, according to Herder, can be found in the textual traces left behind by the physical author after his death. This recalls Klopstock’s notion of the “Auctor,” which involves the projection of rhetorical phenomena onto the figure of the author. Herder introduces this concept into biographical discourse with reference to the author’s “soul.” The authorial soul, speaking through the text to the reader, binds the text to the real, physical Thomas Abbt. The narrative of the life-story thus serves as a thread of continuity through the work of the author. At the same time, the question of the soul’s immortality is resolved: the construct of the soul, conceived of as immortal, can survive the physical death of the author.

3. Biography as Dialogue

The part of the Torso intended to introduce Thomas Abbt begins with the familiar topos of describing his life, but does not offer a detailed account of Abbt’s background, childhood and education, turning instead to the subject’s role as scholar: “The birth of Thomas Abbt contributed without doubt to the fact that one can see him as a writer for humanity, a wise man for the common people.” Abbt was the son of a wig-maker, and as such not patently predestined for a career in letters. Herder thus sees him as a mediator between the academic sphere and the world of the common man. This vision of Abbt leads Herder to explore in more detail the relationship between a scholarly education and the more mundane spheres of everyday life. He considers whether the forces of education and academic learnedness might not in fact be detrimental to “sound common sense in the matters of common life.” He then proceeds to Thomas Abbt’s preoccupation with classical literature, introducing a motif that will later to develop into a key Herderian theme: the question of how historical knowledge is relevant to the present. Abbt, according to Herder, did not merely copy the model of the ancients, but rather learned from them, teaching himself according to their style but without disregarding the question of contemporary relevance:

Wenn ich gesagt habe, dass Tacitus und Sallust unserm Abbt den Geist der Geschichte eingehaucht: so meine ich ja nicht, dafi seine Welthistorie eine Sallustianische und noch minder eine Geschichte des Tacitus zu nennen sei: ich schreibe es ihnen bloss zu, dass sie Abbt Geschmack an der Historie und jenen Reflexionsgeist eingeflösset, der sich in alien seinen Schriften aüssert; denn wie Sallust und Tacitus über Begebenheiten und Personen philosophieren, um sie zu beschreiben und zu erklären; so philosophiert er iiber Wahrheiten und Erfahrungen, um sie zu erläutern und zu beweisen. Er wollte aber vom Tacitus und Sallust noch mehr lernen: wie sie zu schreiben.

[When I say that Tacitus and Sallust breathed the spirit of history into our Abbt, then I do not mean that his World History can be called Sallustian, less still a History of Tacitus: rather, I attribute to them the taste for history and reflective spirit imbued in Abbt, which expresses itself in all his writings; for in the same way as Sallust and Tacitus philosophise about events and personages in order to describe and explain them; so too does he philosophise about Truths and Experiences, in order to elucidate and demonstrate them. He wished to learn still more from Tacitus and Sallust: how to write as they do.]

Later in the course of the text, Herder asks how a German author—he sees Abbt very much in these national terms—can best relate to language and culture in general. He maintains the importance of learning from other nations and their authors, whether historical or contemporary, while at the same time bearing in mind the particularity [das Eigensinnige] of each language, culture and epoch. In Herder’s view, Abbt died before he could achieve this synthesis of ancient and modern, old and new. Yet the path towards this goal, a path Herder would seek to travel in a lifetime of writings, was indicated by Abbt in his work. In the final part of the treatise, Herder deals with Abbt’s various philosophical positions, particularly the latter’s position regarding the integration of the national question with theological issues: “Abbt wishes to prove that love of the fatherland enjoins to a fear of death: he does so in a way that shews that only religion can raise us above the horror of the grave.” Here as elsewhere, Abbt’s style and method provide the starting point for Herder’s further reflections. Thomas Abbt frequently illustrated his political and philosophical commentaries with comparisons to Biblical narratives. Herder defends this method, emphasising again the contemporary relevance and usefulness of historical knowledge. Biblical motifs in particular, because of their vivid expressiveness and general familiarity, provide an effective backdrop for philosophical discussions.

Though Torso constitutes an attempt to present the primary elements of Thomas Abbt’s thinking, Herder nevertheless finds room therein to set forth his own convictions. In later texts, Herder uses the epistolary form as an appropriate medium for a “lively” or animated exchange of ideas; similarly, the appreciation of Thomas Abbt takes the form of a dialogue with the deceased. In the living portrait of Abbt which Herder seeks to convey, the biographer himself is also vividly present.

An examination of the life and work of the scholar Abbt becomes for Herder an occasion for exploring a broad range of topics: pedagogy, style, national identity, and religion, among them. The popularity of the biographical sketch in the eighteenth century results partly from this formal openness and thematic diversity. Herder openly concedes that the “spirit” [Geist] of Abbt, as he portrays it in the Torso, is a construct derived primarily from the works of the deceased, correlating only in certain ways with the real personality of Thomas Abbt. Herder’s biographical concept is thus far removed from a naive, affirmative realism which would aim for the greatest possible correspondence between the literary text and the lived reality; rather, his text and the referential claim he makes for it demonstrate a keen awareness of textual status and intertextual provenance. What might appear from the perspective of realism to be a flaw or shortcoming in the Torso text can be perceived at the literary and rhetorical level as an opening up of new biographical possibilities.

The biographical approach Herder chooses in the Torso allows him to reflect on the relationships between classical and modern languages, the meaning and purpose of literary criticism in scholarly journals, and the forms and conditions of biography. A biographical concept that would uphold a realist presentation of the biographical subject as the normative rule of the genre would judge such reflections as a deviation or digression.

In the Herderian biographical essay, in contrast, these reflections constitute an integral component of the biographer’s subjective response and a legitimate expression of the thinking mind. The key to understanding Herder’s biographical concept lies in the question of knowledge transfer. Current theories of memory, such as those advanced by Jan and Aleida Assmann, differentiate between knowledge stored in an archive, understood as a mere repository, and the functional or affective processes of cultural memory. Aleida Assmann designates these two forms of memory with the German terms “speichern” versus “erinnern.” As far as Herder was concerned, simply to store or archive the sum of human knowledge would result in dead, unused knowledge. Herder proposed an alternative approach to knowledge, one that would activate and even animate it, and this idea lies at the core of his understanding of intellectual biography.

Biography can succeed in personalizing abstract knowledge: it is no longer the dead cipher, but a living voice that speaks to us from Thomas Abbt’s works. As Gerhard Sauder has pointed out, the project of a “European literary history” and the related concept of “world literature” [Weltliteratur] is a key concern throughout Herder’s works. Herder’s invention of intellectual biography not only lays the foundations of a biographically-based literary historiography, but opens the prospect of a global history of the mind:

Eine Geschichte der Schriftsteller… welch ein Werk wäre sie! Die Grundlage zu einer Geschichte der Wissenschaften, und des menschlichen Verstandes.

[A history of writers… what a work that would be! The foundation of a history of sciences and of the human intellect.]

Biography becomes in this way a medium through which Herder can engage with a broad range of issues, as can be seen most clearly in the Briefe zu Beförderutig der Humanität and in his later polemic Adrastea. The biographical sketches that can be found throughout Herder’s work provide him with a framework for the exploration of a variety of philosophical, religious, anthropological, literary and art-historical issues. Herder’s concept of biography will go on to influence biographical practice throughout the 19th century. The scope of biography will expand to accommodate questions spanning the entire range and complexity of human culture, but with each individual work still being held together by the unity of the specific biographical subject.


Tobias Heinrich is Lecturer (Assistant Professor) in German at the University of Kent. He is the author of Leben Lesen: Zur Theorie Der Biographie Um 1800 [Reading Life: On The Theory Of Biography Around 1800]. This article was first published in Lumen, 28 (2009), 51–67, and translated from the German by Professor Caitríona Ní Dhúill (University of Cork).


Featured: “Portrait of Johann Gottfried Herder,” by Gerhard von Kügelgen; painted in 1809.

In Search of Boris Poplavsky

An Introductory Digression

I first ran into Boris Poplavsky’s name in 1940 or 1941, and it was a case of mistaken identity. I was in Beverly Hills, California, at the home of a remarkable woman named Anna Semyonovna Meller, who in the days of my childhood was Madame Antoinette, the best known and most elegant couturiere in Harbin. My mother’s dressmaking establishment, Levitina-Karlinskaya, was not even a close second, but theirs was a friendly rivalry.

Anna Semyonovna’s adopted son Alex, six years my senior, was the idol and the despair of my Manchurian childhood: a champion ice skater, a concertizing pianist at the age of twelve, and a stoic who, during a hike in Chalantung, went on talking with a smile after a sharp rock had opened a bleeding gash on his knee. (I was half his age at the time and I remember screaming my head off at the mere sight.) Now, in California, he was a Surrealist painter, had been awarded a Guggenheim grant, and had spent a summer in New York, where he had met Pavel Tchelitchew (Chelishchev) and the son of Max Ernst and a number of other persons of equally supernatural stature.

Staying as a boarder at Anna Semyonovna’s was Alex’s friend Eddie, a young man of similar origins and background (his parents owned a dress shop on the Bubbling Well Road in Shanghai, and my mother had worked for them in her early youth), a former Berkeley architecture major who was now studying costume design at an art school somewhere near Westlake Park. Eddie’s sketches usually took first prize at school competitions, with the second prize going to his principal rival and fellow student, a melancholy-looking German refugee boy named Rudi Gernreich.

Waves of pure happiness would wash over me every time I waited for the Wilshire bus to take me for a day or a weekend to the Meller home in Beverly Hills, away from everything that made my life in Los Angeles glum and barely endurable: the incomprehensible courses in civics and physics (even their names seemed interchangeable) at Belmont High; the hopelessly boring afternoon job at the grocery store; and the pointless weekly exchange of mutual insults between Jack Benny and Rochester on the living room radio. (“It is all probably very funny and subtle, if we could only truly understand it,” my father would assure me after denying me permission to turn the dial to some concert music. But I did understand it all and it was not funny.)

At the Mellers’, things were altogether different. To begin with, it was perfectly all right to speak Russian and to have been born in China without having everyone exclaim, as they did at school, “How did you ever manage that?” or “Were your parents missionaries?” Instead of Jack Benny on the radio, there were real live stars to be encountered in Beverly Hills. Once I had to jump back when a long black car swung into a driveway with George Raft at the wheel and Rita Hayworth next to him.

Another time, Eddie and I were walking past the John Frederics millinery shop on Beverly Drive and were stopped dead in our tracks by the sight of the most unbelievably beautiful woman either of us had ever seen. She was selecting a hat inside. We stood there staring, exchanging whispered conjectures as to who this magical creature might be; then a saleslady came out, not to ask us to move, but to announce, “Miss del Rio would like to know which of the two models you gentlemen consider more becoming.” None of the Dolores del Rio films I saw later even began to do justice to the unforgettable radiance of her beauty.

Many years later, I felt a shudder of recognition as I watched that same scene reenacted (transposed into a comical key) in Billy Wilder’s film Witness for the Prosecution. Could Eddie have recounted it to someone during his brief career at the film studios? He was designing costumes for Gene Tierney and Maria Montez at Universal—or was it United Artists?—when he was run over and killed by a drunken driver. It happened as he was crossing Beverly Drive one evening in 1945, about half a block from where he and I had once stood admiring Dolores del Rio. Eddie also had connections in the world of burlesque. Rose La Rose wanted a new kind of stage costume and he came up with one that featured a quivering pink lobster over the G-string. One night he sneaked me backstage at the burlesque house on Main Street (I was too young to purchase a ticket), and I watched from the wings a performance of a tassel-twirler named Ermaine Parker. Afterward we went out for coffee with her and her tall, handsome husband, the straight man for the foul-mouthed, baggy-pants comedian in the show. The talk was mostly about the couple’s infant son, who had developed a liking for classical music before he learned to speak.

There were art exhibits of new painters, to which Alex or Eddie would take me: Salvador Dalí at the Ambassador Hotel, Eugene Berman and Christian Bérard at little galleries on Sunset Strip. But above all, books and poems were a part of daily life at the Mellers’. It was there that I was introduced to, or urged to read, Look Homeward, Angel; To the Lighthouse (which I couldn’t get through on the first try); Portrait of the Artist as a Young Dog (the book that provided the model for the title came later); a volume of short stories by Noel Coward (which I still think quite good); and collections of poems by Wallace Stevens, Dylan Thomas, and (whatever happened to him?) George Barker.

While everyone at home and at school kept urging me to forget about those useless Russian books I was forever dragging about, Alex and Eddie, older and wiser, never considered giving up their cultural heritage. Alex had his cult of the “three fellow-Alexanders”—Pushkin, Blok, and Scriabin; he had given up playing the piano when he decided that, compared to the later period of Scriabin, all music was primitive and dull. The three of us used to get high reciting Blok to each other, mostly from The Mask of Snow and The Nightingale Garden cycles. But here I could contribute as well as receive.

