Recent discussions of misanthropy consider misanthropy to be at core cognitive, consisting of the judgment that humanity is a failure. If this judgment is justified, one question is whether one can be both a misanthrope and virtuous. This paper argues that cognitive misanthropes can adopt a sympathetic outlook on humanity which is a necessary step for being virtuous. This is because the sympathetic misanthrope requires the virtue of practical wisdom, a special virtue in being either necessary or necessary (...) and sufficient for other virtues. The paper then argues that virtue is open to even some misanthropes whose misanthropy is also affective. Given that dislike is a common affective state among misanthropes, the paper focuses on misanthropes who dislike humanity (as opposed to those who, say, hate it or view it with contempt) and argues that dislike is compatible with virtue. Misanthropes are thus not condemned to non-virtuous lives. (shrink)

SummaryA general definition is given of what is comicality. Molière's Misanthrope then appears as a comedy on comedy. It is because of his universal and indignant censure of laugh that Alceste is ridiculous.

With David Cooper and others, I argue that it is conceptually and ethically good to broaden the conception of misanthropy beyond that of hatred of humans. However, I hold that not everyone with misanthropic thoughts is a misanthrope. I propose thinking of a misanthrope as one who appraises the moral perception of misanthropy to be appropriate, weighty, and governing of other aspects of one’s moral outlook or character. I conclude that pessimism without misanthropy may be more ethically appropriate (...) for some of us with misanthropic thoughts who wish to reject the identity of a misanthrope. (shrink)

RESUMO:O objetivo de nossa exposição é mostrar que, em sua Carta a d’Alembert, Rousseau retoma o debate clássico sobre a relação entre o teatro e a moral nas mesmas bases estabelecidas por Platão. Sendo assim, a disputa sobre o teatro tem, da parte de Rousseau, uma objetividade que não encontramos no artigo de d’Alembert. Portanto, não se trata de uma diferença de opinião entre Rousseau e d’Alembert, mas da capacidade filosófica de bem compreender o que é próprio ao teatro e (...) à moralidade. ABSTRACTThe purpose of this article is to show how Rousseau, in his Letter to D’Alembert, takes up the classic debate between theatre and morals on the same grounds established by Plato. In Rousseau’s work, the debate about theatre has an objectivity that we do not find in D’Alembert’s article. Therefore, what is involved is not a difference of opinion between Rousseau and D’Alembert, but a difference in the philosophical ability to fully understand what concerns both theatre and morality. (shrink)

An essay review of Joseph Harris, "Misanthropy in the Age of Reason".

The article investigates the political cartoon construction of two major `players' on the contemporary political stage, and the semio-linguistic and visual rhetorical tools used to achieve this construction, through an analysis of semiotic-discursive aspects of a small corpus of political cartoons in English and Arabic, all about the two `players' — George W. Bush and Osama bin Laden — in the aftermath of 9/11 and within the ongoing `war on terror', followed by a more detailed analysis of two political cartoon (...) texts from the corpus — one in Arabic about Bush and the other in English about bin Laden. A rationale for the combination of semiotics and critical discourse analysis and a discussion of the nature and functions of political cartoon are provided. These are followed by a review of the relevant literature with a focus on political cartoons. The analysis, drawing upon the `dispositive' model and the incongruity theory of humor, addresses the verbal and visual aspects of the cartoons, instances of blending, incongruity and visual metaphors therein. Some major notions in CDA, for example Van Dijk's ideological square and Chilton's legitimation and proximization, are also utilized in examining the sample cartoons. The detailed analysis of the two cartoons elaborates on the salient features and generic aspects of the sample, specifically on incongruity, blending and visual metaphor, toward an understanding of the messages of the cartoons, the tools used to convey these messages and how they contribute to the ongoing war of ideological misrepresentation. (shrink)

