On the nature of the gods by Cicero – 2

‘It is the task of philosophy to dispel errors so that when we talk about the immortal gods we may say only what is worthy of them.’
(Gaius Aurelius Cotta, page 219, book III, On the nature of the gods)

On the nature of Cicero’s books

Cicero’s books are extremely argumentative. By which I mean that there are no descriptive or literary passages, only the briefest autobiographical passage at the start and then – bang! – straight into 150 pages of non-stop, unrelenting argumentation. Every paragraph is arguing a point, and he sometimes makes two or 3 points on a page. On the nature of the gods is only 150 or so pages long in the Penguin paperback edition but every page is crammed with a non-stop barrage of arguments, proofs and refutations.

The one really obvious attraction of these ancient texts is that they are accessible. By that I mean that the protagonists in a text like this use examples and ideas which are completely understandable by the man or woman in the street. Unlike modern philosophy there is a complete absence of: maths and maths-style logic (as found in analytical and logical philosophy); specialised technical terms; and, above all, the clutter and detritus of hundreds of other philosophical schools which have arisen over the past 2,000 years and left their semantic and conceptual wreckage strewn across the intellectual landscape.

Instead, the three protagonists in this dialogue about the nature of the gods almost entirely use ordinary language and everyday examples to make their points. For example when Velleius says that, if God only decided to make the universe, the sun and the moon and so on at some point into infinite time, does that mean that up till that moment he had been living in darkness like a pauper in a hovel? There is a lot more like this, a lot more crude sarcasm and taunting and ridiculing than you might expect in a ‘philosophical’ work.

(Actually, that’s not strictly true: from time to time the speakers use philosophical terms coined by the original Greek philosophers. Not many and not often, though.)

The result is twofold: although a lot of the arguments come across as wrong, superficial and bizarre, nonetheless it is easy to read and enjoyable to follow the flow of each speaker’s case. The editor, J.M. Ross, points out that the text is very uneven, with chunks missing, other bits arranged in what seem to be the wrong order, with the protagonists failing to address each other’s points or wandering off the subject altogether. But this makes it all the more entertaining, like listening to a tipsy polymath holding forth at a dinner party or at the bar. I think of the comic monologues of entertainers of my youth like Victor Borge or Peter Ustinov. The combination of serious points embellished with ridicule and exaggeration are frequently more reminiscent of a comic monologue than a work of ‘philosophy’.

It also gives the book a pleasing naivety. Coming to Cicero after trying to read Derrida or Habermas is like walking from an intense undergraduate seminar down the corridor into the creche where a load of toddlers are playing with lego.

Three speakers

As explained before, the text is conceived as presenting three speakers, each of whom is a star representative of the three main philosophical schools of Cicero’s day – Epicurean, Stoic, Academic. There were many other minor schools but as his book is focusing on the specific questions of a) whether there are gods and b) what they’re like and c) how we should behave regarding them, Cicero only needed three positions or attitudes. The three interlocutors are:

  • Gaius Velleius who represents the Epicurean point of view
  • Quintus Lucilius Balbus who propounds the Stoic point of view
  • Gaius Aurelius Cotta who represents the Academic point of view

The three positions can be summarised as:

  • atheist / Epicurean (no gods or, if gods, no intervention in human affairs)
  • providence / Stoic (gods exist and are identical with nature, with the visible universe and its laws)
  • sceptic (voicing objections to both the above to arrive at a ‘common sense’ view of the existence of the gods and the reverence due them)

In what follows I’m not going to give an exhaustive summary of all the points made by all the speakers, just the ones which came over to me as important or interesting or quirky.

Introduction

In the brief introduction Cicero makes a couple of points which will recur throughout the book:

Cicero takes it as axiomatic that there are gods. Only a fool or anarchist would be an atheist. Belief in the existence of the gods follows from two key axioms:

1. All of history and all of anthropology suggests that all humanity is naturally and innately inclined to believe in gods. And this universal predilection is taken as incontrovertible proof.

2. Religious belief and practice are the vital glue holding society together and underpinning all moral and social values, underpinning interpersonal ethics and the rule of law and justice.

When piety goes, religion and sanctity go with it. And when these are gone, there is anarchy and complete confusion in our way of life…If our reverence for the gods were lost, we should see the end of good faith, of human brotherhood, and even of justice itself, which is the keystone of all the virtues. (I.2)

So although all three speakers may at points touch on the logical possibility of there being no gods, none of them actually propounds this view. Possibly this was also because, although there was no actual law against atheism, nonetheless Greek thinkers who had propounded atheism had been vilified. Cotta gives the example of Protagoras of Abdera who wrote in a book that he was not able to say whether the gods existed or not, and was as a result banished from the city and his works burned in public. Cicero himself had been elected a member of the College of Augurs in 53 BC and so was responsible for performing various religious duties in public. As he has Cotta say:

I myself hold a religious office and I believe that public religious worship and ritual ought to be reverently observed. (p.94)

If his book had openly espoused atheism, presumably he would have been sacked from that job and maybe faced further sanctions. So hidden behind the civilised chat of our three protagonists lurks a coercive social threat. (The notion that it is ‘prudent’ to profess belief in the gods is repeated on pages 104, 120 and 193.)

1a. Gaius Velleius and the Epicurean view of the gods (pages 77 to 92)

Rubbishing the opposition

A good deal of Velleius’s discourse consists of stating, then rubbishing, Stoic and other Greek philosophical views.

Velleius kicks off by rubbishing Stoic-style notions that the universe was built by a master artificer, the view put forward by Plato in his dialogue Timaeus. Can anyone actually imagine that happening? What tools did he use, what levers and pulleys and scaffolding? How came earth and air and fire and water to obey his commands?

Plato makes the world a manufactured article but he contradicts himself by saying the universe was made but at other points saying it is eternal.

We know time is infinite, eternal. Therefore the universe was created some point into infinite time. It had a beginning. Why? Why create it just at that moment? What triggered this sudden decision? What prompted God to decorate the universe with pretty lights like ‘some Minister of Public Works’? Is it because the world was created for the benefit of the wise? Then surely, never was so much trouble gone to to please so few.

Also: if the universe had a beginning, it must also have an ending.

How can the universe be a conscious being?

He mocks people who say the universe is a great consciousness, one conscious and immortal being (i.e. Stoics). They have no idea what consciousness is. They are ‘stupid’. Plato says the universe must be a sphere because the sphere is ‘the perfect shape’. How childish. He also says it must be spinning. If this sphere is conscious and is spinning at high speed, doesn’t God get giddy? And if the universe is ‘conscious’ some parts of the world are freezing ice caps, some parts are burning desert. So doesn’t it follow that god is roasting on one place and freezing in another?