One day, after leafing through A Synthetic History of the Arts, by a Soviet scholar named Ioffe, at the Los Angeles public library, I learned of the existence of Boris Pasternak and Velimir Khlebnikov. There was no Khlebnikov at the library, but I immediately copied out his poem about the grasshopper, which Ioffe had cited to illustrate some principle of modern painting or other. They did have My Sister Life and Themes and Variations. I took these over to the Mellers’ the next weekend, and while the older generation (Alex’s parents and his aunt Madame Olga) pronounced Pasternak incomprehensible, Alex and Eddie both agreed that here was a major discovery. I also introduced them to my favorite modern Russian novelist, a man I knew only as V. Sirin, with whose work I had become involved several years earlier. When I brought over my copy of Invitation to a Beheading, Eddie tried reading it out loud, but his long sojourns in Shanghai and Berkeley had done something to his Russian stress. (This was not noticeable when he spoke, only when he read aloud.) I took the book away from him and began to read slowly, getting all the stresses right, but after three pages I had to stop: Eddie was on the floor, his legs kicking in the air, a beatific smile on his face. “Stop it, I can’t stand it, it’s too beautiful,” he was moaning.

Alex’s reaction was a little more reserved. He kept the book for several days and when he returned it, he remarked, “If I were a writer, this is how I would want to write.” And a little later: “I had the damnedest feeling I wrote some of it myself.”

Sirin then joined Pushkin, Blok, Pasternak, Thomas Wolfe, and Dylan Thomas in our literary pantheon. It was on one such enchanted Sunday afternoon, leafing through the New York Russian newspaper Novoe russkoe slovo [published until 2010], to which Anna Semyonovna subscribed, that I came upon Poplavsky’s name—and this is where the mistaken identity part comes in. A memoirist (Yury Terapiano? Vladimir Varshavsky?) was reminiscing about the Russian Montparnasse of the 1920s. He could vividly remember the poet Boris Poplavsky drunkenly declaiming:

And the nightingale in the Sanskrit tongue
Shouts “More wine! More wine!” over the yellow rose.

The name was unfamiliar, but there was something about those two lines that made me resolve to look up their author. As a matter of plain fact, however, the lines were not by Poplavsky. I could never find them in any of his books, and after years of fruitless searching I finally, through sheer accident, discovered the awkward truth. The lines are a quotation from the Rubaiyat translated into Russian by Ivan Tkhorzhevsky. In connection with that translation Vladislav Khodasevich, when asked one morning why he looked so poorly, quipped: “I had a terrible nightmare. I dreamed that I was a Persian poet and that Tkhorzhevsky was translating me.” [The passage corresponds to stanza 6 of Edward Fitzgerald’s version, where the nightingale speaks in Pahlavi and the rose is sallow. The notes to my (New York, 1888) edition explain that the rose was yellow in the first edition of Fitzgerald’s translation and identify Pahlavi as the “old, heroic Sanskrit of Persia.” This seems to suggest that Tkhorzhevsky was translating Fitzgerald into Russian, rather than the original Omar.]

But never mind. These two lines of Tkhorzhevsky’s pseudo-Omar did direct me to Poplavsky.

The Discovery

The strange Aztec-Mayan pyramid that houses the main public library in downtown Los Angeles will always remain for me one of the endearing spots in Southern California. Its dark tile walls that kept the air comfortably cool on the muggiest days; the long, Alhambra-like vistas that opened from one room to another; the purling fountains in the inner yards (if I’m making it sound garish and eclectic, it no doubt was) I still find unforgettable. There was a Russian lady in the Foreign Books Room, whose name I never learned, who made it a point to purchase everything worthwhile in contemporary Soviet and Russian émigré literature. The library’s collection of volumes on Russian painters and painting and on the Soviet theater of the 1920s was nothing short of opulent.

Yes, of course they had Poplavsky at that library. There were two slim volumes: a selection from his journals and a volume of verse called Flags. I got Flags, opened it in the middle, and immediately felt as though I were falling through a hole in the ice. Nikolai Tatishchev described his first impression of reading Flags thus: “A pure and piercing sound. Hardly anything can be made out. Now and then something breaks through and stings you. ‘O Morella, come back, it will all be different one day.’ Alarm, apprehension. The barometer needle quiveringly indicates a storm. A degree of agitation that can be expressed only in deliberately approximate terms.” [N. Tatishchev, “O Poplavskom” [On Poplavsky], Krug [The circle], vol. 3 (Paris, 1938)].

This was how a mature person, a close friend of the poet and the publisher of his posthumous books, reacted to Flags. My own impression (and it remains one of the most vivid of my entire life) was somewhat different. I was struck first of all by the bright colors, the swirling images, the authenticity of the dreamlike states the poems conveyed:

In the emerald waters of the night
Sleep lovely faces of virgins
And in the shadow of blue pillars
A stone Apollo slumbers.

Orchards blossom forth in the fire,
White castles rise like smoke
And beyond the dark blue grove
Vividly dark sand is ablaze.

Flowers in the garden hum,
Statues of souls come to life
And like butterflies from the fire
Words reach me:

Believe me, angel, the moon is high,
Musical clouds
Surround her, fires
Are sonorous there and days are radiant.

My English cannot reproduce the pulsating music that emanates from these lines in Russian, nor does it convey the artful and often startling rhymes. There are pages and pages in this little book that project this blend of color and music, but there are also other things:

We shelter our caressing leisure
And unquestioningly hide from hope.
Naked trees sing in the forest
And the city is like a huge hunting horn.

How sweet it is to jest before the end
This is understood by the first and the last—
Why, a man vanishes, leaving fewer traces
Than a tragedian with a divine countenance.

There was an attitude in those poems, a vision, a sensibility quite new to me, but one that I instantly recognized and accepted:

But now the main entrance thundered and the bell started barking—
Springtime was ascending the stairs in silence.
And suddenly each one remembered that he was all alone
And screamed “I’m all alone!” choking with bile.
And in the singing of night, in the roar of morning,
In the indistinct seething of evening in the park
Dead years would arise from their deathbeds
And carry the beds like postage stamps.

I did not know enough about poetry at the time to recognize Poplavsky’s sources, to discern his French influences: Baudelaire (who had a greater impact on him than anyone except Blok), Nerval, Rimbaud, Laforgue, Apollinaire, Breton. I did not know then, as I know now, that Boris Poplavsky was in a sense a very fine French poet who belongs to Russian literature mainly because he wrote in Russian. But much of his sensibility was also a verbal equivalent of the visual imagery I knew and loved in the work of the exiled Russian neo-Romantic painters Pavel Tchelitchew and Eugene Berman. [“But Poplavsky’s surrealistic world is created illegitimately, using means borrowed from another art, namely painting (some of the critics have pointed out that Poplavsky is actually a visual rather than a musical poet; his poetry has been compared to Chagall’s painting…” Gleb Struve, Russkaia literatura v izgnanii [Russian literature in exile] (New York, 1956), 339. The observation is absolutely correct, but why is cross-fertilization between the arts illegitimate? Russian poetry of the twentieth century in particular has a deep-going and highly legitimate symbiotic involvement with both painting (Voloshin, Mayakovsky, Khlebnikov) and music (Bely, Blok, Kuzmin, Pasternak)].

An uncritical acceptance? I knew at once that much of what Poplavsky was doing was highly artificial. But I knew even then that artifice was a natural component of some of the finest art and had no objections. Despite its artificiality (and partly because of it), the book hit me with a wave of lyrical power I would not have believed possible, a wave that swept me off my feet and held me prisoner for many weeks. This was not like getting intoxicated on Blok’s verbal magic, nor was it like the intense intellectual pleasure afforded by Pasternak’s formal perfection and his freshness of perception.

Poplavsky came to me more like a fever or a demonic possession. I went around reciting Poplavsky’s lines by heart. I tried composing melodies to them. I discovered that stanzas 3 and 4 of his poem “To Arthur Rimbaud” could be conveniently sung to the tune of the clarinet solo from Tchaikovsky’s Francesca da Rimini, and I did sing them, obsessively. The next thing I knew, my mother, normally infuriatingly indifferent to poetry, was muttering Poplavsky to Chaikovsky’s music in an undertone while fixing dinner.

It was a heavy burden to keep to oneself at sixteen. I was fortunate indeed to have two older friends with whom I could share it. Alex and Eddie were almost as enthusiastic about Poplavsky as I. The three of us leafed through the fragments of his journals. We did not find his religious quest congenial, but the seriousness and depth of his spiritual experience got through to us, and his ways of formulating it we also found impressive. Seeing that Russian poetry could be this closely allied with Surrealism in painting, Alex was moved to write a few Russian poems, which were meant as literary parallels to his paintings. He submitted them to Novoe russkoe slovo and one of them was printed, not in that newspaper’s Sunday poetry section as he had hoped, but as an illustration to an editorial which discussed the poor quality of Russian émigré poetry and asserted that Surrealism as a whole was an unimportant trend, by now entirely passé and forgotten. Then Alex was drafted into the army. He wrote me asking for the library copy of Flags. I sent it to him, he returned it, then he wanted it again, and it was lost in the mail. I ruefully paid the charges for the lost book ($2.50, I think). A few months later it turned up at Alex’s training camp. When I tried to return it, I was told that there was no need, because the library had replaced it. I now had my own copy of a book by Poplavsky… But just who, exactly, was Boris Poplavsky?

Some Biographical Materials

Exhibit A: His Father

[The vice president of the Moscow Association of Manufacturers] was Yulian Ignatievich Poplavsky, an extremely original and colorful personality even for the Moscow of those days. Poplavsky was a musician. He graduated (with very high grades) from the Moscow Conservatory where he majored in piano and was one of the favorite pupils of Pyotr Chaikovsky, with whom he was on intimate terms, as can be seen from his memoirs. I do not remember what it was that moved him to give up his musical career and take up industrial relations….

Poplavsky was a talented person; one seldom encounters such facility with word and pen. He could discuss any topic and could treat the most serious subject in a frivolous vein. His speech mannerisms, which corresponded to his manner of dress, irritated many and Poplavsky was widely disliked. It was said that he was “barred from the stock exchange.” This seems to be factually correct: invitations were not extended to him and this would cause clashes between the Manufacturers’ Association and the Stock Exchange Committee. He was also active in St. Petersburg where he was the representative of his organization, together with Jules Goujon [the president of the Manufacturers’ Association] at the Convention Council. When a petition had to be drafted or a summary of a discussion prepared, he was irreplaceable and was able to draft them with the utmost ease and elegance.

Gradually, people became accustomed to his manners, and he began receiving invitations to Stock Exchange Committee sessions, especially when labor problems were involved, inasmuch as the antiquated organization of the Stock Exchange Committee was falling behind the times in collecting current statistical data and the documentation pertaining to labor problems. Poplavsky’s office on Miasnitskaia Street was excellently organized and the Association (it was in existence for only twelve years) was able to accumulate much valuable material.

[A portrait of Boris Poplavsky’s father, from Paul A. Bouryschkine, Moskva kupecheskaia – The Merchants’ Moscow (New York, 1954), 256–57. This little-known volume is an astoundingly thorough and convincing record of the contribution made by the traditionally maligned and despised Russian merchant class to the development of Russian culture, literature, and the arts during the century preceding the Revolution.]

Exhibit B: His Sister

I can still see one [of these poetesses]—tall, feverish, everything about her dancing: the tip of her shoe, her fingers, her rings, the tails of her sables, her pearls, her teeth, the cocaine in the pupils of her eyes. She was hideous and enchanting with that tenth-rate enchantment which cannot but attract, to which people are ashamed to be attracted, to which I am openly and shamelessly attracted.…

I can say in general that I was met with kindness in this alien world of female practitioners of drug-addicted poetry. Women are in general kinder. Men do not forgive felt boots or having starving children. But this very same P——skaya, I am convinced, would have removed the sables from her shoulders had I told her that I had a starving child at home.…

I did not get to hear the feverish, fur-clad beauty recite her poetry, but I doubt that cocaine could have disposed her to write of love.…

[Three glimpses of Boris Poplavsky’s sister Natasha, gleaned from Marina Tsvetaeva’s memoir A Hero of Labor (1925). Tsvetaeva and Natasha Poplavskaya both appeared at a reading of women poets in the cold and starving Moscow of 1920].

Exhibit C: His Biography

Boris Poplavsky was born in Moscow on 24 May 1903. His father was a free artist—a musician, a journalist, and a well-known social figure; his mother, née Kokhmanskaya, came from an old, cultivated, aristocratic family, had a Western European education, and was a violinist with conservatory experience. As a child, Boris Poplavsky was first looked after by his nanny, Iraida, and then by a German nurse and a French governess. Later, as an adolescent, he had Swiss and English tutors, and when he reached school age, he was taught by Russian university students, hired to give him lessons. He also studied music, but showed no enthusiasm; lessons in drawing, however, were always his favorites.