Fiction is an important tool in an artist/designer/developer’s vocabulary, but its usage is polyvalent. Speculative research in this article introduces the ‘rudiment’ to embrace the undeveloped and the improvisory phases of research practice. Fiction is used to reflect on the ways practicing designers and developers might already engage in misanthropic thinking – involving automated technologies. Tracing the misanthropic agencies in relation to automated technologies contributes to expanding the ways designers and developers reflect on the technical potential of their designs, with (...) whom they are designing (and for) and the way they understand their reflexive self. Bringing together Colson Whitehead’s novel The Intuitionist (1999) and its account of an elevator crash, their design and maintenance, with a narrative account of software agents enables an investigation into the promises made through a design-for-the-prevention-of-failure imperative. These examples highlight the relation between physical and non-physical failures such as failures to connect or to create intimacy. Those who contribute to designing in this article get caught up in configuring misanthropic agencies involving themselves, the designed artefact and the spaces they both inhabit be that an elevator in a housing block, or a sexbot in an online chat room. I will argue that the misanthropic agencies of automated technologies can have a confining impact on our emergent modes of design. Automated software operating in virtual spaces are confining in as much as they attempt to connect things to exploit the de-personalized aspects of automated, misanthropic agency. (shrink)

People sometimes explain behavior by appealing to an essentialist concept of the self, often referred to as the true self. Existing studies suggest that people tend to believe that the true self is morally virtuous; that is deep inside, every person is motivated to behave in morally good ways. Is this belief particular to individuals with optimistic beliefs or people from Western cultures, or does it reflect a widely held cognitive bias in how people understand the self? To address this (...) question, we tested the good true self theory against two potential boundary conditions that are known to elicit different beliefs about the self as a whole. Study 1 tested whether individual differences in misanthropy—the tendency to view humans negatively—predict beliefs about the good true self in an American sample. The results indicate a consistent belief in a good true self, even among individuals who have an explicitly pessimistic view of others. Study 2 compared true self-attributions across cultural groups, by comparing samples from an independent country and a diverse set of interdependent countries. Results indicated that the direction and magnitude of the effect are comparable across all groups we tested. The belief in a good true self appears robust across groups varying in cultural orientation or misanthropy, suggesting a consistent psychological tendency to view the true self as morally good. (shrink)

We are probably alone in the universe—a conclusion based on observations of over 4,000 exoplanets and fundamental physical constraints. This article updates earlier arguments with the latest astrophysical results. Since the discovery of exoplanets, theologians have asked with renewed urgency what the presence of extraterrestrial intelligence says about salvation and human purpose, but this is the wrong question. The more urgent question is what their absence says. The “Misanthropic Principle” is the observation that, in a universe fine-tuned for life, the (...) circumstances necessary for intelligence are rare. Rabbis for 2,000 years discussed the existence of ETI using scriptural passages. We examine the traditional Jewish approaches to ETI, including insights on how ETI affects our perception of God, self, free-will, and responsibility. We explore the implications of our probable solitude, and offer a Jewish response to the ethical lessons to be drawn from the absence of ETI. (shrink)

Anthropocentrism, in its original connotation in environmental ethics, is the belief that value is human-centred and that all other beings are means to human ends. Environmentally -concerned authors have argued that anthropocentrism is ethically wrong and at the root of ecological crises. Some environmental ethicists argue, however, that critics of anthropocentrism are misguided or even misanthropic. They contend: first that criticism of anthropocentrism can be counterproductive and misleading by failing to distinguish between legitimate and illegitimate human interests. Second, that humans (...) differ greatly in their environmental impacts, and consequently, addressing human inequalities should be a precondition for environmental protection. Third, since ecosystems constitute the “life-support system” for humans, anthropocentrism can and should be a powerful motivation for environmental protection. Fourth, human self-love is not only natural but helpful as a starting point for loving others, including nonhumans. Herein we analyze such arguments, agreeing with parts of them while advancing four counter-arguments. First, redefining the term anthropocentrism seems to be an attempt to ignore behavior in which humans focus on themselves at the risk of the planet. Second, if addressing human inequalities is a precondition for environmental protection, biodiversity protection will remain out of the scope of ethical consideration for an indefinite period of time. Third, anthropocentric motivations can only make a positive contribution to the environment in situations where humans are conscious of a direct benefit to themselves. Fourth, ‘self-love’ alone is an inadequate basis for environmental concern and action. We also explore the question of agency, shared responsibility, and a fair attribution of blame for our environmental predicaments. (shrink)