Listing and rubbishing all other philosophers

Velleius then gives a long list of Greek philosophers starting with Thales, devoting a paragraph to summarising their chief contribution and then dismissing it with a sentence, being: Thales, Anaximander, Anaximenes, Anaxagoras, Alcmeon, Pythagoras, Xenophanes, Parmenides, Empedocles, Protagoras, Democritus, Diogenes, Plato, Xenophon, Antisthenes, Speusippus, Aristotle, Xenocrates, Heraclides, Theophrastus, Strato, Zeno (father of Stoicism), Aristo, Cleanthes, Persaeus, Chrysippus, Diogenes of Babylon, and more.

In his introduction Ross describes this list as an irritating digression which the reader can skip but, on the contrary, I found it an enjoyable and informative overview. Above all it is a useful counter to Cicero’s structural claim that there are only 3 schools of philosophy. On the contrary, this list demonstrates the huge jungley undergrowth of Greek philosophical opinions.

Rubbishing Aristotle

Velleius castigates Aristotle for holding at least three separate views: in one place attributing divinity to mind only, in another saying the entire universe is God, in another setting God above the universe with the power to order all its motions; in yet another claiming the fiery ether is God, so how does that square with the entire universe being God? And if heaven is a God where do the gods reside? Anyway, how could the heavens, in their endless fast revolutions around the earth, maintain consciousness worthy of a god? And if God is bodiless how can he be in motion?

See what I mean by argumentative? In just one paragraph Velleius rubbishes 9 theological propositions of Aristotle. So this list of silly philosophers also feeds into Cicero’s Academic scepticism by demonstrating what a range of absurd and contradictory opinions have been held by such ‘clever’ people. Velleius calls them ‘the fantasies of lunatics’, no better than the fictions of the poets and the wonders of the magicians.

Velleius’s exposition of Epicurus (pages 87 to 92)

Epicurus thought the gods must exist because nature has imprinted an idea of them in the minds of all mankind. This is one of the fundamental axioms of human thought without which there can be no knowledge, rational thought or argument. It is the basis of a firm and continuing consensus.

The same nature which imprints this idea also imprints the notion that they are blessed and immortal. If this is so, the gods must be free from care, anxiety and other human emotions, and must cause no care or anxiety in others i.e. mortals.

The logical consequence of this is that a) the gods deserve reverence as everything which is excellent deserves reverence, but b) we need not fear the gods because blessed and immortal beings have no motive to cause anxiety and fear in others (p.89). This is the core aim of Epicureanism – to banish anxiety, fear, worry and care from its followers.

The gods have human form

Evidence for this includes:

  1. The universal conviction of all humanity i.e. nature has implanted this idea in all human minds.
  2. Because the divine nature is perfect, it must be clothed in the most perfect form and what form is more perfect and beautiful than the human body?
  3. Reason cannot dwell in any other form but the human form.

He gives a good example of the poor, biased and sometimes absurd arguments used throughout the book when he claims that: everyone agrees that the gods are happy, and no happiness is possible without virtue, and there is no virtue without reason, and reason is associated only with the human form: therefore, the gods must have human form. Cotta picks up on this sentence to point out that the final link – that reason is only associated with the human form – does not follow but is willed (p.104 and p.114).

BUT individual human bodies are fallible, vulnerable, age and die. Not so immortal bodies. Therefore the gods have the shape of human bodies but not actual human flesh and blood.

The gods are blissfully detached

Happiness is a state of rest. The gods do not strive and work. They have attained stasis, contemplating their own holiness and wisdom (which sounds very Buddhist). Therefore they have no involvement whatsoever in the world of men, which would involve them in anxiety and endeavour.

A being which is blessed and immortal is itself without cares and brings no cares to others. (p.104)

The universe was created by natural causes

Rather than created by some God, the universe came into being quite naturally by the clash of the infinite number of atoms falling infinitely through infinite space, banging into each other, congealing and constellating. No need for any God labouring away with levers and pulleys.

Thus there is no overseeing God, no God involved in creating the universe, it and everything in it have developed by natural processes. Thus there is no reason to be afraid of a curious god poking and prying into our lives, ‘a busybody god’.

Velleius’s conclusion

Epicurus has saved us from all such fears and set us free, so that we have no terror of the gods, whom we know neither devise any mischief for themselves nor seek to bring it upon others. And so with reverence and awe we worship them in their divine perfection. (p.92)

1b. Cotta’s refutation of Velleius (pages 93 to 120)

Cotta the sceptic is ‘one of those who can more easily see why something is false than true’. Cicero, rather unfairly, gives more space to Cotta’s demolition of Velleius than to the former’s main exposition. Cotta calls Velleius’s Epicurean views ‘irresponsible and ridiculous’.

1. Velleius’s main argument for the existence of the gods is that ‘all mankind’ believes in them. Well, how does he know the opinion of all mankind? There may be any number of wild and primitive peoples who don’t believe in gods, how can he know? Also, there is a record of known philosophers in Greece who have been out-and-out atheists; it doesn’t take many instances to disprove a claim to universality.

2. Cotta comes down hard on Velleius’s theory of atoms endlessly falling in infinite space, whose collisions eventually give rise to matter and the universe. Cotta denies the existence of atoms but says that, even if they existed, the notion that from sheer chance they have created the universe and all the order and regularity and life forms which we observe is ridiculous (p.114). The entire cock and bull theory is a working backwards from the necessary core of Epicureanism i.e. the non-intervention of the gods.

More fatally, if everything is made of atoms then the gods are made of atoms too and can be dissolved as easily as they came into being. If they had a beginning they must have an end: so how can they avoid anxiety about death and dissolution? (p.115)

3. Cotta ridicules Epicurus for saying that the gods must have a human body, as that is the highest form of perfection, and yet it is not actually a body because that is subject to decay – so they have something like a body but not subject to decay. Velleius criticised all other philosophers for their absurdities; Cotta calls Epicurus’s ideas ‘fanciful dreams’.

The notion that the gods must have human form is the product of:

  • superstitious minds who created phantom images of the gods because it was easy
  • poets and painters who need to work with something tangible, and therefore promoted the idea of gods having bodily form
  • humanity’s bias or prejudice towards thinking itself fabulous and the highest of all possible life forms; it is a form of narcissism; anthropomorphism (“the attribution of human traits, emotions, or intentions to non-human entities. It is considered to be an innate tendency of human psychology.”)

Are the gods different as human beings are different, one from another? In which case, how can they be perfect? Surely there is only one model of perfection and all gods ought to embody it?

Anyway, it’s not true to say that all cultures envision the gods in human form: the Egyptians envision gods as animals (dog, crocodile, jackal, cat), as do many other cultures.

Similarly, is there a fixed number of gods with fixed identities? Because a) all cultures appear to have their own gods and b) many gods who are recognisably the same (king of the gods, queen of the gods, god of war, god of love) seem to have multiple names.

‘Do you really think that a god looks like me or like you? The fact is, you have no idea.’ (p.103)

Epicurus appears to say that there is no causal link between humans looking like gods and gods having human form, that both are just accidents of the infinite interaction of an infinite number of atoms in infinite space. This is a ridiculous assertion.