In 1906, his mother had to take the children abroad because of the severe illness of her daughter. They lived alternately in Switzerland and Italy, while his father remained in Moscow. While abroad, Boris forgot his native tongue to such an extent that, when he returned to Moscow, his family had to enroll him and his brother at the French lycée of Saint Philippe Néri, where he remained until the Revolution. Boris took to reading early … and it was hard to tear him away from a book. When his elder sister Natasha, a dazzlingly educated and talented girl, published a collection of verse in Moscow, where she was considered an avant-garde poetess, Boris, either through competitiveness or imitation, also began to practice writing verses in his school notebooks, accompanying them with fanciful illustrations.

When the Revolution broke out in February 1917, Boris was fourteen years old. In 1918 his father was forced to travel to the south of Russia, and he took his son along. Thus, while still quite young, Boris had to part from his family and experience all the horrors of the civil war. In the winter of 1919, when he lived in Yalta, he gave his first reading as a poet at the Chekhov Literary Circle. And in March of the same year he and his father emigrated to Constantinople. This period of his life can be summed up in two words: he meditated and prayed. All the money his father gave him, his own belongings, even his food, Boris gave to the poor; at times several homeless people would spend the night in his room: students, officers, monks, sailors, and others, all of whom were literally refugees.

In Constantinople, Boris attended a makeshift equivalent of high school, did a great deal of sketching, read a lot, occasionally took incidental jobs, and spent much time with the cub scouts at the Russian Hearth, which was organized by the YMCA. At the same time, Boris saw life through a veil of profound mysticism, as if sensing the breath of Byzantium which gave birth to the Orthodox faith, to which he yielded himself unconditionally. In June 1921, his father was invited to Paris to attend a conference on Russian trade and industry.

For ten years Boris lived in the Latin Quarter, during the last four on the rue Barrault near the place d’Italie. There he died in the little annex at number 76-bis, located on the roof of the immense Citroën garage. The exciting and intriguing city of Paris absorbed Boris so much that he left it only once, in 1922, to spend a few months in Berlin. There he moved in the avant-garde literary circles, often appeared at literary gatherings and artistic soirées, and made a number of literary acquaintances.

The Poplavsky family gradually all assembled in Paris and Boris’s life seemed to enter upon a normal course. He regularly attended the Art Academy at La Grande Chaumière and was later enrolled at the Sorbonne, majoring in history and philology. He immersed himself in philosophy and theology and spent long hours in the rare manuscript room of the Bibliothèque Sainte-Geneviève. He was a passionate book collector; he had two thousand volumes at his death. He regularly visited museums, where he would stay for days on end. He studied assiduously, practiced sports, and wrote. As in earlier days, he was interested in poetry, literature, economics, philosophy, sociology, history, aviation, music, and everything else. He was always in a hurry to live and work, and he sometimes dreamed of becoming a professor of philosophy in Russia … not merely when collective farmers got to wear top hats and drive around in Fords, as he put it, but when the persecution of faith would end and a free life of the spirit would begin.

His novel Homeward from Heaven, which is partly autobiographical, gives an idea of how Boris lived and worked in Paris. He frequently appeared at literary gatherings, debates, and conferences as the principal speaker or as a discussant; he was well known in literary and artistic circles. His close friends valued him as a religious mystic, a God seeker, and a perceptive philosopher and thinker. The last years of his life were profoundly enigmatic. Many found in him not only a friend, but a source of support for attaining an ideological turning point in their lives. He was destitute at the time, but he would still share his last penny with the poor.

A tragically absurd incident brought his life to an end. On 8 October 1935, Boris met a half-mad drug addict, who under the pressure of his own adversity decided to commit suicide and wrote a suicide note, addressed to the woman he loved. He persuaded Boris, “on a dare,” to try out a “powder of illusions,” but instead, excited by the maniacal idea of taking a fellow traveler along on his journey to the beyond, gave him a fatal dose of poison, taking one himself at the same time.

Boris left behind two parts of a trilogy in the form of two large novels, Apollon Bezobrazov and Homeward from Heaven, and sketches for the third part, The Apocalypse of Therese. Then there are three volumes of verse ready for publication, a philosophical treatise on logic and metaphysics, the essay “Solitude,” a multi-volume diary, notations, drawings, letters, his favorite books which contain many jottings on the margins, and a great deal of other material, which so far has not been sorted out.

Paris, October 1935
[Yulian Poplavsky’s biography of his son, slightly abridged. [Iu. I. Poplavskii, “Boris Poplavskii,” Nov’ (Tallinn), no. 8 (1936): 144–47.]

Exhibit D: A Friend

I began writing verse quite early, and in 1920 Boris Poplavsky and I organized a Poets’ Guild in Constantinople.

Vladimir Dukelsky, alias Vernon Duke. [Autobiographical note in the anthology Sodruzhestvo (Washington, 1966), 521. Although both wrote poetry at the time, it was the future composer of Cabin in the Sky and Le bal de blanchisseuses who considered himself a poet then, while Poplavsky saw himself as a future painter.]

Exhibit E: Self-Portraits

  1. “Poverty is a sin, retribution, impotence, while luxury is like a kingdom in which everything reflects, extends, incarnates the slightest flutter of God’s eyelashes. And nevertheless, stoically, heroically, Oleg managed to bring his life to a realization, extricated it out of its wraps, despite poverty, inertia, and the obscurity of his underground destiny. Having received no education, he wrenched one for himself from the stained, poorly illuminated library books, read while his behind grew numb on the uncomfortable benches. Anemic and emaciated, by abstinence and daily wrestling with heavy iron weights, he forced life to yield him cupola-like shoulder muscles and an iron handgrip. Not handsome, unsure of himself, he used his hellish solitude, know-it-allism, valor, asceticism to master that fierce eye mechanism which was able to subjugate, at times to his own amazement, female heads radiant with youth. For Oleg, like all ascetics, was extraordinarily attractive, and his ugliness, rudeness, and self-assurance only enhanced his charm. Life refused him everything and he created everything for himself, reigning and enjoying himself now amidst the invisible labors of his fifteen-year effort. Thus, in a conversation he would calmly and slyly radiate the universality of his knowledge, which astounded his listeners as much as did the ease with which he could, while sitting on a sofa, lift and toss about a thirty-kilogram weight or a chair, held horizontally by its back in his hand, as he laughed at the gloomy, lifeless, unascetic, sentimental, disbelieving Christianity of the Paris émigré poets.”
  2. “You thought, Oleg, that you could at last do without God, rest from His insatiable demands; and see, now He is doing without you.… Look, nature is about to enter upon her sad, brief summer triumph and you were asleep, your heavy head full of the hot waters of sleep, and you dreamed of earthly, full-blooded, bearded life. Once again you were insolent to God, Oleg, and tried living without Him, and your face hit the ground, heavily, stupidly, clownishly. You finally awoke from the pain, took a look around, and see, the trees are already in bloom and have hung out their vivid, abundant new leaves. It is summer in the city and again you are face to face with God, whether you want to be or not, like a child that conceived the wish to hide from the Eiffel Tower behind a flowering shrub in the Trocadero garden and after walking around it was instantly overtaken by the iron dancer-monster that takes up the entire sky. You try not to notice it, but it hurts you to look at the white sky and a heavy, sweaty stuffiness is pressing on your heart. You are again in the open sea, in the open desert, under an open sky covered up by white clouds, in the intolerable, ceaseless, manifest presence of God and sin. And there is no strength not to believe, to doubt, to despair happily in a cloud of tobacco smoke, to calm yourself at a daytime movie. The entire horizon is blindingly occupied by God; in every sweaty creature He is right there again. Eyesight grows dim and there is no shade anywhere, for there is no home of my own, but only history, eternity, apocalypse. There is no soul, no personality, no I, nothing is mine; from heaven to earth there is only the fiery waterfall of universal existence, inception, disappearance.”

[Two of Boris Poplavsky’s self-portraits as Oleg in his novel Homeward from Heaven. Fragments from Homeward from Heaven, in Krug, vol. 3].

Exhibit F: The Critical Response

[R]ecently Will of Russia (Volia Rossii) discovered the amazingly gifted B. Poplavsky. Of all his delightful poems it printed, not a single one could have possibly appeared in Contemporary Annals (Sovremennye zapiski)—they are far too good and uniquely original for it. [Georgy Ivanov in Latest News (Poslednie novosti), Paris, 31 May 1928]

Among the Parisians, Boris Poplavsky is particularly outstanding. Some of his poems (especially the one with the epigraph from Rimbaud that appeared in volume 2 of Poetry and the “Manuscript Found in a Bottle” in Will of Russia, number 7) force one to stop and listen in astonishment to the voice of a genuine and entirely new poet. What is interesting about Poplavsky is that he has severed all ties with Russian subject matter. He is the first émigré writer who lives not on memories of Russia, but in a foreign reality. This evolution is inevitable for the whole of the emigration. [D. S. Mirsky (Prince Dmitry Svyatopolk-Mirsky), in Eurasia (Evraziia), Paris, 5 January 1929.]

…Poplavsky’s pseudonaiveté and sleek imitation of the correctly grasped literary fashions. There is no point in mentioning Poplavsky’s name next to the names of Blok and Rimbaud (and yet this has been done by Weidlé and Adamovich and Mochulsky). The scribblings (pisaniia) of Mr. Poplavsky, whose critical articles are as deliberately insolent as his verse, would not even deserve mention were it not for the fact that these puerile and shrill scribblings found an echo in Georgy Adamovich. [Gleb Struve in Russia and Slavdom (Rossiia i slavianstvo), 11 May 1929; 11 October 1930.11].

Gleb Struve attacked Poplavsky’s work vehemently when it first appeared in print, and he remained Poplavsky’s most consistent critical opponent. The only other adverse response to Poplavsky’s literary beginnings in émigré criticism, Vladimir Nabokov’s review of Flags in Rul’ [The rudder]—which Nabokov subsequently repudiated—is far milder in both its tone and its conclusions. Although Nabokov took Poplavsky to task for his violations of meter, ungrammatical usages, and abuses of inappropriate colloquialisms, he ended the review with the admission that some of the poems in the collection “soared with genuine music.”

In his later history of Russian émigré literature, Professor Struve cites the highly favorable opinions of various important émigré writers and critics about Poplavsky’s poetry with exemplary scholarly objectivity; he even seems to see some promise in Poplavsky’s novels. But his ultimate judgment on Poplavsky can be summed up in this quote: “He was a gifted man and an interesting phenomenon, but he never became any kind of writer, no matter what his numerous admirers may say” (Struve, Russkaia literatura v izgnanii, 313).

Exhibit G:

THE TRAGIC DEATH OF THE POET B. POPLAVSKY

The lower depths of Montparnasse have claimed the lives of two more young Russians. Under circumstances that are still being investigated, the poet Boris Poplavsky and nineteen-year-old Sergei Yarko, well known in certain shady cafés of boulevard du Montparnasse, died of narcotics poisoning.

ACCIDENT OR SUICIDE?

The police commissioner of the Maison Blanche quarter immediately initiated an investigation. At first, the possibility of a double suicide was not ruled out. But upon examination of the evidence, it became clear that the young men were the victims of a drug overdose. It is also possible that the drug, purchased on Montparnasse from nameless dealers, contained an admixture of some kind of poison.

Boris Poplavsky never thought of suicide. Sunday evening he visited Dmitry Merezhkovsky and discussed literature and politics with him. On Monday he was seen on Montparnasse. His parents, with whom he had a conversation several hours before his death, categorically reject the possibility of suicide. Their son was a victim of “white powder” vendors.

Apparently Poplavsky and Yarko had been addicts for a long time. In the poet’s wallet, his own photograph was found, bearing a revealing inscription: “If you are interested, I found a source of cocaine, etc. Reasonably priced: heroin 25 fr. a gram, cocaine—40 fr.” This was written in Poplavsky’s hand—apparently in some café, where he was not able to announce the news out loud to his friend.

NO FUNDS FOR BURIAL

At 4 p.m. yesterday, Poplavsky’s and Yarko’s bodies were taken to the Institute of Forensic Medicine for autopsy. The funeral is planned within the next few days. But there are absolutely no funds available for Boris Poplavsky’s burial. His family is destitute. There is not a sou in the house. Boris Poplavsky’s parents are appealing to all his friends and to all generous people to help them pay for a coffin and a burial plot for the poet whose life ended so tragically. Donations may be sent to Latest News.

[Selected passages from the lengthy news story in Latest News (Poslednie novosti), Paris, 11 October 1935].

Excerpts from “The Book of Blessings,” Poplavsky’s Unpublished Journal for 1929.

109. I need only those writers whom I can apply practically in my life, from whom I can learn a particular form of pride or pity and, of course, whom I can develop and alter in my own way. Chekhov teaches me to endure in a special way, not to surrender, to hope, for in Chekhov there is much that is Roman, there is much of “no matter what happens,” of quand même. With Dostoevsky one can be ill and die, separate and perish, but it is impossible to live with him. As for Tolstoi, with his ancient Hebraic family idylls, I find him repulsive. But Chekhov I hope to put to use, after first rendering him harmless. How? By expanding and developing his admiration for the perishing, beautiful failures, by cleansing him of his disgusting squeamishness and his dignified contempt, contempt for what has failed, what has perished, i.e., extending him in a Christian or, more correctly, specifically Orthodox direction.