Standard defences of preservationism, and of the intrinsic value of nature more generally, are vulnerable to at least three objections. The first of these comes from social constructivism, the second from the claim that it is incoherent to argue that nature is both 'other' and something with which we can feel unity, whilst the third links defences of nature to authoritarian objectivism and dangerously misanthropic normative dichotomies which set pure nature against impure humanity. I argue that all these objections may (...) be answered by recasting the relationship between man and nature into a tripartite spectrum of ontological form between nature and artifact, with the key question being the extent to which nature has been humanised in accordance with certain modes of strongly instrumental rationality, these in turn being defined by reference to the split between abstract reason and natural feeling which was exacerbated by specific elements in the Enlightenment period. This new model may grant normative force by linking external nature to a broader conception of human psychological wellbeing than that offered by the quantitatively orientated models of human rationality and agency. (shrink)

One way to think about the philosophical significance of hatred is to consider doctrines that are characterised by feelings of hatred. A good candidate is misanthropy, which is often conceived as an attitude of hatred directed at humankind at large. I start by sketching a working account of misanthropy as a critical verdict or judgment on the contemporary condition of humankind as it has become. The criticism is directed at the array of vices and failings that are ubiquitous and entrenched (...) within the wider structures of human life, rather than those of individual persons. In one of its forms, misanthropy manifests itself in feelings of hatred for those entrenched failings and the patterns of awful behaviour which they motivate and sustain - for instance, the figure that Kant called the "enemy of mankind", or the radical eco-misanthropes who populated much American radical environmentalism of the 1980s, with their calls to 'tear down' the 'whole human world'. I then argue that such hateful 'enemies of mankind' represent only one among a set of modes of misanthropy. These have more peaceable affective and practical profiles that offer us forms of misanthropy without hatred. If so, we can think philosophically about hate in relation to misanthropy and about the potential scope of hatred. Thinking about the entrenched vices and failings constitutive of our life as it has become offers a way of intelligibly hating something as large as 'humanity'. But there are other responses to those vices and failings than hatred. I end by speculating that although hateful misanthropy tends to dominate discussions of misanthropy, historically it is the least common. That, itself, might tell us something about the sustainability of hatred. (shrink)

Mountains were once no less feared and loathed than wetlands. Mountains, however, were aesthetically rehabilitated (in part by modern landscape painting), but wetlands remain aesthetically reviled. The three giants of American environmental philosophy--Thoreau, Muir, and Leopold--all expressed aesthetic appreciation of wetlands. For Thoreau and Muir--both of whom were a bit misanthropic and contrarian--the beauty of wetlands was largely a matter of their floral interest and wildness (freedom from human inhabitation and economic exploitation). Leopold's aesthetic appreciation of wetlands was better informed (...) by evolutionary natural history and ecology. For example, cranes--wetland denizens--are more ancient than other large American avifauna and this evolutionary information and perspective enhances our aesthetic experience of them; and the ecological relationships between wetland species--such as sphagnum moss, tamaracks, and pitcher plants--informs our aesthetic experience of the wetlands biotic community. The Leopold land aesthetic involves all sensory modalities, emphasizes cognition as well as sensation (in this regard it may fruitfully be compared to the philosophy of Kant), and is more akin to an aesthetic of muisic than to an aesthetic of painting. (shrink)

HOUSE AND PHILOSOPHY Is being nice overrated? Are we really just selfish, base animals crawling across Earth in a meaningless existence? Would reading less and watching more television be good for you? Is House a master of Eastern philosophy or just plain rude? Dr. Gregory House is arguably the most complex and challenging antihero in the history of television, but is there more to this self-important genius than gray matter and ego? This book takes a deeper look at House to (...) reveal the philosophical underpinnings of this popular medical drama and its cane-waving curmudgeon’s most outrageous behavior. What emerges is a remarkable character who is part Sherlock Holmes, part Socratic philosopher, part Nietzschean superman, part Taoist rhetorician, and not at all as screwed up as you might think. With everything from Aristotle to Zen, House and Philosophy takes an engaging look at everyone’s favorite misanthropic genius and his team at Princeton-Plainsboro Hospital. To learn more about the Blackwell Philosophy and Pop Culture series, visit www.andphilosophy.com. (shrink)