If the gods are so powerful why do they need bodies at all? Why do they need hands or feet or limbs let alone the complex internal organs? If they have godly powers they have no need of all these clumsy encumbrances. If they have bodies the gods would have to walk and climb and bend and stoop. they would have to eat and drink and pee and defecate. If they have the usual organs of generation they would have sex, with all the indignity that implies.

If the gods are vastly superior to us in mind and reason why shouldn’t they be similarly superior to us in body, inhabiting bodies whose shape and powers we can’t even conceive of?

Cotta ridicules the notion of the gods’ detachment. Even idle children get up to games. No human can rest idle indefinitely. What is the point of having the body he insists they have, if they don’t use them?

All creatures, all living things, have a sphere of operation within which they live and are active. Where is the gods’ sphere? To what objects do they use their mind and intelligence. If they know everything their minds are, in a sense, empty, because unexercised.

Velleius had said that the gods are happy because they have achieved the height of virtue. But virtue doesn’t mean anything unless it is tested in action i.e. someone has a choice of actions and decisions and acts accordingly. But Epicurus’s gods do not act in any way. Therefore they do not exercise virtue. Therefore they cannot be happy. Humans exercise decision and judgement all the time, therefore are more able to behave virtuously, therefore humans must be happier than the gods (p.115).

Epicurus derives all happiness, ultimately, from bodily pleasure (hence his reputation). Yet the gods have no bodies in the flesh and blood human sense and so cannot experience pleasure in the Epicurean sense and so cannot by happy (p.116).

Cotta attacks the Innate Theory i.e. that the notion of the gods is a universal aspect of human nature so must be true. Because plenty of other ideas and notions seem to be universal. Are they also true? And our minds can conceive and imagine all manner of things and situations. Are they all true, too?

Epicureanism undermines reverence for the gods

What reverence is due to beings who have never done anything and will never do anything? What reverence do we owe beings who have never done anything for us and never will? Piety is a bond but what bond can there be for beings who never interact? Why should we thank the gods if they have never done anything for us?

This undermining of any reason for humans to reverence or worship the gods in effect destroys religion.

One of the noblest qualities of people is their love and affection for others. Epicurus’s gods have no interest in anyone or anything else at all, but sit perfectly passively uninvolved with anything contemplating their own sterile ‘happiness’. This is to take away the ‘graciousness’ which is the highest attribute of humanity.

Compare and contrast with the doctrine of the Stoics that we should love all good and honest people as ourselves. Epicurean detachment teaches a terrible ethical lesson. A true human friendship is free and selfless. The love and selflessness of the gods ought to be that much superior to human love, yet Epicurus strips his gods of all fine feelings.

Cotta concludes by saying the whole tendency of Epicurus’s thought is atheist, he just tacked on his incoherent ‘defence’ of his very peculiar conception of the gods ‘in order to avoid the odour of atheism’. He was merely paying lip service to the gods that he had actually destroyed (p.120).

Summary of Velleius

Having read it twice I can see how Velleius’s points of view, with all their distortions of fact, the weird atomic theory and the, in the end, weird view of gods who are utterly detached from the world – I can see how these are all the tortured consequences of a reasonable premise and intention which was to free human beings from fear and anxiety.

As a philosophy it appeals to those who seek an oriental-style detachment from involvement in the trials and tribulations of life and instead seek detachment and calm.

Its weak spots are its implausible atomic theory about the creation of not one but infinite universes; and its bloodless vision of gods which are supposedly made in human form and yet utterly lifeless, like beautiful shop window mannequins.

2. Balbus’s presentation of the Stoic view of the gods (pages 123 to 190)

Balbus says he can divide Stoic views into 4 areas. The Stoics:

  • teach that divine beings exist
  • explain their nature
  • describe their government of the world
  • show how they care for mankind

The Argument from Design

If Velleius rested his case on the universal innate conviction of the gods’ existence, Balbus bases his on the Argument from Design. Look up at the sky and survey the beauty of the heavens. What more proof do you need that god exists? You might as well doubt the existence of the sun. Both god and the sun are as obvious to our senses. (It was to refute this age-old argument that Richard Dawkins wrote his long argumentative book The Blind Watchmaker.)

As ancient superstitions are sloughed off, true religion is growing more popular with every day. Balbus bases this assertion on:

  • the intervention of the gods in human history, especially at key moments of Roman history
  • predictions and prophecies
  • the special level of piety of the ancient Romans (like everyone in antiquity, Balbus thinks things, in this case religious piety, have declined in his day)

The proof of prophecies and soothsaying is that they have accurately predicted the future. Plenty of evidence from Rome’s history. So who can doubt the gods exist if they send messages?

‘Beings who do not exist can send us no messages. But the gods do have their prophets and messengers. So how can we deny they exist.’ (p.128)

The state prospers only under the guidance of men of religious faith.

In fact Balbus then echoes Velleius’s nostrum: The existence of gods is inscribed on the human mind from birth (p.128). Thus there is no debate about the existence of gods, only about their nature.

Cleanthes speaks of 4 influences which have formed men’s images of gods:

  1. the power and evidence and proof of divination and prophecy
  2. the blessings of a temperate climate and fertile soil
  3. the awe inspired by natural phenomena such as storms, hailstorms, blizzards, floods, plagues, earthquakes etc
  4. the regularity of the motion of the heavenly bodies. Movements so vast and purposive and regular must be guided and controlled by a divine intelligence. He lists the motion of the sun and moon and stars and the tides and oceans and says none of this would work unless it were powered by a divine and omnipotent spirit. These are all variations on the Argument from Design (p.129).

Only an arrogant fool would think there is nothing in the universe smarter than him. Therefore there must be something greater than Man. And that something must be God.

There is nothing more beautiful or perfect in the world than Reason or mind or intellect. The universe is perfect. Therefore the universe must be possessed of reason i.e. be rational. All natural laws, the passage of the seasons etc etc all these bespeak ‘the planning of a divine and omnipresent spirit’ (p.131).

The universe and God are one. He cites arguments formulated by Zeno of Citium, founder of Stoicism.

If a being is without consciousness then every part of it must be without consciousness. But some parts of the universe are conscious beings, therefore the entire universe as a whole must be a conscious being. Therefore the universe is a living intelligence.

The universe must be a rational being and the nature which permeates all things must be endowed with reason in its highest form. So God and the world of Nature must be one and all the life of the world must be contained within the being of God. As the universe is surely superior to any other being, then it must be endowed with reason. ‘The universe was endowed with wisdom from eternity and is itself divine.’ (p.137).

There is no quality higher than goodness and nothing more perfect than the universe. Therefore goodness must be a characteristic of the universe. (p.138)

[Pages 141 to 145 consist of a sluggish digression on astronomy i.e. the movements of the planets and stars.]

He then argues that the sun must be a conscious rational being, and so are all the stars, as proved by the regularity of their motions. The stars move of their own free will and motivated by their own intelligence – what other force could move them so efficiently?