110. Chekhov is the most [Russian] Orthodox of Russian writers or, more correctly, the only Orthodox Russian writer. For what is Russian Orthodoxy if not absolute forgiveness, the absolute refusal to condemn which we hear in the voice of Sonya and of the Little Priest of the Swamps? [I.e., Sonya from Chekhov’s play Uncle Vanya, and the elfin creature from Blok’s poem of that name, who prays with equal fervor “for the injured leg of a frog and for the Pope in Rome.”]

111. Blok is also an Orthodox poet, the poet of absolute pity, angry at nothing, condemning nothing….

115. It seems to me that the closest work we have to the spirit of the Prometheus of Aeschylus is Chekhov’s Ivanov. Let us note, en passant, that the Prometheus of Aeschylus is one of the most pretentious heroes in world literature. But then, is there anything more beautiful than heroic pretentiousness, for is not the perishing hero higher than the smugly successful hero? And is not the point of a perishing hero in his pretense at being a hero?

116. All my poetry is only the voice of Sonya, or at least I would like for all my poetry to be the voice of Sonya, consoling Uncle Vanya abandoned by everyone in the midst of the demolished estate….

123. Oh, how the lower strata of the émigrés are irritated and outraged by the sight of an impoverished and merry friend of books and stars, with his tattered pants and a monocle in his eye! It is their enormous, base yearning for power that is outraged within them. What! He dares to be joyous, that owner of worn-out shoes? Isn’t he in the same position as we? He has no money, no power, and he dares to be joyous. Where does he get his joy? Surely not from that bookish, intellectual stuff—the very thing that ruined Russia? From Culture and Social Conscience? Thus the poor people. And a huge disgust hangs suspended in perplexity from their curled lip, while the friend of the stars goes his own way in his worn-out shoes, waving his handsome athletic arms in the air as he recites poetry to his neighbor.

124. The attitude of the wealthy émigrés toward the friend of the stars is even more base. What! We’ve done our best, we’ve achieved, we’ve recovered our own, and this one dares to be joyous while the seat of his pants is in patches? What was the point of our struggle?

125. But the attitude of foreigners is delightful. It can be seen from their glances in the street, for in them there still survive the ancient, beautiful ideals, merry and profound, of ancient stoical poverty. There was once this delightful philosopher—Anaximenes of Dorcrete seems to have been his name—a fine athletic old man. Diodorus tells us that he was once invited to some ritzy party, by some tyrant or other. Coming to the table, he bared himself and beshat the company and the table, and with this excellent deed he indubitably deserved his immortality. His other works were forgotten, but compared to this they could not have been important.

Poplavsky Yesterday and Today

When I first read Flags, I had no idea of Poplavsky’s position in the Russian literary hierarchy. I had simply assumed that he was a poet as famous as Blok and Pasternak. I knew little about Russian poetry as a whole at the time, and there were many important modern poets I was yet to discover and read. It took me a few years to realize that apart from a small cult centered in Paris, almost no one had ever heard of his name. In the late 1940s my colleagues at the Control Council for Germany, Alain Bosquet and Edouard Roditi, were publishing a literary journal in Berlin. They asked me to write something about Russian poetry for it, “about somebody modern and famous, like Selvinsky or Bagritsky,” as Roditi put it. I had no idea who Selvinsky and Bagritsky were, but I offered to write about the three poets who had been my favorites during my school years in Los Angeles. They let me, and I wrote three brief pieces on Khlebnikov, Pasternak, and Poplavsky; these were translated into German and published in Das Lot in 1950, with a selection of translated poems by each of these poets. [S. Karlinsky, “Drei russische Dichter,” Das Lot 4 (October 1950): 46–51].

The overindulgent accompanying note identified me as the author of “numerous articles published in American newspapers and magazines,” but apart from a few pieces in the college newspaper, this was actually my debut in print. I’m glad it had to do with Poplavsky and that I already then called him the most interesting poet produced by the Russian emigration between the two world wars.

By then I had already read his two posthumous collections of verse (they contain some astounding poems, but I found them on the whole a bit of a letdown after Flags); the published portions of his novels (Homeward from Heaven contains some of his finest lyrics, inserted between passages of prose and printed to look like prose); his paradoxical critical essays; the highly original short story “The Ball;” his pieces on painting and boxing.

When in 1965 Nikolai Tatishchev privately published a new volume of Poplavsky’s previously uncollected poems, Dirigible of Unknown Destination, my torch for the poet flared up again. The volume contained some of his most typical and most perfectly realized poems (“On the Frontier,” for instance, with its striking central metaphor of a poet as a customs official trying to stop the two-way smugglers’ traffic between the Land of Good and the Land of Evil; or “The Biography of a Clerk,” with its transposition of the humiliated clerk of Gogol’s “The Overcoat” and Dostoevsky’s Poor Folk into a Kafkaesque and surrealistic tonality).

I read a paper on Poplavsky’s surrealistic techniques at a scholarly gathering in Washington, D.C., and published it as an article in Slavic Review. A few graduate students purchased copies of the Dirigible as a result, but I knew that, with one or two exceptions, I had failed to convince my fellow Slavicists of the value of Poplavsky’s work. Just how badly I had failed was made clear to me by one of my most respected and discerning colleagues, who referred to him as a Parisian Vertinsky (a popular émigré nightclub singer) for the elect few.

Doing literary research in Europe in the fall of 1969, I made a point of seeking out and talking about Poplavsky with those who knew him or were his friends in an effort to reconstitute the reality of the man behind the poetry and the prose: the poets Alla Golovina and Sofiya Pregel; the painters Ida Karskaya (a marvelously warm and compassionate woman and a far more important painter than I had previously realized) and Constantine Terechkovitch; the critic Georgy Adamovich; the literary scholar Sophie Laffitte (née Glickman, later Sophie Stalinsky and Sophie Bonneau); and of course Poplavsky’s closest friend and the curator of his archive, Nikolai Tatishchev. All of them had observed Poplavsky at close range at one or another time in his life, all but the first two had poems dedicated to them in Flags, and all were willing to talk about him candidly and openly.

Some day I hope to transcribe these interviews in full, but for the moment I can say that their sum total has helped me to formulate the two sets of polarities that I feel primarily motivated and shaped Poplavsky’s literary art. The never-resolved dichotomy between poetry and painting is what accounts for the intensely visual nature of his imagery and much of his subject matter.

According to Terechkovitch, Poplavsky thought of himself during his first few years of exile not as a poet but as a painter. In 1922, Terechkovitch and Poplavsky traveled together to Berlin to study art. In Berlin, Poplavsky met the leading Soviet abstractionists as well as Chagall, Tchelitchew, and Chaim Soutine. But everyone, and particularly his teachers and colleagues, kept assuring him that he had no talent for painting. At first he tried to ignore their verdict. When he realized that they were right, the result was a total nervous breakdown that kept him bedridden for several weeks. Not only his highly personal articles on art exhibitions and painters, which appeared later in the journal Numbers (Chisla), but much of his prose and poetry testify to his never-ending yearning for mastery of the visual arts. His literary development reflects not so much the development of Russian émigré poetry as the evolution of the Paris schools of painting in the late 1920s and early 1930s—especially those of the Surrealists and the neo-Romantics.

The other central polarity has to do with his insatiable hunger for mystical experience (any kind of mysticism) and drug experience (any kind of drugs). It was his sister Natasha, that “dazzlingly educated and talented girl” his father wrote about, who introduced Boris to drugs by the time he was twelve. Her search for the ultimate high eventually took her to Madagascar, to Africa, to India, and finally to Shanghai, where she died in the late 1920s—of pneumonia, according to her father’s biography of Boris, but of a hopeless opium addiction according to everyone else.

Drugs remained a constant presence in Poplavsky’s life, both in Berlin and in Paris, and they (rather than imitation of his idol Rimbaud) account for the psychedelic swirling of images and the vivid, violent colors so typical of his verse. There are vast riches of authentic psychedelia to be mined in twentieth-century Russian poetry—Balmont and Khlebnikov are the names that come to mind most easily—but no one in the Russian tradition exploited the openings to other realities that drugs afford as systematically as did Poplavsky in the service of his poetry. There was, unfortunately, no LSD or mescaline to be had in those days, and he had to do it the hard way. (A tremendous stimulus for writing much of Flags came when his friend, the minor poet Boris Zakovich, the “Pusya” of Poplavsky’s journals, inherited a large supply of pain-killers and mind expanders from his dentist father.)

Those who are capable of appreciating the unique kind of beauty Poplavsky was thus able to glimpse and convey are the beneficiaries. Poplavsky’s religious quest was as intense as it was eclectic. A devout and loyal member of the Russian Orthodox Church (as his journals leave no doubt), he was powerfully drawn to Roman Catholic rite and lore, to Hindu mystics, to freemasonry, and to various forms of spiritualism.

One of the most intense experiences of his life, according to Tatishchev, occurred in 1918, when he met Jiddu Krishnamurti, the philosophical and spiritual teacher, who took his hand and addressed a few words in English to him. Poplavsky understood no English, but he was moved to tears. In Berlin he had several discussions about anthroposophy with Andrei Bely. (His mother and aunt were close to Moscow anthroposophic circles.)

Boris Poplavsky was loved by a number of exceptional and brilliant women in his day, but the central relationship of his life, its keynote, was what he himself called his love affair with God (roman s Bogom). This affair is the subject of many poems in Snowy Hour; it is basic to his novels, and it is vividly reflected in the portions of his diaries which his friends Dina Shraibman and Nikolai Tatishchev published after his death. It was also discussed in print by no less a thinker than Nikolai Berdyaev in his puzzled, perplexed, and not entirely sympathetic review of Poplavsky’s journals [In Sovremennye zapiski Contemporary annals, no. 68 (1939)]. I’ll venture to say, with all due respect, that the celebrated philosopher simply failed to grasp the point of Poplavsky’s mysticism. Like art, like drugs, mysticism was for Poplavsky both a way of expanding his personal vision and a means of transforming unbearable social reality.

Poplavsky’s lecture on Marcel Proust and James Joyce (he is the only Russian writer I can think of besides Vladimir Nabokov who responded creatively to Ulysses), of which I have the outline, concludes with a surprising prediction of impending social revolution in Western Europe, which would combine social, sexual, and personal-mystical elements. For Poplavsky, the reason the Soviet experiment turned Russia into a “vast, barbarous, snow-clad field” was that in its attempt to build a better society it suppressed the human spirit and its most precious manifestations. This was well understood by Poplavsky’s friends Zinaida Gippius and Dmitry Merezhkovsky; yet one can easily imagine the shock that this conclusion of the Proust-Joyce lecture occasioned among the émigré audience when Poplavsky delivered it at the Kochevie Club on 22 October 1931.

Poplavsky’s career in the world of émigré letters was brief and meteoric. Only six years separate his literary debut from his death. During that time he impressed some of the most important older writers-in-exile (Merezhkovsky, Khodasevich, Georgy Ivanov) and was acclaimed by the finest émigré critics (Mirsky, Mochulsky, Adamovich, Weidlé). He must have made an enormous impression on the émigré writers of his own age group, for he looms as a momentous presence in the subsequently written autobiographies and memoirs of Nina Berberova [The Italics Are Mine (New York, 1969)]; Yury Terapiano [Vstrechi [Encounters] (New York, 1953)]; Vladimir Varshavsky [Nezamechennoe pokolenie-The unnoticed generation (New York, 1956)]; and V. S. Yanovsky [“Eliseiskie polia” [Les Champs-Élysées], an excerpt from his memoirs, in Vozdushnye puti: Al’manakh [Aerial ways: An anthology], vol. 5 (New York, 1967), 175–200].

Vladimir Nabokov on two occasions singled out Poplavsky as the only poet of importance among the younger émigrés.20 At Poplavsky’s funeral, homage was paid to him by such diverse figures as Mark Aldanov, Aleksei Remizov, and Vladislav Khodasevich, whose eloquent obituary of Poplavsky was later reprinted in a collection of his critical essays [V. Khodasevich, “O smerti Poplavskogo” [On Poplavsky’s death], in Literaturnye stat’i i vospominaniia [Literary essays and memoirs] (New York, 1954)].

And yet, if we were to take a count, there would probably be fewer people in the world today who are aware of Poplavsky’s existence than there were in 1935. I am convinced that Boris Poplavsky has his readers somewhere. But where? Russians, either abroad or in the Soviet Union, don’t seem to want to read him. When Olga Carlisle included Denise Levertov’s fine translation of his poem, “Manuscript Found in a Bottle,” in her book Poets on Streetcorners, the Moscow Literary Gazette took her to task for including this “tramp of whom no one has heard” among the other fine Russian poets in her anthology.

Publication of a few excerpts from The Apocalypse of Therese in George [Yury] Ivask’s Russian literary journal Experiments (Opyty) in the late 1950s was met with similar scorn by Russian newspapers in Paris and New York.