Thinking about truth can be more dangerous than it looks. Of course, our concept of truth is the source of one of the most frustrating and impenetrable paradoxes humans have ever contemplated, the liar paradox, but that is just the beginning of its treachery. In an effort to understand why one of the most beloved and revered members of our conceptual repertoire could cause us so much trouble, philosophers have for centuries proposed “solutions” to the liar paradox. However, it seems (...) that our concept of truth takes offense to our efforts to understand it because it appears to retaliate against those who propose “solutions” to the liar. It takes its revenge on us by creating new paradoxes from our own attempts to find resolution. That is, most proposed solutions to the liar paradox give rise to new, more insidious paradoxes—often called revenge paradoxes. For our attempts at understanding, truth rewards us with inconsistent theories, untenable logics, and a deep feeling of bewilderment. It is as if our concept of truth lashes out at us because it wants to remain a mystery. After a few run-ins with truth, many philosophers have the good sense to keep their distance. Far from being the serene, profound concept most people take it to be, those of us who think much about the liar paradox know truth to be a vengeful bully—a conceptual misanthrope. (shrink)

While procreation is ubiquitous, attention to the ethical issues involved in creating children is relatively rare. In Debating Procreation, David Benatar and David Wasserman take opposing views on this important question. David Benatar argues for the anti-natalist view that it is always wrong to bring new people into existence. He argues that coming into existence is always a serious harm and that even if it were not always so, the risk of serious harm is sufficiently great to make procreation wrong. (...) In addition to these "philanthropic" arguments, he advances the "misanthropic" one that because humans are so defective and cause vast amounts of harm, it is wrong to create more of them.David Wasserman defends procreation against the anti-natalist challenge. He outlines a variety of moderate pro-natalist positions, which all see procreation as often permissible but never required. After criticizing the main anti-natalist arguments, he reviews those pronatalist positions. He argues that constraints on procreation are best understood in terms of the role morality of prospective parents, considers different views of that role morality, and argues for one that imposes only limited constraints based on the well-being of the future child. He then argues that the expected good of a future child and of the parent-child relationship can provide a strong justification for procreation in the face of expected adversities without giving individuals any moral reason to procreate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Levinas—Between Philosophy and Rhetoric:The “Teaching” of Levinas’s Scriptural ReferencesClaire Elise KatzIn an interview titled "On Jewish Philosophy," Emmanuel Levinas illuminates the connection that he sees between philosophical discourse and the role of midrash in interpreting the Hebrew scriptures. His interviewer immediately expresses surprise at Levinas's comments that suggested he saw the traditions of philosophy and biblical theology as in some sense harmonious (quoted in Robbins 2001, 239). Levinas responds (...) by elaborating on this connection he sees. For him, the lived experience of Judaism is above all a sense of belonging to humanity and, in turn, to a supreme order of responsibility (240). Although his intellectual life focused on the sacred texts of Judaism, this life included non-Jewish books, which he believed expressed a similar concern or a similar responsibility—a concern for the meaning of life. This list of such books includes Hamlet, Macbeth, King Lear, The Miser, and The Misanthrope, in addition to the novels of Tolstoy and Dostoyevsky.In Levinas's view, these novels are not exercises of philosophyper se; as mentioned above, they express the same concerns that occupy philosophy, but they express these concerns in a different idiom. They do not offer a philosophical argument; instead, they use figurative language and literary narrative to convey their messages. By drawing this distinction between philosophy and literature, Levinas appears to have divided the written word into two categories: philosophy, on the one hand, and literary texts, on the other. Yet readers of his philosophical work cannot help but notice his frequent references to literary sources, including the numerous citations taken from the Jewish holy texts. His use of these citations encourages us to ask how we are to classify these books in general and how to classify, in particular, the Scriptures and the holy texts in Judaism. With regard to the holy texts in Judaism, should we classify them as simply a [End Page 159] literary device? Or, do they constitute a third category that falls somewhere in between philosophy and rhetoric? If the latter, then what is their status relative to these larger categories?Although Levinas insists on separating his two bodies of work—his philosophical writings and his Jewish writings—the distinction between them becomes increasingly blurred with his frequent introduction of citations from the Hebrew texts into his philosophy and by inflecting his Jewish writings with philosophical interpretations.1 In what follows, I examine the unique and significant role of Scriptural references within Levinas's philosophical work. My claim is that the Scriptural references are in fact rhetorical, but not "simply" rhetorical; they do pedagogical work for Levinas that other literary devices cannot accomplish. They engage his readers such that they are invited to grapple with the Scriptures in a manner potentially unfamiliar to them, and this invitation, in turn, has the pedagogical effect of attuning his readers to his texts and to his ethical project—even, one might say, to the other—and inviting them into an experience of transcendence.In the interview mentioned above, Levinas tells his interlocutor that for the Jews the Scriptures do not exist apart from the interpretations that accompany them. These interpretations are found in the collections of midrashim and the Talmud. One need know only a little bit about Hebrew and the construction of the Hebrew texts in order to see why these interpretations are significant. There are three grammatical concerns with the Hebrew language: first, biblical Hebrew does not contain vowels, though it does employ vowel aspirations; second, it is a language based on root letter combinations, and the meaning of these combinations alters, depending on the vowel aspirations that are inserted. For example, "Kiddish," the Hebrew blessing over wine, is based on a combination of Hebrew letters that are transliterated into English as KDSH. The blessing changes if we insert different vowel aspirations: "Kaddish" is the blessing said for those who have died. Third, biblical Hebrew lacks punctuation. Owing to the absence of vowels and punctuation, interpretation difficulties immediately emerge. The rabbinic model of midrash addresses these problems by offering multiple explanations and interpretations.Levinas, however, is not concerned with this aspect of the written language. Rather, he emphasizes... (shrink)