I cannot understand this regularity in the stars, his harmony of time and motion in their various orbits through all eternity, except as the expression of reason, mind and purpose in the planets themselves, which we must therefore reckon in the number of the gods. (p.145)

At which point he makes the leap that the fact that the gods exist is so obvious that anyone who disagreed must be mad (p.141). Anyone who looks up and observes the beautiful order and regularity of the movement of the stars and doesn’t feel the power of God must be out of his mind (p.145, repetition of p.124).

As we have an innate idea in our minds that God must be a living God and supreme above all else in the world, there seems to me nothing more consonant with this idea than to recognise the whole universe, than which there can be nothing more sublime, as being the living God. (p.141)

The gods just exist because there must be some supreme being which is superior to all else. 

Another reason is that, although all men acknowledge the existence of the gods, to give them human form is to assign them limitations and imperfections. This, also, is an argument for equating God with the entire universe.

Balbus argues that the gods don’t of course have the form of humans with all the frailties and limitations that implies. The traditional names of the gods embody qualities of the universe which are gifts to humankind and which we ought to worship (p.147).

[Pages 147 to 151 consist of a digression on the etymology of the names of the gods.]

On the providence of the gods

Balbus then sets out to prove that the world is governed by the wisdom and foresight of the gods.

My belief is that the universe and everything in it has been created by the providence of the gods and is governed by their providence through all eternity. (p.154)

Stoics like him give three reasons:

  1. if you grant the existence of gods, you must grant their providence
  2. all things are ordered by a sentient natural power impelling them towards their own perfection
  3. the wonders of the earth and sky (Argument from Design)

1. All men acknowledge that the gods exist. If they exist, they must be active. What kind of activity could be better than the government of the world. Therefore the world is governed by the wisdom of the gods (p.154). There is nothing greater or more wonderful than the universe. Therefore it must be governed by the wisdom and foresight of the gods (p.156).

2. Nature is a principle of reason which pursues its own methodical course. His explanation of nature/God is based on the ancients’ belief that the world was made of four elements (earth, air, water, fire) and theories about reason and mind, all of which are twaddle, so it’s difficult to follow in its complexity something you know is rubbish. A central problem is the interchangeability of the words universe’ and ‘nature’ throughout this book.

  • Nature is the power which rules the universe.

There follows an extended passage (pages 161 to 177) describing the wonders of the stars and the planets and the sun and then of geography (seas and rivers and forests and deserts) and then a lot of ‘wonders’ of the natural world, every one of which Balbus recruits as evidence for his simple-minded insistence that every single one proves the universe is controlled by an intelligent and caring providence.

From all this evidence we must conclude that everything in the world is marvellously ordered by divine providence and wisdom for the safety and protection of us all. (p.177)

Wrong. The ludicrously naive self-centredness of this view becomes apparent when he goes on to ask for whom all this wonder was laid on? Well, obviously not for the lifeless rocks or even for mindless animals. Obviously for those with mind and reason, ta-dah! Us humans!

We can therefore well believe that the earth and everything in it was created for the gods and for mankind. (p.177)

Balbus then goes on to consider the ‘perfection’ of the design of man, how perfect the human mouth is for drinking, how perfect the lungs for drawing in air, the stomach for digesting food and so on, the gift of speech, the wonder of the human hand (pages 178 to 184). Balbus attributes all this to:

the wise and careful providence of nature, which shows the great and gracious benefits the gods have bestowed upon mankind. (p.180)

Everything in the world which we enjoy was made and ordered for our sake. (p.185)

I attribute it to evolution. Balbus’s anthropocentric narcissism leaps out when he claims that ‘every human sense far surpasses the sense of beast’ (p.182) which is plumb wrong, as we now know that all human senses are far excelled by any number of other animals.

To sum up: man has been given all manner of gifts in the design of the universe, the beauty of the world, the provision of plants and animals to rear and eat, in the wonderfully apt design of his own body and, above all, in the gift of reason so we can understand it all. Contemplating all this must lead to awareness of a guiding and kindly providence working throughout the universe and in our favour, and from this stems Religion and a sense of the virtues, of the good life which is living in harmony with the universe, in loving-kindness and generosity to our fellow men.

Summary of Balbus

Although every factual claim he makes about the universe, the solar system and the natural world are howlingly wrong, I can see the aim of Balbus’s Stoic philosophy. It is for those who appreciate the beauty of the night skies and the wonders of the natural world and believe that they indicate some natural law or harmony and that, in order to live well, in order to live wisely and virtuously, we humans should acknowledge these gifts and try and bring our way of living into harmony with the natural world. A not unreasonable ambition.

Its weak spot is Stoics odd insistence on the importance of ‘prophesy’ as a strong proof of providence. Both Epicureans and Academics were quick to ridicule this and it’s hard to see why it is needed in their system and couldn’t be quietly dropped.

3. Cotta puts the academic view (pages 193 to 235)

Cotta introduces himself as a member of the College of Augurs and a priest. He will never abandon the views he has inherited from his Roman forebears about worship of the gods. He doesn’t require a load of fancy arguments to prove the existence of the gods: the traditional belief of their Roman ancestors was enough. As a rational man, he simply wants to question the arguments of the other two more closely in order to base his own belief on a sound foundation.

Remember that a substantial portion of Cotta’s book is missing, and it feels like it. Anyway, he says he will not refute Balbus’s argument in its entirety but ask him about specific aspects. He attacks Balbus’s stories about ‘prophecy’ and ‘omens’ as superstitious hearsay.

Then he attacks one of the central arguments of both Velleius and Balbus, that the gods exist because the notion of immortal gods is innate in human nature. Not so, says Cotta. Just because a large number of people believe something to be true does not make it true.

More importantly, for me, Cotta refutes most of the arguments Balbus put forward to prove that the universe, the sun and the moon and the stars are all gods. No, says Cotta. Just because something behaves with mechanical regularity and is beautiful to look at (like the stars) doesn’t mean it is either conscious or immortal (p.202).

One flaw in his argument is to assume that anything bigger than man must be Perfect and Immortal, such as the movement of tides, and rivers and the seasons and the stars. not at all. They might just be part of the mechanical rhythm of the universe. The parts of nature move in consonance but this does not require a guiding intelligence.

Nature persists and coheres by its own power without any help from the gods. (p.204)

Just because something is bigger than man doesn’t make it a god. Otherwise all mountains would be gods. Every hill, every bluff, every tree would be a god.

Cotta’s critique of Balbus is less effective than his attack on Velleius. This seems to be because he is actually missing a lot of Balbus’s point. He says that all things made up of the elements will eventually decompose and die but this isn’t as effective an attack on Balbus as on Velleius. He says the so-called gods experience no evil so cannot judge between good and evil so cannot really enact virtue. How can we respect a god who doesn’t exercise reason or moral qualities?