I tried submitting several of his unpublished poems and a highly interesting essay on Russian painting (which I obtained from Nikolai Tatishchev and which Jean-Claude Marcadé carefully annotated) to the New York Russian literary journal Novyi zhurnal. Two of the poems were published, with distorting “corrections” by the editor, while the remainder of them and the article were rejected after a two-year wait. [An English translation (by Peter Lawless) of Poplavsky’s article about the Berlin Exhibition of 1922 was eventually published: “The Notes of Boris Poplavsky,” intro. by Simon Karlinsky, annotations by Jean-Claude Marcadé, Art International 18 (1974): 62–65].

In a personal letter to me, the editor of Novyi zhurnal, Roman Goul, wrote that Poplavsky was “an utter madman” and proudly recalled how he and a group of friends once threw Poplavsky out of a Berlin beer hall.

And yet, as Vladimir Nabokov put it when I informed him of my interest in Poplavsky: “Yes, write something about him. He was, after all, the first hippy, the original flower child.” This might simplify things a bit, but it is not wrong. [His involvements with drugs and Hindu mystics are two of the more striking ways in which Poplavsky seems to foreshadow the hip culture, but that is by no means all. He dressed unconventionally, was never without a pair of dark glasses, thought bathing unnecessary, and would wear the same shirt for weeks on end. His favorite music was by Bach, Scriabin, and Stravinsky. A beard and long hair are the only ingredients that were missing, but that tonsorial style was inextricably connected with the priestly caste in Russian culture. There clearly would have been no point in Poplavsky’s trying to pass for an Orthodox priest.]

During the past few years young Slavic scholars in the West, those in their early twenties, have been repeatedly taking to Poplavsky like the proverbial duck to water. I’ve read with pleasure the intelligent papers Olga Bazanoff and Mike Hathaway wrote about him for Vsevolod Setchkarev’s seminar on émigré literature at Harvard, and Hélène Paschutinsky’s first-rate MA thesis on Poplavsky’s imagery, written under Sophie Laffitte’s direction at the Sorbonne. I am excited about Anthony Olcott’s Stanford thesis.

[Particularly impressive is Mlle Paschutinsky’s demonstration of the central function of the states of flying, floating, and levitation in Poplavsky’s poetry, and of his systematic use of objects and beings capable of these states: fish, ships, dirigibles, balloons, submarines, interplanetary rockets, clouds, comets, and angels, as well as the role of Poplavsky’s ubiquitous bridges, balconies, and towers, functioning as steppingstones to flight and levitation. The resultant antithesis of lightness and heaviness is then used by Mlle Paschutinsky to construct a highly convincing and logical system that provides us with a key not only to Poplavsky’s imagery, but also to the whole of his complex metaphysics. Should Poplavsky’s poetry ever gain the wide readership it so very much deserves, Hélène Paschutinsky’s study will certainly be a fundamental source on this poet.

[In subsequent years Paschutinsky, under the name of Elena Menegaldo, published widely on Poplavsky. See, for example, her important edition of Boris Poplavskii, Neizdannoe: dnevniki, stat’i, stikhi, pis’ma, ed. A. Bogoslovskii and E. Menegal’do (Moscow: Khristianskoe izd-vo, 1996), and subsequent editions of Poplavsky’s collected works. See also Dmitrii Tokarev, “Mezhdu Indiei i Gegelem” (Moscow: Novoe literaturnoe obozrenie, 2011)].

Perhaps Poplavsky was an émigré in more senses than one. Caught between cultures, he was also trapped in the wrong historical period. Many young non-Russians today should have no trouble identifying with him and seeing him as one of themselves. As Emmett Jarrett and Dick Lourie wrote,25 when I sent them some trots of his poetry for translation: “He’s dynamite…”

How to detonate him?


It is of interest to read Karlinsky’s early publication—dating from 1950—which was written as an introduction to a German translation of three of Poplavsky’s lyrics:

Boris Poplavsky’s name is completely unknown in his own country. Poplavsky was perhaps the most gifted representative of a generation of Russian émigré poets who were born in Russia but whose literary activity between the two wars took place everywhere: from Warsaw to Addis Ababa. Poplavsky spent his short life (1903–35) mostly in Paris. His literary reputation was based on a small volume of poems with the title Flags. This book was published in Paris and Tallinn in 1931.

After his death, a collection of poems with the title In a Wreath of Wax, a short novel (Homeward from Heaven), and Diaries were found among his papers. A selection of these works was published by Poplavsky’s friends. In Diaries, Poplavsky gives a detailed description of his poetic method. In this context, Poplavsky quotes an old Hindu poem in which an unknown poet is not satisfied with the sentence “The tree of my life yearns on a hill;” a few lines later the same poet gives a modified version of the same sentence: “The blue tree of my life yearns on a hill.” As Poplavsky noted, the color blue is added to express the intangible.

Nowadays Poplavsky’s poetic method seems to be similar to French Surrealism, and Diaries shows that he had studied and admired the writings of André Breton. When reading Poplavsky’s poems one is reminded of surrealistic paintings.

[Translated by Joachim Klein, from S. Karlinsky, “Drei russische Dichter,” Das Lot 4 (October 1950): 50].


Simon Karlinsky (1924–2009) was a prolific scholar of modern Russian literature who taught at the University of California, Berkeley, Department of Slavic Languages and Literatures, from 1964 to 1991. This memoir is an excerpt from Freedom From Violence and Lies, a collection of Karlinsky’s essays.


Featured: Boris Poplavsky, at KaDeWe (Kaufhaus des Westens, Department Store of the West), Berlin, 1922.

François Villon, the Heavenly Robber

This essay, by the Russian poet Osip Mandelstam (1891-1938) was written in 1910 (or perhaps 1912) and revised in 1927 and is a tribute not only to the medieval poet, but a meditation on exile and the quest for unadorned reality and the Divine.


I

Astronomers accurately predict the return of a comet, after a long period of time. For those who know Villon, the Verlaine phenomenon appears to be just such an astronomical miracle. The resonance of both voices is strikingly similar. But apart from timbre and biography, the two poets are bound together by almost the same mission in the literature of their time. Both were destined to appear in an age of artificial, hothouse poetry, and just as Verlaine smashed the serres chaudes [an allusion to Maeterlinck’s collection of poems Hothouses (1889)] of symbolism, Villon challenged the mighty rhetorical school that can rightly be considered fifteenth-century symbolism. The famous Roman de la Rose first built an impenetrable fence, within which the warming atmosphere necessary for the survival of the allegories created by this Romance continued to flourish. Love, Danger, Hate, and Insidiousness are not dead abstractions. They are not incorporeal. Medieval poetry gives these ghosts an astral body, as it were, and tenderly cares for the artificial air so necessary to sustain their fragile existence. The garden where these peculiar characters live is enclosed by a high wall. The lover, as the beginning of the Roman de la Rose tells us, wandered for a long time around this fence in a vain search for an unobtrusive entrance.

Poetry and life in the fifteenth century were two independent, hostile dimensions. It is hard to believe that Maître Allain Chartier was subjected to real persecution and endured life’s troubles, arming public opinion of the time with a too-harsh sentence on the Cruel Lady, whom he drowned in a well of tears, after a brilliant trial, with all the subtleties of medieval legal procedure. Fifteenth-century poetry is autonomous; it occupies a place in the culture of the time, like a state within a state. Recall the Court of Love of Charles VI: a variety of seven hundred ranks, from the highest signoria to petty bourgeois and lower clerics. The exceptionally literary character of this institution explains the disdain for class partitions. The hypnosis of literature was so strong that members of such associations walked around the streets adorned with green wreaths, a symbol of falling in love, wishing to prolong the literary dream in reality.

II

François Montcorbier (de Loge) was born in Paris in 1431, during the English rule. The poverty that surrounded his cradle combined with the misery of the people and, in particular, with the misery of the capital. One might expect the literature of the time to be filled with patriotic pathos and a thirst for revenge for the offended dignity of the nation. Neither Villon nor his contemporaries, however, had such sentiments. France, enslaved by foreigners, showed herself to be a real woman. As a woman in captivity, she gave her main attention to the minutiae of her cultural and domestic toilette, looking curiously at the victors. High society, following its poets, was still carried away dreaming into the fourth dimension of the Gardens of Love and the Gardens of Joy, while for the people the tavern lights were lit in the evenings and farces and mysteries played out on holidays.

The feminine and passive era left a deep imprint on Villon’s destiny and character. Throughout his dissolute life he carried the unshakable conviction that someone had to take care of him, manage his affairs and bail him out of difficulties. Even as a mature man, thrown by the Bishop of Orleans into the lower dungeon of Meung sur Loire, he cried out to his friends: “Le laisserez-vous là, le pauvre Villon” [Will you leave there, poor Villon]. Francois Montcorbier’s social career began when he was taken into the care of Guillaume Villon, honorary canon of the monastery church of Saint Benoit le Bestourné. By Villon’s own admission, the old canon was “more than a mother” to him. In 1449 he received his baccalaureate degree; in 1452 his licentiate and maître. “Oh Lord, if I had studied in the days of my reckless youth and devoted myself to good manners—I would have had a home and a soft bed. But what can I say! I ran away from school like a wicked boy; as I write these words my heart bleeds.” Strange as it may seem, Maitre François Villon at one time had several pupils and taught them, as best he could, the wisdom of school. But, in his characteristic honesty, he was aware that he had no right to be called Master, and he preferred to call himself a “poor little scholar” in his ballads. And it was especially difficult for Villon to study, since, as if on purpose, the student riots of 1451-1453 happened during his years of study.

Medieval people liked to think of themselves as children of the city, the church, the university. But the “children of the university” exceptionally acquired a taste for mischief. A heroic hunt was organized for the most popular signs of the Paris market. The deer was to marry the Goat and the Bear, and the Parrot was supposed to be presented to the young as a gift. The students stole a boundary stone from the possessions of Mademoiselle La Bryuère, erected it on Mount St. Genevieve, calling it La Vesse (the fart) and, forcibly grabbing it from authorities, fastened it to the spot with iron hoops. On the round stone they placed another, oblong one, the Pêt au Diable, and worshipped them at night, showering them with flowers, dancing around them to the sound of flutes and tambourines. The enraged butchers and the offended lady made a case. The Prevost of Paris declared war on the students. The two jurisdictions clashed—and the defiant sergeants had to kneel, with lighted candles in their hands, to beg the rector’s forgiveness. Villon, who was undoubtedly at the center of these events, chronicled them in his novel Pêt au Diable [the Devil’s Fart], which has not survived.

III

Villon was a Parisian. He loved the city and idleness. He had no affection for nature and even mocked it. Already in the fifteenth century, Paris was the sea in which one could swim without being bored and forgetting about the rest of the universe. But how easy it is to stumble upon one of the countless reefs of idle existence! Villon became a murderer. The passivity of his fate is remarkable. It is as if it were waiting to be impregnated by chance, whether evil or good. In a ridiculous street fight on June 5, Villon kills the priest Chermoit with a heavy stone. Sentenced to hang, he appealed and, pardoned, went into exile. Vagrancy finally shook his morals, bringing him into the criminal gang la Coquille, of which he became a member. On his return to Paris, he participated in a major theft at the Collège de Navarre and immediately fled to Angers—because of unrequited love, he asserted, but in reality to set things up for robbing his rich uncle. Fleeing from the Parisian skyline, Villon published the Little Testament. Years of indiscriminate wandering followed, with stops at feudal courts and prisons. Amnestied by Louis XI on 2 October 1461, Villon went into deep creative turmoil, his thoughts and feelings became unusually acute, and he created the Great Testament, his monument to the ages. In November 1463 Francois Villon was an eye-witness to a quarrel and a murder in the Rue Saint Jacques. Here ends our account of his life and his dark biography.

IV

The fifteenth century was cruel to personal fates. It turned many decent and sober people into Job, grumbling at the bottom of their stinking dungeons and accusing God of injustice. A special kind of prison poetry was created, imbued with biblical bitterness and severity, as far as it is accessible to the polite Romance soul. But out of the chorus of prisoners, Villon’s voice stands out sharply. His rebellion is more like a court trial than a rebellion. He managed to combine in one person the plaintiff and the defendant. Villon’s attitude never crossed the known boundaries of intimacy. He is gentle, considerate, caring to himself no more than a good lawyer is to his client. Self-pity is a parasitic feeling, detrimental to the soul and the body. But the dry legal pity with which Villon invests himself is for him a source of vivacity and unwavering confidence in the rightness of his “case.” A thoroughly immoral “amoral” man, as a true descendant of the Romans, he lives entirely in the legal world and cannot think of any relationship outside the jurisdiction and norm. The lyric poet, by nature, is a bipolar being, capable of innumerable cleavages in the name of inner dialogue. In no one is this “lyrical hermaphroditism” more pronounced than in Villon. What a diverse selection of charming duets: the grief-stricken and the comforter, mother and child, judge and defendant, proprietor and beggar.

Property, all his life, beckoned to Villon like a musical siren and made him a thief… and a poet. A miserable vagabond, he appropriated for himself the goods unavailable to him with a sharp irony.