A key feature of unregulated mHealth research is the diversity of participants in this space. Applying an approach drawn from user experience design, we describe a set of archetypal unregulated mHealth researcher “personas,” which range from individuals who seek empowerment or have philanthropic objectives to those who are primarily motivated by financial gain or have misanthropic objectives. These descriptions are useful for evaluating policies applicable to mHealth to understand how they will impact various stakeholders.

I argue that misanthropy is systematic condemnation of the moral character of humankind as it has come to be. Such condemnation can be expressed affectively and practically in a range of different ways, and the bulk of the paper sketches the four main misanthropic stances evident across the history of philosophy. Two of these, the Enemy and Fugitive stances, were named by Kant, and I call the others the Activist and Quietist. Without exhausting the range of ways of being a (...) philosophical misanthrope, these four suffice to justify my main claim that misanthropy should not be seen specifically in terms of hatred and violence. We should attend to the varieties of philosophical misanthropy, especially since doing so reveals a deeper phenomenon I call the misanthropic predicament. (shrink)

This book is the first major study of the theme of misanthropy, its history, arguments both for and against it, and its significance for us today. Misanthropy is not strictly a philosophy. It is an inconsistent thought, and so has often been mocked. But from Timon of Athens to Motörhead it has had a very long life, vast historical purchase and is seemingly indomitable and unignorable. Human beings have always nursed a profound distrust of who and what they are. This (...) book does not seek to rationalize that distrust, but asks how far misanthropy might have a reason on its side, if a confused reason. There are obvious arguments against misanthropy. It is often born of a hatred of physical being. It can be historically explained. It particularly appears in undemocratic cultures. But what of the misanthropy of terminally defeated and disempowered peoples? Or born of progressivisms? Or the misanthropy that quarrels with specious or easy positivities (from Pelagius to Leibniz to the corporate cheer of contemporary `total capital`)? From the Greek Cynics to Roman satire, St Augustine to Jacobean drama, the misanthropy of the French Ancien Regime to Swift, Smollett and Johnson, Hobbes, Schopenhauer and Rousseau, from the Irish and American misanthropic traditions to modern women`s misanthropy, the book explores such questions. It ends with a debate about contemporary culture that ranges from the `dark radicalisms`, queer misanthropy, posthumanism and eco-misanthropy to Houellebecq, punk rock and gangsta rap. (shrink)