Then he moves on to attack the way many humans, either legendary or historical figures, have, allegedly been translated into gods. This didn’t strike me as central to Balbus’s argument. What both of them seem to be missing is the centrality of prophecy to Stoic beliefs and the enormous problems thrown up by trying to reconcile God’s Preknowledge of the future and human free will (without which there can be no morality), a topic which was to bedevil Christian theology for 2,000 years.

Instead he wastes his time on the secondary argument of which of the actual Roman gods who have temples devoted to them Balbus includes in his pantheon, and which he excludes, and why. As he rattles off an enormous list of gods major and minor and then nymphs and satyrs and demi-gods and so on, it dawned on me he is missing a major distinction to be made between religion as theology and religion as practice. I’m betting most people are attached to their religions as traditions and practices which bind together families and communities. Cotta’s attack on the pantheon of the gods makes it clear just how futile it is trying to come up with a coherent intellectual underpinning for the super-diverse world of actual religious practice. Religious practices just are.

This reductio ad absurdem list of gods goes on for some time (pages 208 to 219), with Cotta asking Balbus whether he allows the rainbow to be a god or clouds and so on, ridiculing the idea that qualities such as Faith or Courage or objects of desire such as Victory and Honour can be gods.

Lacuna in the text.

He spends so much time on it because, apparently, many Stoic writers have devoted a lot of time to giving philosophical rationales for all these gods. But, says Cotta, this is all superstitious twaddle.

Lacuna in the text.

Balbus had assumed all through his speech that Reason is the highest attribute imaginable. So Cotta sets out to destroy this view by quoting an extensive number of examples where people have used their reason for evil i.e. have acted rationally in order to achieve wicked ends.

If the divine mind willed the good of men, when it endowed them with reason, then it willed only the good of those whom it also endowed with the power to use their reason well, whom we see to be very few indeed, if any. (p.222)

Maybe it would have been better if the gods had never given man reason at all. Maybe philosophy does more to lead students astray into immoral or unnatural beliefs and activities than improve them.

The problem of pain

Then Cotta moves on to a version of the perennial ‘problem of pain’, asking why the gods gave men the power of ‘reason’ instead of the ability to act virtuously? Instead, monsters have thrived and honest men met violent ends. If the gods do look upon our world they apparently make no distinction between good and bad men.

There can be no divine guidance of human affairs if the gods make no distinction between good and evil. (p.230)

And:

The prosperity and good fortune of the wicked absolutely disprove the power of the gods. (p.232)

Why don’t the gods intervene on the side of good while letting evil prosper? It’s the central question which has plagued the Abrahamic religions with their notion of an all-powerful all-loving god down to the present day, crystallised by the central catastrophe of the twentieth century: if there is an all-powerful, all-loving God why did he allow the Holocaust?

Abrupt ending

Right at the last minute on the last page Cotta re-emphasises that he doesn’t say this to argue against the gods but to submit men’s arguments to strict scrutiny and show how difficult the issue is. This feels very much like a last-minute cop-out designed to avert accusations of atheism which most of the rest of the document strongly endorses.

The host, Lucilius, is made to say that he would take up arms to defend their venerable religious traditions and temples and so on, and Cotta repeats that he agrees and will join him and has been merely working through the arguments not denying religion. Perish the thought!

It’s worth quoting the final sentence for two reasons. It purportedly gives the view of Cicero who has been a silent witness throughout the previous 3 books, never saying a word.

The conversation ended here, and we parted. Velleius judged that the arguments of Cotta were truest; but those of Balbus seemed to me to have the greater probability.

It has puzzled commentators that Cicero came down on the side of Balbus rather than sympathising with his fellow Academician, Cotta. It rather suggests that the debate was never between three points of view, but between two major points of view both of which were then critiqued by Cotta, with the result that onlookers (such as Cicero) only had a choice of two.

Lastly, its abruptness has convinced most commentators that the work was never finished properly and would probably have been revised and polished if Cicero had lived long enough.


Related links

Roman reviews

The Art of the Novel by Milan Kundera (1986)

Need I stress that I intend no theoretical statement at all, and that the entire book is simply a practitioner’s confession? Every novelist’s work contains an implicit vision of the history of the novel, an idea of what the novel is; I have tried to express here the idea of the novel that is inherent in my own novels. (Preface)

This book contains seven essays on the art of the novel. First, a few observations.

Kundera is an academic Remember Kundera was a lecturer in ‘World Literature’ at Charles University in Prague for some 20 years (1952-75). This is a grand title and obviously encouraged a panoramic overview of the subject. Then he emigrated to France, where he continued to teach at university. He is, in other words, an academic, an expounder, a simplifier and teacher of other people’s views and theories, and that is probably the most dominant characteristic of his fiction – the wish to lecture and explicate.

He discusses a narrow academic canon You quickly realise he isn’t talking about the hundreds of thousands of novels which have been published over the past 400 years – he is talking about The Novel, the ‘serious novel’, ‘real novels’ – an entirely academic construct, which consists of a handful, well at most 50 novelists, across that entire period and all of Europe, whose concerns are ‘serious’ enough to be included in ‘serious’ academic study.

Non-British And he is very consciously European. This means many of his references are alien or exotic to us. Or just incomprehensible. When he says that The Good Soldier Schweik is probably the last popular novel, he might as well be living on Mars. There is no mention of Daniel Defoe, of Walter Scott, Jane Austen, Dickens, Trollope, George Eliot, Conrad, Henry James, DH Lawrence or Virginia Woolf, or anyone from the British ‘Great Tradition’ except the dry and dusty Samuel Richardson, in some histories, the founder of the English novel. He mentions Orwell’s ‘1984’ to dismiss it as a form of journalism. All Orwell’s fiction, he thinks, would have been better conveyed in pamphlets.

There is no mention of American fiction: from Melville through Twain, Hemingway and Faulkner (OK, Faulkner is mentioned right towards the end as one of the several authors who want nothing written about their lives, only their works), Updike or Roth or Bellow. No reference to science fiction or historical fiction or thrillers or detective fiction. Or children’s fiction. There is no mention of South American fiction (actually, he does mention a novel by Carlos Fuentes), or anything from Africa or Asia.

Some exceptions, but by and large, it is a very very very narrow definition of the Novel. Kundera can only talk as sweepingly as he does because he has disqualified 99.9% of the world from consideration before he begins.

1. The Depreciated Legacy of Cervantes (1983)

In 1935 Edmund Husserl gave a lecture titled ‘Philosophy and the Crisis of European Man’. He identifies the Modern Era as starting with Galileo (Dialogue Concerning the Two Chief World Systems, 1632) and Descartes (Discourse on the Method, 1637) and complains that Europe (by which he includes America and the other colonies) has become obsessed with science and the external world at the expense of spirit and psychology, at the expense of Lebenswelt.