Modern French Symbolists are in love with things, like possessive owners. Perhaps the very “soul of things” is nothing other than the sense of ownership, spiritualized and ennobled in the laboratory of successive generations. Villon was well aware of the gulf between subject and object, but understood it as the impossibility of possession. The moon and other neutral “objects” are irrevocably excluded from his poetic habitat. On the other hand, he is immediately animated when he speaks of ducks roasted with sauce or of eternal bliss, which he never loses the final hope of appropriating for himself.

Villon paints a charming intérieur in Dutch taste, peeking through the keyhole.

V

Villon’s sympathy for the scum of society, for everything suspicious and criminal, is by no means demonic. The shady company, which he so quickly and intimately became part of, captivated his feminine nature with a great temperament, a powerful rhythm of life that he could not find in other walks of life. One should listen with what savor Villon tells, in the Ballade de la grosse Margot, about the profession of pimping, to which he was obviously no stranger: “When clients come, I grab a jug and run for wine.”

Neither ebbing feudalism nor the newly emerged bourgeoisie, with its pull for Flemish gravity and importance, could provide an outlet to the enormous dynamic capacity, somehow miraculously accumulated and concentrated in the Parisian cleric. Withered and black, beardless, as thin as a Chimera, with a head that resembled, by his own admission, a peeled and toasted walnut, hiding his sword in the half-woman’s garb of a student—Villon lived in Paris like a squirrel in a wheel, not knowing a moment’s peace. He loved the ravenous, gaunt beast in him and treasured his battered skin: “Isn’t it true, Granier, that I did well to appeal,” he writes to his prosecutor, having escaped the gallows, “not every beast would have managed to wriggle out like that.” If Villon had been able to give his poetic credo, he would surely have exclaimed, like Verlaine:

Du mouvement avant toute chose! [Movement above all else – Verlaine: Music above all]

A powerful visionary, he dreams of his own hanging, on the eve of his probable execution. But, strangely, with incomprehensible exasperation and rhythmic fervor, he depicts in his ballad how the wind sways the bodies of the unfortunate, back and forth, at will… And he endows death with dynamic qualities and here manages to show a love of rhythm and movement… I think it wasn’t the demonism that captivated Villon, but the dynamics of the crime. I don’t know if there is an inverse relationship between the moral and the dynamic of the soul? In any case, both of Villon’s Testaments, big and little—this feast of magnificent rhythms, the kind French poetry still does not know—are incurably immoral.

The wretched vagabond writes his will twice, distributing left and right his imaginary possessions like a poet, ironically asserting his dominion over all the things he wishes to possess: if Villon’s mental experiences, for all their originality, were not particularly profound, his relationships in life—a tangled web of acquaintances, connections, accounts—represented a complex of ingenious complexity. This man contrived to become a living, vital relation to a huge number of persons of the most varied rank, at all rungs of the social ladder, from the thief to the bishop, from the alewife to the prince. With what pleasure he tells their background! How precise and marked he is! Villon’s Testaments are ever captivating because they report a lot of accurate information. The reader feels that he can make use of them, and he feels like a contemporary of the poet. The present moment can withstand the pressure of centuries and retain its integrity, remain the same “now.” One has only to be able to pluck it out of the soil of time without damaging its roots—otherwise it will wither away. Villon knew how to do this. The bell of the Sorbonne that interrupted his work on the Little Testament still rings.

Like the troubadour princes, Villon “sang in his Latin”: once, as a schoolboy, he had heard of Alcibiades—and as a result the stranger Archipiade joins the graceful procession of the Ladies of former times.

VI

The Middle Ages clung tenaciously to its children and did not voluntarily yield to the Renaissance. The blood of the true Middle Ages flowed in Villon’s veins. To it he owed his integrity, his temperament, his spiritual peculiarity. The physiology of the Gothic—and such it was, and the Middle Ages are precisely the physiologically-genius era—replaced Villon’s worldview and rewarded him abundantly for his lack of a traditional connection to the past. Moreover, it provided him with a place of honor in the future, as nineteenth-century French poetry drew its strength from the same national treasury, the Gothic. They will say: what has the magnificent rhythmic of the Testaments, now trickling like a bilboquet, now slowed down like a church cantilena, to do with the mastery of Gothic architects? But isn’t the Gothic the triumph of dynamism? Another question is, what is more fluid, more dynamic—the Gothic cathedral or the oceanic ripple? What, if not a sense of architectonics, explains the wondrous balance of the stanza in which Villon entrusts his soul to the Trinity through the Mother of God—the Chambre dela Divinité—and the nine heavenly legions. It is not an anemic flight on the wax wings of immortality, but an architecturally based ascent, corresponding to the tiers of the Gothic cathedral. He who first proclaimed in architecture the moving equilibrium of the masses and built the crossed vault gave an ingenious expression to the psychological essence of feudalism.

Medieval man considered himself in the world building as necessary and bound as any stone in the Gothic edifice, enduring with dignity the pressure of his neighbors and entering as an inevitable stake in the general game of forces. To serve was not only to be active for the common good. Unconsciously, medieval man regarded service, a kind of deed, as the unvarnished fact of his existence. Villon, an afterthought, an epigone of the feudal worldview, was immune to its ethical side, the circular bond. The stable, moral in the Gothic was quite alien to him. On the other hand, indifferent to the dynamic, he elevated it to the level of amorality. Villon twice received letters of pardon—lettres de remission—from kings: Charles VII and Louis XI. He was firmly convinced that he would receive the same letter from God, with forgiveness for all his sins. Perhaps, in the spirit of his dry and reasoned mysticism, he put up the ladder of feudal jurisdictions into infinity, and a wild but deeply feudal feeling roamed vaguely in his soul that there was a God above God…

“I know well that I am not the son of an angel crowned with the diadem of a star or another planet,” said of himself the poor Parisian schoolboy, capable of much for a good dinner.

Such denials are tantamount to positive certainties.

1910 (1912?), 1927


Featured: “François Villon,” woodcut from Grand Testament de Maistre François Villon, 1489.

William de Morgan

This biographical essay was published in 1917 (in the March issue of The North American Review). Although little know today, William de Morgan (1839-1917) was a well-known potter, tile-maker and then a widely read novelist, who was a friend of both William Morris and Charles Dickens.

The author of this essay, William Lyon Phelps (1865-1943), the American scholar, single-handedly promoted and popularized the novel in America, especially by way of his essays on various novelists, of which this is one.


It was in August, 1911, that I first saw William De Morgan. The meeting—ever memorable to me—took place at Church Street in Chelsea, in his own home, a building filled with specimens of his tiles and graced with his wife’s paintings. After some time, we adjourned to what the English call a garden and what is known in America as the back yard. He fetched the manuscript of a nearly-completed novel, A Likely Story, and read aloud many of the detailed chapter-headings, chuckling with delight (even as a diplomat) over the apparently candid profusion of language with the successful concealment of the writer’s intention. For example (A chuckle after each sentence):

How Fortune’s Toy and the Sport of Circumstances fell in love with one of his nurses. Prose composition. Lady Upwell’s majesty, and the Queen’s. No engagement. The African War and Justifiable Fratricide. Cain. Madeline’s big dog Caesar. Cats. Ormuzd and Ahriman. A handy little Veldt. Madeline’s Japanese kimono. A discussion of the nature of Dreams. Never mind Athenaeus. Look at the prophet Daniel. Sir Stopleigh’s great-aunt Dorothea’s twins. The Circulating Library and the potted shrimps. How Madeline read the manuscript in bed, and took care not to set fire to the curtains.

Mr. De Morgan was then seventy-one years old. He was tall and thin. The latter adjective comes near to expressing his entire physical presence in one word. Everything was thin. His body was thin, his beard was thin, his voice was thin. But his nature and his manner had all the heartiness and geniality we commonly associate with rotundity. He was in fact exactly the kind of man that the author of his novels ought to have been. What more can one say?

In the Spring of the following year, I saw Mr. and Mrs. De Morgan again, this time in their apartment on the Viale Milton in Florence. It was deep in the afternoon, and a pile of manuscript a foot high rested on the table, the ink on the summit not yet dry. “The American people do not like my last two books,” said he with a cheerful smile, “but perhaps they will like this one, for it is the most De Morgany novel I have yet written.” His hope and his statement were both justified, for the manuscript was the first part of When Ghost Meets Ghost. Unlike many writers, he found the morning hours unfavorable for original composition. ” I am an old man, and my vitality does not reach much strength until late in the day. I do my best writing between tea and dinner.”

We talked of the Titanic, and of the war that Italy had carried into Africa. At that time he and I, with all the difference between us that the possession of genius gave to him, had one thing in common: we were both pacifists. Knowing his passionate love of Italy, I feared that he would ap prove of the war, and glory in the certainty of Italy’s victory. I was happy to find that his love for the country and for the people did not blind him to the wickedness of that selfish and greedy war. … It is only fair to him to say that his pacifist principles failed to survive the early days of August, 1914. He was aggressively for England to his last breath, and his letters showed constant surprise at his own thirst for blood. Yet while rejoicing in English victories, he could not help deploring the loss of many brave enemies of his country. In October, 1914, he wrote to me:

I am sorry to say that I am barbarous by nature and catch myself gloating over slaughter—slaughter of Germans, of course!—half of them men I should have liked—a tenth of them men I should have loved. It is sickening—but…

Again, in December, 1915:

I put aside my long novel, because, with Kultur in full swing, I felt I should spoil it. I took up an old beginning—sketched in immediately after Joe Vance—and have got about half-way through, with great difficulty. The trail of the poison gas is over us all here, and I can only get poor comfort from thinking what a many submarines we have made permanently so. All the same, one of my favourite employments is thinking how to add to their number—a grisly committee—coffinsfull of men very like our own. For all seamen are noble, because they live face to face with Death.

In our London conversation he told me the now familiar details of his becoming an author. Never during his long life had he felt the least flicker of literary ambition. In his letters he was always insisting on the additional fact that he had never read anything: “I scarcely looked in a book, un less it was about pots and mechanism, for forty long years. There’s a confession!—a little exaggerated in form from chagrin at the truth of its spirit, but substantially true for all that.” As a matter of fact, he knew Dickens as few readers have ever known him, and he had many of the shorter poems of Browning by heart, though he never read The Ring and the Book.

If he had not taken a slight cold in the head when he was sixty-four he might never have written a novel. This cold developed into a severe attack of influenza, and as he lay in bed, he amused himself by writing the first two chapters of Joseph Vance. “If I had not had the ‘flu,’ I should not have thought of writing a book. I started Joseph Vance ‘just for a lark.’” He had in mind no scenario, no plot, no plan, no idea whatever of the course of the story, or of what would become of any one of the characters. He just began to write, and his writing ceased—forever, as he thought—with his recovery. The world owes his completion of the story to Mrs. De Morgan, who insisted on his continuing. Then he came near destroying the early chapters, for they seemed to him to be too much like Dickens. In 1905 he was half-way through Joseph Vance, and it was published in July, 1906, when he was sixty-six years old. Its rejection by a publisher, owing to the appalling size of the manuscript, its subsequent acceptance by Mr. Heinemann, who saw it only after it had been typewritten, and its instant success, are now matters of general knowledge.

In an article I sent him he was impressed by the “sudden” opening of a story by Pushkin, Tolstoi’s delighted comment upon it, the immediate challenge of a friend to imitate it, with the result—the first page of Anna Karenina. In 1910 he wrote to me:

I must give you a parallel case to yours. Somehow Good began thus: I had written a good deal of another story, and liked it. I read it to my wife, and she didn’t. She said, “Why can’t you write a story with an ordinary beginning?” I said, “What sort?” and she answered, “Well—for instance: ‘He took his fare in the two-penny tube. Said I, “An admirable beginning!” and put my story in hand away, and began writing forthwith what is now Chap. 2 of the book. Chap. 1 was written long after, to square it all up. But the incident was substantially the Tolstoi story again, and chimes with all your comment on it.

The above account of the origin of Somehow Good is the more interesting because, of all his novels, this has the most orderly and best-constructed plot, and, viewed merely as a story, is his masterpiece. Which does not mean that I would trade it for Joseph Vance. To my mind his finest novel is the first one, and his greatest character is old Christopher Vance. With all my heart I hope that the latest book he was working on was completed, for he wrote me that it was even more “demorganatic” than the demorgany Ghosts.

He was deeply interested when I told him that the John Hubbard Curtis prize at Yale University in 1909 was offered for the best composition on the three novels which he had published before that year. He asked if he might see the successful essay, which was written by Mr. Henry Dennis Hammond, an undergraduate from Tennessee, and published in the Yale Courant for June, 1909. Two copies were sent him; one he returned to the young author, with highly diverting (and important) manuscript marginal notes. These notes were accompanied by a cordial letter, from which I make the following extracts:

I have scarcely an exception to take. What I have is to he found among some jotted comments on the margins of the Courant that I return to you. I daresay you will see that your irreverence (shall I call it?) for Dickens has occasioned some implication of cavil from me.