This engaging volume explores and defends the claim that misanthropy is a justified attitude towards humankind in the light of how human beings both compare with and treat animals. Reflection on differences between humans and animals helps to confirm the misanthropic verdict, while reflection on the moral and other failings manifest in our treatment of animals illuminates what is wrong with this treatment. Human failings, it is argued, are too entrenched to permit optimism about the future of animals, but ways (...) are proposed in which individual people may accommodate to the truth of misanthropy through cultivating mindful, humble and compassionate relationships to animals. Drawing on both Eastern and Western philosophical traditions David E. Cooper offers an original and challenging approach to the complex field of animal ethics. (shrink)

Starting from personal experiences which led him to give up teaching at the University of Venice, Alfonso Berardinelli concentrates on the difficulties and paradoxes of the relationship between educational institutions, on the one hand, and the anarchist and misanthropic character of modern literature on the other. The majority of the `classics' of modern times, from Baudelaire to Kafka, from Tolstoy to Svevo, are `scandalous' even today: one cannot teach them without trying to convey the shock of their extraneousness from the (...) modern world and its culture. Modern literature is, in actual fact, almost always anti-modern, asocial, anti-social, apocalyptic. It is not possible to turn it into a simple `object of study' without betraying it. (shrink)

In a famous passage from “Slavery In Massachusetts,” Thoreau writes, “The remembrance of my country spoils my walk. My thoughts are murder to the State, and involuntarily go plotting against her.”1 Here is Thoreau the anarchist, the misanthrope, the self-righteous angry young man, as he is so often portrayed in the secondary literature. It would be easy to consider the issue resolved: the conventional wisdom about Thoreau's misanthropy and anarchism are demonstrated, and there is little more to say. It (...) would also be a significant mistake—one that has been made over and over again by commentators on both his political views and his nature writings. Thoreau's comment is not the climax of “Slavery in Massachusetts,” but rather is the prelude to the climax. Consider the passage that follows and leads to the conclusion of the essay. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Comedy of Menander: Convention, Variation and OriginalityDavid KonstanZagagi, Netta. The Comedy of Menander: Convention, Variation and Originality. Bloomington and Indianapolis: Indiana University Press, 1995. 210 pp. Cloth, $39.95.In his comedies, Menander exploits a relatively limited range of characters and scenes. His achievement, as Netta Zagagi shows, lies in subtle variations on inherited formulas rather than in radical departures from them. As an example of Menander’s art, Zagagi (...) (32–33) cites the characterization of the young Moschion in Perikeiromene, who is gloriosior than Polemon, the love-sick miles. Again, Chrysis in Samia, because she acts in league with Moschion against his father, “represents a pattern of behaviour traditionally reserved for the character of the mother in comedy” (33). Behind these modifications and mergings of types, Zagagi sees an ethical motivation, best illustrated in Micio’s condemnation of his stepson’s behavior toward the woman he has raped; Terence’s Adelphi, based on Menander’s, is “the only play known to us in which any serious consideration is given to the problematic nature of the story pattern under review” (43). Surely Charisius’ soliloquy in Epitrepontes is another example. Zagagi’s reflections on Menander’s sensitivity to his personae, in contrast to Aristophanes’ delight in caricature (45), are fair enough. It is less clear that Menander differs significantly from the practice of other poets of New Comedy, as Zagagi suggests (32).In the second chapter, Zagagi explains Menander’s method of composition by invoking three principles or techniques that are fundamental to his plays: “polyphony,” “economy,” and “emphasis on human interaction.” These are catch-all terms. “Economy,” for example, refers to Menander’s restraint in the development of scenes that might have “diverted the spectator’s attention from the main subject” of an episode (60). The same term covers Menander’s ability to set out necessary information without undue repetition (62), as well as his thrifty use of devices such as Knemon’s bucket, which first gets dropped in the well and subsequently causes the misanthrope himself to fall in (64). Such dramatic parsimony is the stock-in-trade of well-made plays.Polyphony too, designates three different things. Zagagi ignores Bakhtin’s now classic use of the term to refer to the amalgamation of generic voices characteristic of the novel. Instead, she describes as polyphony the mixture of registers achieved by crossing para-tragic bits of dialogue with the plain style of comedy (54), divine intervention in mortal affairs (57), which is treated in detail in the sixth chapter, and the interweaving of two plot lines in a single play—not contaminatio, precisely, but rather a deft combination of two or more story patterns. [End Page 127]Thus, Dyskolos is analyzed (47) into a “romantic” strand, involving Sostratos’ efforts to win Knemon’s daughter as his bride, and a story line centered on the character of the misanthrope (Zagagi adds for good measure two “minor strands”: the sacrifice to Pan and the Gorgias plot). Zagagi sees as the price of this complexity a loss of dramatic unity: in order to avoid compromising the sketch of Knemon’s grumpiness, Menander does his best to keep the two plots of the comedy separate: “It is precisely from Menander’s constant effort to preserve the credibility of his main hero’s [i.e., Knemon’s] character by shielding him from the romantic action of the play, that the disunity of the Dyskolos stems” (47). This interpretation illustrates a major weakness in Zagagi’s search for elementary units of narrative as the basis of Menandrean composition. Every romantic plot requires not only a lover, but an obstacle or blocking figure (in Northrop Frye’s expression) as well, who, for motives of his own, inhibits the realization of the lover’s passion. In many plays, this function falls to the father of the adulescens, who disapproves of his son’s liaison with a slave-girl or otherwise unsuitable partner. In Dyskolos, the father of the girl (who by the same token is represented as a citizen) plays this role. This is as simple a scheme as one can have, and violates no presumed rule of unity of action. Menander... (shrink)