Kundera says that Husserl neglected the novel, which was also born at the start of the modern era, specifically in the Don Quixote of Miguel Cervantes (1605). It is in the novel that Europeans have, for 400 years, been investigating the interior life of humanity. The novel discovers those elements of life which only it can discover. Therefore the sequence of great novelists amounts to a sequence of discoveries about human nature:

  • Cervantes – explores the nature of adventure
  • Richardson – the secret life of feelings
  • Balzac – man’s rootedness in history
  • Flaubert – details of the everyday
  • Tolstoy – the intrusion of the irrational into decision making
  • Proust – the elusiveness of time past
  • Joyce – the elusiveness of time present
  • Mann – the role of ancient myth in modern life

At the start of the Modern Era God began to disappear, and with him the idea of one truth. Instead the world disintegrated into multiple truths. In the novel these multiple truths are dramatised as characters.

The whole point of the novel is it does not rush to judgement, to praise or condemn. Religion and ideologies (and political correctness) does that. The whole point of the novel is to suspend humanity’s Gadarene rush to judge and condemn before understanding: to ‘tolerate the essential relativity of things human’ (p.7).

He describes how there is a straight decline in the European spirit, from Cervantes – whose heroes live on the open road with an infinite horizon and never-ending supply of adventures – through Balzac whose characters are bounded by the city, via Emma Bovary who is driven mad by boredom, down to Kafka, whose characters have no agency of their own, but exist solely as the function of bureaucratic mistakes. It’s a neat diagram, but to draw it you have to leave out of account most of the novels ever written – for example all the novels of adventure written in the later 19th century, all of Robert Louis Stevenson, for example.

As in all his Western books, Kundera laments the spirit of the age, how the mass media are making everything look and sound the same, reducing everything to stereotypes and soundbites, simplifying the world, creating ‘the endless babble of the graphomanics’ –  whereas the novel’s task is to revel in its oddity and complexity.

2. Dialogue on the Art of the Novel

In a written dialogue with an interviewer, Kundera moves the same brightly coloured counters around – Cervantes, Diderot, Flaubert, Proust, Joyce. The novel was about adventure, then about society, then about psychology.

He states his novels are outside the novel of psychology. There’s psychology in them but that’s not their primary interest.

Being a central European he sees the 1914-18 war as a catastrophe which plunged art and literature into the grip of a merciless History. The essential dreaminess of a Proust or Joyce became impossible. Kafka opened the door to a new way of being, as prostrate victim of an all-powerful bureaucracy.

He clarifies that a key concern is the instability of the self: which is why characters often play games, pose and dramatise themselves; it is to find out where their limits are.

He clarifies his approach as against Joyce’s. Joyce uses internal monologue. There is no internal monologue at all in Kundera. In fact, as he explains it, you realise that the monologue is his, the author’s as the author tries different approaches in order to analyse his own characters. His books are philosophical analyses of fictional characters. And the characters are conceived as ‘experimental selfs’ (p.31), fully in line with his core idea that the history of the novel is a sequence of discoveries.

If the novel is a method for grasping the self, first there was grasping through adventure and action (from Cervantes to Tolstoy). Then grasping the self through the interior life (Joyce, Proust). Kundera is about grasping the self though examining existential situations. He always begins with existential plights. A woman who has vertigo. A man who suffers because he feels his existence is too light, and so on. Then he creates characters around these fundamentals. Then he puts them into situations which he, the author, can analyse, analyse repeatedly and from different angles, in order to investigate the mystery of the self.

Thus a character is ‘not a simulation of a living being. It is an imaginary being. An experimental self.’ (p.34) Making a character ‘alive’ means getting to the bottom of their existential problem’ (p.35).

A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he’s capable of. (p.42)

The novelist is neither historian nor prophet: he is an explorer of existence. (p.44)

The novel is a meditation on existence as seen through the medium of imaginary characters. (p.83)

A theme is an existential enquiry. (p.84)

3. Notes inspired ‘The Sleepwalkers’

The Sleepwalkers is the name given to a trilogy of novels by the Austrian novelist Hermann Broch (1886 – 1951). The three novels were published between 1928 and 1932. They focus on three protagonists and are set 15 years apart:

  1. Joachim von Pasenow set in 1888
  2. August Esch set in 1903
  3. Wilhelm Huguenau set in 1918

In their different ways they address on core them: man confronting the disintegration of his values.

According to Kundera, before one writes one must have an ontological hypothesis, a theory about what kind of world we live in. For example The Good Soldier Švejk finds everything about the world absurd. At the opposite pole, Kafka’s protagonists find everything about the world so oppressive that they lose their identities to it.

After all, What is action? How do we decide to do what we do? That is, according to Kundera, the eternal question of the novel. (p.58)

Through an analysis of the plots of the three novels, Kundera concludes that what Broch discovered was the system of symbolic thought which underlies all decisions, public or private.

He closes with some waspish criticism of ‘Establishment Modernism’, i.e. the modernism of academics, which requires an absolute break at the time of the Great War, and the notion that Joyce et al. definitively abolished the old-fashioned novel of character. Obviously Kundera disagrees. For him Broch (whose most famous masterpiece, The Death of Virgil didn’t come out till the end of World War Two) was still opening up new possibilities in the novel form, was still asking the same questions the novel has asked ever since Cervantes.

It is a little odd that Kundera takes this 2-page swipe at ‘Establishment Modernism’, given that a) he is an academic himself, and his own approach is open to all sorts of objections (mainly around its ferocious exclusivity), and b) as he was writing these essays, Modernism was being replaced, in literature and the academy, by Post-Modernism, with its much greater openness to all kinds of literary forms and genres.

4. Dialogue on the Art of Composition (1983)

Second part of the extended ‘dialogue’ whose first part was section two, above. Starts by examining three principles found in Kundera’s work:

1. Divestment, or ellipsis. He means getting straight to the heart of the matter, without the traditional fol-de-rol of setting scenes or background to cities or towns or locations.

2. Counterpoint or polyphony. Conventional novels have several storylines. Kundera is interested in the way completely distinct themes or ideas can be woven next to each other, setting each other off. For the early composers a principle of polyphony was that all the lines are clear and distinct and of equal value.

Interestingly, he chooses as fine examples of his attempts to apply this technique to his novels, the Angels section in The Book of Laughter and Forgetting – which I found scrappy and unconvincing – and Part Six of The Unbearable Lightness of Being, which I think is by far the worst thing he’s ever written, embarrassingly bad.

There’s some chat about Kundera’s own personal interventions in his novels. He emphasises that anything said within a novel is provisional hypothetical and playful. Sure, he intervenes sometimes to push the analysis of a character’s situation deeper than the character themselves could do it. But emphasises that even the most serious-sounding interventions are always playful. They can never be ‘philosophy’ because they don’t occur in a philosophical text.

From the very first word, my thoughts have a tone which is playful, ironic, provocative, experimental or enquiring. (p.80)

This is what he means by ‘a specifically novelistic essay’ i.e. you can write digressions and essays within novels but, by coming within its force field, they become playful and ironic.

The final part is an analysis of his novels in terms of their structure, their architecture i.e. the number of parts, the way the sub-sections are so distinct. And then a really intense comparison with works of classical music, in the sense that the varying length and tempo of the parts of his novels are directly compared with classical music, particularly to Beethoven quartets. Until the age of 25 he thought he was going to be a composer rather than a writer and he is formidably learned about classical music.