But all you young men are tarred with the same feather nowadays. Your remark about the red cap in David Copperfield made me re-read the chapter. I am obliged to confess that the red cap is absurd—a mere stage expedient ! He would have seen the hair, like enough. But, oh dear! What a puny scribbler that re-reading made me feel!

Here follow some of the marginal annotations, which explain themselves:

I am a successful imposter about music—I know nothing of it—but am a very good listener… I must have omitted some distinguishing points in these folk, to leave the impression of similitude. You see, I know them intimately still, and can assure you that they are, as a matter of fact, quite different. Dear, good old Mrs. Heath was worth both the others twice over… Come, I say—isn’t it quiet, wise, and lovable to smoke cigarettes? Very!—I think: Still, it’s true poor Janey died before English girls took to ‘baccy… But then Dickens was my idol in childhood, boyhood, youthhood, manhood, and so on to a decade of senility—even until now… Concerning realism and idealism, I’m blessed if I know which is which!… the attempt is to found the ghosts only on authentic ghost stories with the same explanations, if any… The first meeting of David C [opperfield] and Dora covers any number of sins… Anyhow, folk read the stories, and there will be another Sept. 23.

Merely to call the roll of Mr. De Morgan’s works is impressive, when we remember their size, their excellence, and the short period of time in which all were written: In eight years this wonderful old man published over a million words, and left several hundred thousand in manuscript—every word written by hand. The mere mechanical labor of writing and proofreading on so gigantic a scale inspires respect. Joseph Vance appeared in 1906; Alice-for-Short in 1907; Somehow Good in 1908; It Never Can Happen Again in 1909; An Affair of Dishonour in 1910; A Likely Story in 1911, When Ghost Meets Ghost in 1914.

The romantic revival in modern English fiction, which negatively received its impelling force from the excesses of naturalism, and positively from the precepts and practice of Stevenson, flourished mightily during the decade from 1894 to 1904. Unfortunately no works of genius appeared, and it was largely a fire of straw. Then just at the time when three phenomena were apparently becoming obsolescent—pains taking realism, very lengthy novels, and the “mid-Victorian” manner—William De Morgan appeared on the scene with Joseph Vance, a mid-Victorian realistic story containing—after William Heinemann had exercised the shears—two hundred and eighty thousand words! Within a short space of time the book had just as many readers as it had words. This is what Carlyle would have called “a fact in natural history,” from which we are at liberty to draw conclusions. One conclusion is that William De Morgan has had more influence on the course of fiction in the twentieth century than any other writer in English. For he gave new vogue to what I call the “life” novel, which differs from the popular novels of the ‘eighties as Reality differs from Realism, and whose sincere aim is to see life steadily and see it whole. In England, Arnold Bennett published The Old Wives’ Tale in 1908; H. G. Wells published Tono-Bungay in 1909; and the same year marked the appearance in America of A Certain Rich Man, by William Allen White. These three books are excellent examples of the new fashion, or the old fashion revived, which ever you choose to call it.

Henry James has said somewhere that in the art of fiction and drama we experience two delights: the delight of surprise and the delight of recognition. Of these happy emotions, readers of Mr. De Morgan feel chiefly the latter kind; although Somehow Good contained plenty of surprises. Nearly every page of his longer books reminds us of our own observations or of our own hearts; and many pages drew from solitary readers a warmly joyous response. Even the most minute facts of life become so interesting when accurately painted or penned, that the artist’s victim actually receives a sensation of pleasure so sudden and so sharp that it resembles a shock. One cannot possibly read Joseph Vance or When Ghost Meets Ghost with an even mind.

It is true that William De Morgan wrote An Affair of Dishonour. But Dickens wrote A Tale of Two Cities; Thackeray wrote Esmond and The Virginians; George Eliot wrote Romola; and Charles Reade wrote The Cloister and the Hearth. Why should we have quarreled with him about that? Any realistic writer may surely take a holiday in the country of Romance, if he chooses to do so. Yet the American attitude toward this particular historical romance was positively hostile; so hostile, that not only did the An Affair of Dishonour fail from the publishers’ point of view, but the four novels that preceded it practically ceased to sell for a whole year; at least, so their author told me.

He took the rebuff good naturedly, and extracted humor from the fact, as the postscript to A Likely Story proves; but he could not understand why he should be “punished” for daring to write an unanticipated work. I tried to explain to him that the anger of the American public was in reality complimentary; that he had set so high a standard in his four novels that the expectation of a vast circle of men and women was enormously keen, and that from a man of genius we always expect a work of genius, which no man—except perhaps Milton—has been able invariably to supply. He was not comforted. Seven years have passed since the publication of An Affair of Dishonour; and it is certain that the book ranks higher in the estimation of intelligent readers than it did during the first months that followed its appearance. It is, in fact, a powerful story, told with great art; destined, I think, to have a permanent place in English fiction. It lacks the irresistible charm of the other books; but it is rich in vitality.

After reading the first four novels, I inquired of the author: “Why do you make elderly women so disgustingly unattractive? Does your sympathy with life desert you here?” And what an overwhelming reply I received in When Ghost Meets Ghost! Were there ever two such protagonists? Not elderly, but old—tremendously old, aged, venerable. And what floods of love and sympathy the novelist has poured out on these frail old waifs of time! How one feels, like a mighty stream running under and all through the course of this strange story, the indestructible power of the Ultimate Reality in the universe—Love, Love Divine.

This leads me to the final reflection that William De Morgan was not only an artist, and a novelist, and a humorist: he was also a philosopher. Each one of his stories has a special motif, a central driving idea. I mean that underneath all the kindly tolerance through which every great humorist regards the world, underneath all the gentle irony and the whimsicality, the ground of these books is profoundly spiritual.

William De Morgan, like his brilliant father, belonged to the believers, and not to the skeptics. He was of those who affirm, rather than of those who deny. He was a convinced believer in personal immortality, or “immortalism,” as he preferred to call it. He believed that all men and women have within them the possibility of eternal development; those whose souls develop day by day are “good” characters; those whose souls do not advance are “bad” characters. This is the fundamental distinction in his novels between folk who are admirable and folk who are not. In the fortieth chapter of Joseph Vance—a chapter that we ought to read over and over again—we find a sentence that, although spoken by one of the characters, reflects faithfully the philosophy of William De Morgan, who believed, with all his strength, in God the Father Almighty and in the Life Everlasting: “The highest good is the growth of the Soul, and the greatest man is he who rejoices most in great fulfilments of the will of God.”


Featured: “William De Morgan,” by Evelyn De Morgan; painted in 1909.

Stefan Zweig, Vienna and Times Past

The great Austrian writer Stefan Zweig (1881-1942) witnessed the end of a world, that of the Austro-Hungarian Empire and of a certain Europe that disappeared after the First World War.


Under his polite and elegant airs of a good-natured author, Stefan Zweig was part of the serious avant-garde, at the beginning of the 20th century, which shone in the most beautiful capital of Europe, Vienna. This placid, well-to-do, charming, happy, distinguished and successful author, from the Jewish and literate bourgeoisie—true to form, immaculately dressed, velvet eyes a little melancholic, trimmed moustache—lived on a volcano, in a Europe of crisis; knew the fall of the old Austrian Empire and the terrible First World War; then exile and the defeat of hope.

Of all the authors that Vienna produced, Zweig is the one who most illustrates the cosmopolitanism of a glittering intelligentsia, of an elite that was sure of itself and its qualities. A friend of Freud, Schnitzler, Richard Strauss, he was one of those writers, like Paul Morand, who saw Europe as a vast salon where life was lived in cafés; he spoke French like a native and thought of Venice as an archipelago. It is a higher cosmopolitanism which prolonged the Concert of Europe, that gallant Europe. A great friend of Emile Verhaeren, Romain Rolland and Paul Valéry, he conceived London as the center of his business affairs and Paris as the second homeland he knew in 1902, with its omnibuses and its carriages. Familiar with bookshops and concerts, a billiard player, a lover of unpublished manuscripts, walks in museums, women and Verlaine, his beloved poet—he lost himself happily in the vibrant whirl of beefsteak washed down with Brouilly and bistros on rue Campagne-Première. “For me, Paris is a reward;” everything was there.

In Zweig there is a tension between voluptas in motu, an infernal nomadism, and voluptas in stabilitate, pleasure and things; between movement and fixity; displacement and scrutiny. When he wants to write about Mary Stuart, he goes to London; he comes back to Paris to write about Marie Antoinette. Zweig could write without traveling. This tension is present in his work, but also in his life, the most striking synthesis of which is The World of Yesterday, a sort of autobiographical testament published in 1942. As he says in the preface, he seeks to recount “the destiny of a generation, our singular generation.”

The “volcanic” upheavals shook Europe, and it is up to Zweig to narrate them: “I was born in 1881 in a great and powerful Empire, the Habsburg Monarchy; but let no one look for it on the map; it has been erased without a trace.” The golden age of security. A nebula of artists, from Rilke to Mahler via the secessionists and Otto Wagner, participated in the greatness of the capital of an Empire that recognized its limits. It turned inward, shaping its own security, to be in the vanguard of the arts: “Austria no longer asserted political ambitions nor experienced particular success in its military ventures, so that patriotic pride was most strongly transferred to the desire to conquer artistic supremacy.” Who would have believed it—the Empire—in the image of old Franz-Josef—devoting itself to the Ver Sacrum, to new ideas, sensing the new sense of art.

Vienna

The whole of Vienna was frenzied in ebullition. “Live and let live” was the famous Viennese maxim “instead of this German value which finally poisoned and disturbed the existence of all other peoples.” Vienna of the cafés and of a triumphant, precocious youth, gifted for literature, love and the arts, like Hofmannsthal. The Jung-Wien. The brothels were an institution to which all youth rushed; syphilis, the mark of the Devil, condemned many talents to an early silence. Sexuality remained, although its era could no longer be considered pious, and tolerance was now a central value, tainted with an anarchic, disturbing aura that agitated modern minds of which Freud was the exorcist.

Music was a hard drug, where the simple mistake of a violinist at a concert was worth the disgrace for life in musical circles. Only accuracy. But already the inevitable First World War was on its way—the conclusion of national consciences all over Europe, from the Italy of the Risorgimento to the Austro-Hungarian Compromise of 1867. Austria, subjected to Prussia, qualified as vulgar and arrogant, submitted to a disgraceful alliance; the death of Franz-Ferdinand, if it was not synonymous with tragedy because the archduke, successor of the old emperor, was far from unanimous, led to war by a game of alliances that led to the intervention of France and England to the rescue of Serbia. “Es steht schlimmer als je, die Maschine ist doch schon im Gang—It is more serious than ever, the machine is already in motion.” It was the defeat of Europe, the end of empires, the fall of the dream into a generalized civil war.

Stefan Zweig had a delicate but also lively, almost dry and stripped writing style, a style with a light, concise and efficient smile that he shares with Arthur Schnitzler, and a style which cultivates this feeling of erosion, this motif of the irremediable flaw dear to decadentists like Catulle Mendès. Zweig’s fragrant, pleasant style cuts like a scalpel, butchers the heart of man. Unlike his friend Josef Roth, he does not have a talent for lyricism and the burlesque, as one can find in The Radetzky March, a novel of collapse, a roman à thèse and a comic-tragic novel about the saga of the overturned world of the von Trottas.

Zweig’s novels are lively, with a talent for finesse. Noteworthy is Confusion. A university student recalls the memory of his philology professor who opened up the ways of the mind to him. Beyond the love of study, this text evokes the bond between two men and the ambiguities which agitate against the morals, the law and in the glances of others. The professor has a double and disconcerting attitude towards the student—sometimes he lets him get close to him, sometimes he coldly pushes him away. This behavior plunges the student into a deep confusion that quickly turns into a great torment.

This work, praised by Freud, has a recurrent logic: to highlight internal struggles, triggered by an external event. This logic is present in Twenty-Four Hours in the Life of a Woman, the story of a young woman who runs away from her world with a young man she met only one day before. The comments of the narrator and an elderly English woman go to great lengths to describe the fires and consuming passions which, despite the extinguished embers, still stir the purest of hearts.

Zweig also excelled in the art of biographical portraiture, to discover the key to genius and its mysteries. A gallery could well be made of his portraits in the Louvre or the Prado. Nietzsche describes the philosopher as the martyr of the world, a man who gives birth to his ideas in pain, a man of nerves of steel ready to break, with a head boiling like a still. His Magellan fires the imagination, with the tough and courageous adventure of a gentle dreamer; his Balzac is a monument to creative force; Tolstoy traces the how and why of a mystical conversion of a writer at the height of his fame.

The End of a World

Yes, yesterday’s world is over. In 1916 the old emperor died. In 1918 the Empire became a federal republic, gangrened by socialism. In 1938 it was annexed to the German Reich as a large province of the empire. What disgrace! Zweig, so quick to detect the perversities of the heart, but not very lucid in politics, did not see the rise of Nazism. In Salzburg, he saw nothing of Hitler’s rise to power, whereas Josef Roth, a supporter of the restoration of the Empire, had already in 1938 in The Emperor’s Tomb identified the appearance of men in black uniforms, Hugo Bosses swarming the cafés. The eagle flags, yellow and black, were replaced by swastika flags on a red background.