Brummell fut le Prince des Dandys, dit-on. Il fut aussi et surtout un individu grossier, égoïste, agressif, ironique, cynique, malpoli, menteur, escroc, insultant, arrogant, suffisant, prétentieux et, bien sûr, content de lui, vivant de reprocher aux autres leur mauvais goût, leur inélégance, leur fatuité, leur manque d'éducation. Ce personnage réel, recouvert par son mythe et sa légende, fut l'étoile brillante de la société mondaine anglaise pendant une vingtaine d'années, avant d'être, pendant un quart de siècle, sur le sol français, un (...) pitoyable personnage, un raté minable, un pique-assiette mal élevé, un misanthrope syphilitique, un gâteux, puis un demi-fou enfermé à l'asile. Comment un homme si détestable a-t-il pu devenir le personnage conceptuel du dandysme pensé comme une éthique de l'élégance et de l'aristocratie, du bon goût et de la singularité? De quelle manière cet adulte, qui ne fut jamais qu'un gamin mal élevé, est-il devenu l'incarnation du poète de l'existence? Par la grâce d'un autre dandy, Jules Barbey d'Aurevilly, qui publie Du dandysme ou de George Brummell, et de Charles Baudelaire. Brummell fut un déchet; Barbey en fit un astre noir; Baudelaire, un feu latent qui pouvait rayonner, mais ne voulut pas... Le dandy a-t-il encore des choses à nous dire en ces temps nihilistes? (shrink)

Empirical evidence of our changing climate is frequently interpreted through the lens of either optimism or pessimism. In tandem with this, ethical responses can oscillate from myopic ‘business as usual’ to misanthropic ‘lifeboat ethics’. In this paper I argue that these are inadequate and unworthy positions from which to begin in Christian ethics. The question of sharing the burdens of climate-change mitigation and adaptation is the crucial task facing the world community. The development of the burden-sharing rules—sector based as well (...) as country based—since the Kyoto agreement will be evaluated from the perspective of three theological ethical principles: justice, solidarity and subsidiarity. Lastly I suggest that creation serves as a ground for developing shared perspectives in the ethics of environmental questions in the context of intercultural and interfaith dialogue. (shrink)

This paper addresses feminist materialism as political practice through a case study of IWW-Earth First! Local 1, the late Judi Bari's organization of a radical ecology/timber workers’ union in the ancient redwood forests of Northern California. Rejecting the Earth First! mythology of timber workers as ‘enemies’ of nature, Bari sought to unite workers and environmentalists in pursuit of sustainable forestry practices against the devastating approaches favoured by multinational logging corporations. In so doing, she brought a working-class feminist perspective to the (...) radical ecology of Earth First! Bari's work provided a significant instance of community organizing in opposition to the masculinist, exclusionary practices and misanthropic posturing of Earth First!'s self-proclaimed ‘eco-warriors’ and ‘rednecks for nature’. What is perhaps most interesting about the development of Local 1 is the articulation of feminist, environmentalist and labour discourses through a series of political actions. (shrink)