5. Somewhere behind (1979)

A short essay about Kafka. He uses the adjective Kafkan, which I don’t like; I prefer Kafkaesque. What does it consist of?

  1. boundless labyrinth
  2. a man’s life becomes a shadow of a truth held elsewhere (in the boundless bureaucracy), which tends to make his life’s meaning theological. Or pseudo-theological
  3. the punished seek the offence, want to find out what it is they have done
  4. when Kafka read the first chapter of The Trial to his friends everyone laughed including the author. Kafka takes us inside a joke which looks funny from the outside, but…

Fundamentally his stories are about the dehumanisation of the individual by faceless powers.

What strikes Kundera is that accurately predicted an entire aspect of man in the 20th century without trying to. All his friends were deeply political, avant-garde, communist etc, thought endlessly about the future society. But all of their works are lost. Kafka, in complete contrast, was a very private man, obsessed above all with his own personal life, with the domineering presence of his father and his tricky love life. With no thought of the future or society at large, he created works which turned out to be prophetic of the experience of all humanity in the 20th century and beyond.

This Kundera takes to be a prime example of the radical autonomy of the novel, whose practitioners are capable of finding and naming aspects of the existential potential of humanity, which no other science or discipline can.

6. Sixty-Three Words (1986)

As Kundera became famous, and his books published in foreign languages, he became appalled by the quality of the translations. (The English version of The Joke particularly traumatised him; the English publisher cut all the reflective passages, eliminated the musicological chapters, and changed the order of the parts! In the 1980s he decided to take some time out from writing and undertake a comprehensive review of all translations of his books with a view to producing definitive versions.

Specific words are more important to Kundera than other novelists because his novels are often highly philosophical. In fact, he boils it down: a novel is a meditation on certain themes; and these themes are expressed in words. Change the words, you screw up the meditations, you wreck the novel.

A friendly publisher, watching him slog away at this work for years, said, ‘Since you’re going over all your works with a fine toothcomb, why don’t you make a personal list of the words and ideas which mean most to you?’

And so he produced this very entertaining and easy-to-read collection of short articles, reflections and quotes relating to Milan Kundera’s keywords:

  • aphorism
  • beauty
  • being – friends advised him to remove ‘being’ from the title of The Unbearable Lightness of Being’: but it is designed to be a meditation on the existential quality of being. What if Shakespeare had written: To live or not to live… Too superficial. He was trying to get at the absolute root of our existence.
  • betrayal
  • border
  • Central Europe – the Counter-Reformation baroque dominated the area ensuring no Enlightenment, but on the other hand it was the epicentre of European classical music. Throughout the book he is struck by the way the great modern central European novelists – Kafka, Hasek, Musil, Broch, Gombrowicz – were anti-Romantic and modern just not in the way of the flashy avant-gardes of Rome or Paris. Then after 1945 central Europe was extinguished and – as he was writing this list – was a prophetic type of the extinguishment of all Europe. Now we know this didn’t happen.
  • collaborator – he says the word ‘collaborator’ was only coined in 1944, and immediately defined an entire attitude towards modernity. Nowadays he reviles collaborators with the mass media and advertising who he thinks are crushing humanity. (Looking it up I see the word ‘collaborator’ was first recorded in English in 1802. This is one of the many examples where Kundera pays great attention to a word and everything he says about it turns out to be untrue for English. It makes reading these essays, and his ovels, a sometimes slippery business.)
  • comic
  • Czechoslovakia – he never uses the word in his fiction, it is too young (the word and country were, after all, only created in 1918, after the Austro-Hungarian Empire collapsed). He always uses ‘Bohemia’ or ‘Moravia’.
  • definition
  • elitism – the Western world is being handed over to the control of a mass media elite. Every time I read his diatribes against the media, paparazzi and the intrusion into people’s private lives, I wonder what he makes of the Facebook and twitter age.
  • Europe – his books are streaked with cultural pessimism. Here is another example. He thinks Europe is over and European culture already lost. Well, that’s what every generation of intellectuals thinks. 40 years later Europe is still here.
  • excitement
  • fate
  • flow
  • forgetting – In my review of The Book of Laughter and Forgetting I pointed out that Mirek rails against forgetting as deployed by the state (sacking historians) but is himself actively engaged in trying to erase his past (claiming back his love letters to an old flame). Kundera confirms my perception. Totalitarian regimes want to control the past (‘Orwell’s famous theme’), but what his story shows is that so do people. It is a profound part of human nature.
  • graphomania – he rails against the way everyone is a writer nowadays, and says it has nothing to do with writing (i.e. the very careful consideration of form which he has shown us in the other essays in this book) but a primitive and crude will to impose your views on everyone else.
  • hat
  • hatstand
  • ideas – his despair at those who reduce works to ideas alone. No, it is how they are treated, and his sense of the complexity of treatment is brought out in the extended comparison of his novels to complicated late Beethoven string quartets in 4. Dialogue on the Art of Composition
  • idyll
  • imagination
  • inexperience – a working title for The Unbearable Lightness of Being was The Planet of Inexperience. Why? Because none of us have done this before. We’re all making it up as we go along. That’s what’s so terrifying, so vertiginous.
  • infantocracy
  • interview – as comes over in a scene in Immortality, he hates press interviews because the interviewer is only interested in their own agenda and in twisting and distorting the interviewees’ responses. Thus in 1985 he made a decision to give no more interviews and only allow his views to be published as dialogues which he had carefully gone over, refined and copyrighted. Hence parts two and four of this book, although they have a third party asking questions, are in the form of a dialogue and were carefully polished.
  • irony
  • kitsch – he’s obsessed with this idea which forms the core – is the theme being meditated on – in part six of the Unbearable Lightness of Being. It consists of two parts: step one is eliminating ‘shit’ from the world (he uses the word ‘shit’) in order to make it perfect and wonderful, as in Communist leaders taking a May Day parade or TV adverts. Step two is looking at this shallow, lying version of the world and bursting into tears at its beauty. Kitsch is ‘the need to gaze into the mirror of the beautifying lie and to be moved to tears of gratification at one’s own reflection.’ (p.135)
  • laughter – For Rabelais, the comic and the merry were one. Slowly literature became more serious, the eighteenth century preferring wit, the Romantics preferring passion, the nineteenth century preferring realism. Now ‘the European history of laughter is coming to an end’. (p.136) That is so preposterous a thought I laughed out loud.
  • letters
  • lightness
  • lyric
  • lyricism
  • macho
  • meditation – his cultural pessimism is revealed again when he claims that ‘to base a novel on sustained meditation goes against the spirit of the twentieth century, which no longer likes to think at all. (p.139)
  • message
  • misogynist – gynophobia (hatred of women) is a potential of human nature as is androphobia (hatred of men), but feminists have reduced misogyny to the status of an insult and thus closed off exploration of a part of human nature.
  • misomusist – someone who has no feel for art or literature or music and so wants to take their revenge on it
  • modern
  • nonbeing
  • nonthought – the media’s nonthought
  • novel and poetry – the greatest of the nivelists -become-poets are violently anti-lyrical: Flaubert, Joyce, Kafka (don’t think that’s true of Joyce whose prose is trmeendously lyrical)
  • novel – the European novel
  • novelist and writer
  • novelist and his life – quotes from a series of novelists all wishing their lives to remain secret and obscure: all attention should be on the works. Despite this, the army of biographers swells daily. The moment Kafka attracts more attention that Josef K, cultural death begins.
  • obscenity
  • Octavio – the Mexican writer, Octavio Paz
  • old age – frees you to do and say what you want.
  • opus
  • repetitions
  • rewriting – for the mass media, is desecration. ‘Death to all those who dare rewrite what has been written!’ Jacques and His Master
  • rhythm – the amazing subtlety of rhythm in classical music compared to the tedious primitivism of rock music. Tut tut.
  • Soviet – the Germans and Poles have produced writers who lament the German and Polish spirit. The Russians will never do that. They can’t. Every single one of them is a Russian chauvinist.
  • Temps Modernes – his cultural pessimism blooms: ‘we are living at the end of the Modern Era; the end of art as conceived as an irreplaceable expression of personal originality; the end that heralds an era of unparalleled uniformity’ (p.150)
  • transparency – the word and concept in whose name the mass media are destroying privacy
  • ugly
  • uniform
  • value – ‘To examine a value means: to try to demaracte and give name to the discoveries, the innovations, the new light that a work casts on the human world.’ (p.152)
  • vulgarity
  • work
  • youth