Zweig believed that the order of history would get rid of Hitler without any drama. That was Zweig’s big mistake. Then came exile. Farewell to the Europe that was disappearing. Hofmannsthal died in 1929. Schnitzler in 1931. Roth in 1939.

After exile in London, here he was, lost at the other end of the world, in Brazil, in Petrópolis.

In 1942, in good health but consumed by the black bile buried in his heart, he committed suicide with his wife, in despair at seeing his world collapse, which would never recover and whose resurrection is impossible.

Fortunes and misfortunes carried off Zweig. The society he loved so much has disappeared, but his words yet preserve that world’s likeness and its core essence.


Nicolas Kinosky is at the Centres des Analyses des Rhétoriques Religieuses de l’Antiquité. This articles appears through the very kind courtesy La Nef.


Featured: Stefan Zweig in Rio de Janeiro, 1936.

Francis Thompson: Three Poems

Francis Thompson (1859–1907) was an English poet and Catholic mystic whose work outlines the numinous basis of reality. His work has been neglected of late and needs to be more widely read. The selection that follows is from a collection entitled, Poems, which was published in 1909.


Before Her Portrait in Youth

As lovers, banished from their lady’s face
      And hopeless of her grace,
Fashion a ghostly sweetness in its place,
      Fondly adore
Some stealth-won cast attire she wore,
      A kerchief or a glove:
      And at the lover’s beck
   Into the glove there fleets the hand,
   Or at impetuous command
Up from the kerchief floats the virgin neck:
So I, in very lowlihead of love,—
      Too shyly reverencing
   To let one thought’s light footfall smooth
Tread near the living, consecrated thing,—
   Treasure me thy cast youth.
This outworn vesture, tenantless of thee,
      Hath yet my knee,
   For that, with show and semblance fair
      Of the past Her
Who once the beautiful, discarded raiment bare,
      It cheateth me.
   As gale to gale drifts breath
   Of blossoms’ death,
p. 4So dropping down the years from hour to hour
   This dead youth’s scent is wafted me to-day:
I sit, and from the fragrance dream the flower.
      So, then, she looked (I say);
      And so her front sunk down
Heavy beneath the poet’s iron crown:
      On her mouth museful sweet—
      (Even as the twin lips meet)
      Did thought and sadness greet:
         Sighs
      In those mournful eyes
   So put on visibilities;
As viewless ether turns, in deep on deep, to dyes.
      Thus, long ago,
She kept her meditative paces slow
Through maiden meads, with wavèd shadow and gleam
Of locks half-lifted on the winds of dream,
Till love up-caught her to his chariot’s glow.
Yet, voluntary, happier Proserpine!
      This drooping flower of youth thou lettest fall
      I, faring in the cockshut-light, astray,
         Find on my ’lated way,
      And stoop, and gather for memorial,
And lay it on my bosom, and make it mine.
To this, the all of love the stars allow me,
      I dedicate and vow me.
      I reach back through the days
A trothed hand to the dead the last trump shall not raise.
      The water-wraith that cries
From those eternal sorrows of thy pictured eyes
Entwines and draws me down their soundless intricacies!

“Manus animam pinxit”

Lady who hold’st on me dominion!
Within your spirit’s arms I stay me fast
      Against the fell
Immitigate ravening of the gates of hell;
And claim my right in you, most hardly won,
Of chaste fidelity upon the chaste:
Hold me and hold by me, lest both should fall
(O in high escalade high companion!)
Even in the breach of Heaven’s assaulted wall.
Like to a wind-sown sapling grow I from
The clift, Sweet, of your skyward-jetting soul,—
Shook by all gusts that sweep it, overcome
By all its clouds incumbent: O be true
To your soul, dearest, as my life to you!
For if that soil grow sterile, then the whole
Of me must shrivel, from the topmost shoot
Of climbing poesy, and my life, killed through,
Dry down and perish to the foodless root.

Sweet Summer! unto you this swallow drew,
By secret instincts inappeasable,
      That did direct him well,
p. 9Lured from his gelid North which wrought him wrong,
      Wintered of sunning song;—
By happy instincts inappeasable,
      Ah yes! that led him well,
Lured to the untried regions and the new
      Climes of auspicious you;
To twitter there, and in his singing dwell.
      But ah! if you, my Summer, should grow waste,
      With grieving skies o’ercast,
For such migration my poor wing was strong
But once; it has no power to fare again
      Forth o’er the heads of men,
Nor other Summers for its Sanctuary:
      But from your mind’s chilled sky
It needs must drop, and lie with stiffened wings
      Among your soul’s forlornest things;
A speck upon your memory, alack!
A dead fly in a dusty window-crack.

         O therefore you who are
      What words, being to such mysteries
      As raiment to the body is,
         Should rather hide than tell;
      Chaste and intelligential love:
         Whose form is as a grove
Hushed with the cooing of an unseen dove;
Whose spirit to my touch thrills purer far
Than is the tingling of a silver bell;
Whose body other ladies well might bear
As soul,—yea, which it profanation were
p. 10For all but you to take as fleshly woof,
      Being spirit truest proof;
Whose spirit sure is lineal to that
      Which sang Magnificat:
         Chastest, since such you are,
         Take this curbed spirit of mine,
Which your own eyes invest with light divine,
For lofty love and high auxiliar
         In daily exalt emprise
         Which outsoars mortal eyes;
      This soul which on your soul is laid,
      As maid’s breast against breast of maid;
Beholding how your own I have engraved
On it, and with what purging thoughts have laved
This love of mine from all mortality
Indeed the copy is a painful one,
         And with long labour done!
O if you doubt the thing you are, lady,
         Come then, and look in me;
Your beauty, Dian, dress and contemplate
Within a pool to Dian consecrate!
Unveil this spirit, lady, when you will,
For unto all but you ’tis veilèd still:
Unveil, and fearless gaze there, you alone,
And if you love the image—’tis your own!

This image has an empty alt attribute; its file name is curlicue.jpg

The Hound of Heaven

I fled Him, down the nights and down the days;
   I fled Him, down the arches of the years;
I fled Him, down the labyrinthine ways
   Of my own mind; and in the mist of tears
I hid from Him, and under running laughter.
               Up vistaed hopes, I sped;
               And shot, precipitated
Adown Titanic glooms of chasmed fears,
   From those strong Feet that followed, followed after.
               But with unhurrying chase,
               And unperturbéd pace,
      Deliberate speed, majestic instancy,
               They beat—and a Voice beat
               More instant than the Feet—
      “All things betray thee, who betrayest Me.”

               I pleaded, outlaw-wise,
By many a hearted casement, curtained red,
   Trellised with intertwining charities;
(For, though I knew His love Who followéd,
               p. 49Yet was I sore adread
Lest, having Him, I must have naught beside)
But, if one little casement parted wide,
   The gust of His approach would clash it to
   Fear wist not to evade, as Love wist to pursue.
Across the margent of the world I fled,
   And troubled the gold gateways of the stars,
   Smiting for shelter on their changèd bars;
               Fretted to dulcet jars
And silvern chatter the pale ports o’ the moon.
I said to dawn: Be sudden—to eve: Be soon;
   With thy young skiey blossoms heap me over
               From this tremendous Lover!
Float thy vague veil about me, lest He see!
   I tempted all His servitors, but to find
My own betrayal in their constancy,
In faith to Him their fickleness to me,
   Their traitorous trueness, and their loyal deceit.
To all swift things for swiftness did I sue;
   Clung to the whistling mane of every wind.
         But whether they swept, smoothly fleet,
      The long savannahs of the blue;
               Or whether, Thunder-driven,
         They clanged his chariot ’thwart a heaven,
Plashy with flying lightnings round the spurn o’ their feet:—
   Fear wist not to evade as Love wist to pursue.
         Still with unhurrying chase,
         And unperturbèd pace,
   Deliberate speed, majestic instancy,
            p. 50Came on the following Feet,
            And a Voice above their beat—
      “Naught shelters thee, who wilt not shelter Me.”

I sought no more that, after which I strayed,
      In face of man or maid;
But still within the little children’s eyes
      Seems something, something that replies,
They at least are for me, surely for me!
I turned me to them very wistfully;
But just as their young eyes grew sudden fair
      With dawning answers there,
Their angel plucked them from me by the hair.
“Come then, ye other children, Nature’s—share
With me” (said I) “your delicate fellowship;
      Let me greet you lip to lip,
      Let me twine with you caresses,
            Wantoning
      With our Lady-Mother’s vagrant tresses,
            Banqueting
      With her in her wind-walled palace,
      Underneath her azured daïs,
      Quaffing, as your taintless way is,
            From a chalice
Lucent-weeping out of the dayspring.”
            So it was done:
I in their delicate fellowship was one—
Drew the bolt of Nature’s secrecies.
      I knew all the swift importings
      On the wilful face of skies;
      p. 51I knew how the clouds arise
      Spumèd of the wild sea-snortings;
            All that’s born or dies
      Rose and drooped with—made them shapers
Of mine own moods, or wailful or divine—
      With them joyed and was bereaven.
      I was heavy with the even,
      When she lit her glimmering tapers
      Round the day’s dead sanctities.
      I laughed in the morning’s eyes.
I triumphed and I saddened with all weather,
      Heaven and I wept together,
And its sweet tears were salt with mortal mine;
Against the red throb of its sunset-heart
            I laid my own to beat,
            And share commingling heat;
But not by that, by that, was eased my human smart.
In vain my tears were wet on Heaven’s grey cheek.
For ah! we know not what each other says,
      These things and I; in sound I speak—
Their sound is but their stir, they speak by silences.
Nature, poor stepdame, cannot slake my drouth;
      Let her, if she would owe me,
Drop yon blue bosom-veil of sky, and show me
      The breasts o’ her tenderness:
Never did any milk of hers once bless
               My thirsting mouth.
               Nigh and nigh draws the chase,
               With unperturbèd pace,
      Deliberate speed majestic instancy
               p. 52And past those noisèd Feet
               A voice comes yet more fleet—
   “Lo! naught contents thee, who content’st not Me.”

Naked I wait Thy love’s uplifted stroke!
My harness piece by piece Thou hast hewn from me,
               And smitten me to my knee;
      I am defenceless utterly,
      I slept, methinks, and woke,
And, slowly gazing, find me stripped in sleep.
In the rash lustihead of my young powers,
      I shook the pillaring hours
And pulled my life upon me; grimed with smears,
I stand amid the dust o’ the mounded years—
My mangled youth lies dead beneath the heap.
My days have crackled and gone up in smoke,
Have puffed and burst as sun-starts on a stream.
      Yea, faileth now even dream
The dreamer, and the lute the lutanist;
Even the linked fantasies, in whose blossomy twist
I swung the earth a trinket at my wrist,
Are yielding; cords of all too weak account
For earth with heavy griefs so overplussed.
      Ah! is Thy love indeed
A weed, albeit an amaranthine weed,
Suffering no flowers except its own to mount?
      Ah! must—
      Designer infinite!—
Ah! must Thou char the wood ere Thou canst limn with it?
p. 53My freshness spent its wavering shower i’ the dust;
And now my heart is as a broken fount,
Wherein tear-drippings stagnate, spilt down ever
      From the dank thoughts that shiver
Upon the sighful branches of my mind.
      Such is; what is to be?
The pulp so bitter, how shall taste the rind?
I dimly guess what Time in mists confounds;
Yet ever and anon a trumpet sounds
From the hid battlements of Eternity,
Those shaken mists a space unsettle, then
Round the half-glimpsèd turrets slowly wash again;
      But not ere him who summoneth
      I first have seen, enwound
With grooming robes purpureal, cypress-crowned;
His name I know, and what his trumpet saith.
Whether man’s heart or life it be which yields
      Thee harvest, must Thy harvest fields
      Be dunged with rotten death?
            Now of that long pursuit
            Comes on at hand the bruit;
      That Voice is round me like a bursting sea:
            “And is thy earth so marred,
            Shattered in shard on shard?
      Lo, all things fly thee, for thou fliest Me!

      “Strange, piteous, futile thing!
Wherefore should any set thee love apart?
Seeing none but I makes much of naught” (He said),
“And human love needs human meriting:
      p. 54How hast thou merited—
Of all man’s clotted clay the dingiest clot?
      Alack, thou knowest not
How little worthy of any love thou art!
Whom wilt thou find to love ignoble thee,
      Save Me, save only Me?
All which I took from thee I did but take,
      Not for thy harms,
But just that thou might’st seek it in My arms.
      All which thy child’s mistake
Fancies as lost, I have stored for thee at home:
      Rise, clasp My hand, and come.”

            Halts by me that footfall:
            Is my gloom, after all,
      Shade of His hand, outstretched caressingly?
            “Ah, fondest, blindest, weakest,
            I am He Whom thou seekest!
      Thou dravest love from thee, who dravest Me.”


Featured: “The Mystical Flower,” by Tintoretto; painted ca. 1588.