7. Jerusalem Address: the Novel and Europe (1985)

In the Spring of 1985 Kundera was awarded the Jerusalem Prize. He went to Jerusalem to deliver this thank you address. It is a short, extremely punch defense of the novel as a form devoted to saving the human spirit of enquiry in dark times.

In a whistlestop overview of European history, he asserts that the novel was born at the birth of the modern era when, with religious belief receding, man for the first time grasped his plight as a being abandoned on earth: the novel was an investigation of this plight and has remained so ever since.

The novel is the imaginary paradise of individuals. It is the territory where no one possesses the truth… but where everyone has the right to be understood. (p.159)

Every novel, like it or not, offers some answer to the question: What is human existence, and wherein does its poetry lie? (p.161)

But the novel, like the life of the mind, has its enemies. Namely the producers of kitsch and what Rabelais called the agélastes, people who have no sense of humour and do not laugh. He doesn’t say it but I interpret this to mean those who espouse identity politics and political correctness. Thou Must Not Laugh At These Serious Subjects, say the politically correct, and then reel off a list which suits themselves. And kitsch:

Kitsch is the translation of the stupidity of received ideas into the language of beauty and feeling. It moves us to tears of compassion for the banality of what we think and feel. (p.163)

The greatest promoter of kitsch is the mass media which turns the huge human variety into half a dozen set narratives designed to make us burst into tears. We are confronted by a three-headed monster: the agélastes, the nonthought of received ideas, and kitsch.

Kundera sees European culture as being under threat from these three forces, and identifies what is most precious about it (European culture), namely:

  • its respect for the individual
  • for the individual’s original thought
  • for the right of the individual to a private life

Against the three-headed monster, and defending these precious freedoms, is set the Novel, a sustained investigation by some of the greatest minds, into all aspects of human existence, the human predicament, into human life and interactions, into human culture.


Central ideas

The novel is an investigation into man’s Lebenwelt – his life-being.

Novelists are discoverers and explorer of the capabilities, the potentialities, of human existence.

Conclusions

1. Fascinating conception of the novel as a sustained investigation into the nature of the self, conducted through a series of historical eras each with a corresponding focus and interest.

2. Fascinating trot through the history of the European novel, specially the way it mentions novelists we in England are not so familiar with, such as Hermann Broch or Diderot or Novalis, or gives a mid-European interpretation to those we have heard of like Kafka or Joyce.

3. Fascinating insight into not only his own working practice, but what he thinks he’s doing; how he sees his novels continuing and furthering the never-ending quest of discovery which he sees as the novel’s historic mission.

But what none of this fancy talk brings out at all, is the way Milan Kundera’s novels are obsessed with sex. It is extraordinary that neither Sex nor Eroticism appear in his list of 63 words since his powerfully erotic (and shameful and traumatic and mysterious and ironic) explorations of human sexuality are what many people associate Kundera’s novels with.

Last thoughts

Changes your perspective It’s a short book, only 165 pages with big gaps between the sections, but it does a very good job of explaining how Kundera sees the history and function of the novel, as an investigation into the existential plight of humanity. It changed my mental image of Kundera from being an erotic novelist to being more like an existentialist thinker-cum-writer in the tradition of Sartre.

The gap between Britain and Europe There is a subtler takeaway, which is to bring out how very different we, the British, are from the Europeans. True, he mentions a few of our authors – the eighteenth century trio of Richardson, Fielding and Sterne – but no Defoe, Austen, Scott or Dickens.

The real point is that he assumes all European intellectuals will have read widely in European literature – from Dante and Boccaccio through Cervantes and into the eighteenth century of Diderot, Voltaire, the Marquis de Sade. And when you read the French founders of critical theory, Barthes or Derrida, or the influential historian Foucault, they obviously refer to this tradition.

But it remains completely alien to us in Britain. Not many of us read Diderot or Novalis or Lermontov or even Goethe. We’ve all heard of Flaubert and Baudelaire because, in fact, they’re relatively easy to read – but not many of us have read Broch or Musil, and certainly not Gombrowicz. Though all literature students should have heard of Thomas Mann I wonder how many have read any of his novels.

My point being that, as you read on into the book, you become aware of the gulf between this huge reservoir of writers, novels and texts in the European languages – French, German and Russian – and the almost oppressively Anglo-Saxon cultural world we inhabit, not only packed with Shakespeare and Dickens, but also drenched in American writers, not least the shibboleths of modern American identity politics such as Toni Morrison or Maya Angelou.

Reading this book fills your mind with ideas about the European tradition. But at the same time it makes you aware of how very different and apart we, in Britain, are, from that tradition. Some of us may have read some of it; but none of us, I think, can claim to be of it.

Credit

The Art of the Novel by Milan Kundera was first published in French in 1986. The English translation was published by Grove Press in the USA and Faber and Faber in the UK in 1988. All references are to the 1990 Faber paperback edition.


Related links

Milan Kundera’s books

1967 The Joke
1969 Life Is Elsewhere
1969 Laughable Loves (short stories)

1972 The Farewell Party
1978 The Book of Laughter and Forgetting

1984 The Unbearable Lightness of Being
1986 The Art of the Novel (essays)

1990 Immortality
1995 Slowness
1998 Identity

2000 Ignorance
2014 The Festival of Insignificance

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