Peter Singer and Peter Unger argue that moral decency requires giving away all one's “surplus” for the relief or prevention of “absolute poverty,” because not doing so is analogous to refusing to save a drowning child to avoid making one's clothes muddy. I argue that there is a crucial disanalogy between the two cases and, moreover, that there are four independent moral objections to their thesis: it is monomaniacal in ignoring the variety of morally worthy ideals and elevating self-sacrificial aid (...) to the global poor into the sole ideal; it is misanthropic in its indifference to the happiness of those it adjures to give; it is incompatible with integrity; it would have disastrous effects for the poor if it were generally adopted. I argue that genuine beneficence aims at creating or restoring the conditions that enable its beneficiaries to become self-sufficient creators themselves — creators of wealth and of meaningful and enjoyable lives. Small-scale beneficence is necessary for moral goodness, but large-scale beneficence is optional, so long as its absence is not due to a lack of regard for those in need. The uncharitable person violates the neo-Lockean non-waste proviso that we acquire or keep for ourselves and those we love as much, but only as much, as we can use or invest meaningfully or enjoyably, now or in the long run. But someone who invests all his resources in creating something of worth leads a morally worthy life even if he reserves nothing for large-scale charity. Both our capacity for beneficence, which bids us stretch out a hand to those in need, and our capacity for creation, which bids us reach for the stars, are important aspects of our humanity. The Singer-Unger ideal advocates not genuine beneficence but the profligate giving away of wealth to prolong lives, while failing to appreciate what makes life worth living. a Footnotesa I am grateful for helpful comments on this paper from Ellen Frankel Paul, Larry White (who commented on the paper at the 2005 conference of the Association for Private Enterprise Education), David Blumenfeld, and Garrett Cullity (whose comments from Australia were a wonderful example of voluntary international aid to a stranger). I would also like to thank Georgia State University, Bowling Green State University, and the Association for Private Enterprise Education for inviting me to present this paper, and the audiences at these presentations for their helpful discussion. Finally, I would like to thank Harry Dolan for his expert copyediting, which saved me from some embarrassing mistakes and infelicities. (shrink)

Advocates of Mars colonies commonly assert a supposed obligation to act so as to maximize the longevity of the human species. When this principle is defended, it is often by appeal to the alleged costs—of incoherence or misanthropy—of denying it. Against this supposed obligation, I argue for two theses. The modest thesis: it is not incoherent and need not be misanthropic to prefer human extinction sooner rather than later. The ambitious thesis: we should prefer human extinction sooner rather than later. (...) The supposed obligation to prolong our species is no justification of human activities in space. (shrink)

A collection of aphorisms, fragments, and observations on philosophy and pessimism.Composed of aphorisms, fragments, and observations both philosophical and personal, Eugene Thacker's Infinite Resignation traces the contours of pessimism, caught as it is between a philosophical position and a bad attitude. By turns melancholic, misanthropic, and tinged with gallows humor, Thacker's writing tenuously hovers over that point at which the thought of futility becomes the futility of thought.

This book argues that it can be both reasonable and appropriate to adopt a certain kind of misanthropy. The author defends a cognitivist version of misanthropy, an attitude whose central feature is the judgment that humanity is morally bad. Misanthropy is often dismissed on moral grounds. Many people hold that malice toward human persons is problematic and vulnerable to moral objections. In this book, the author advocates for cognitivist misanthropy. He defends an Asymmetry Thesis, according to which a morally bad (...) deed carries more weight than a morally good deed, even if the harm of the former is exactly equal to the benefit of the latter. He makes the case that being misanthropic in the cognitivist sense is morally permissible and compatible with a broad range of moral reasons for action. He also considers the role of misanthropy in environmental thought, arguing that charges of misanthropy against certain "non-anthropocentric" views do not have the force they are typically thought to carry. Finally, the author investigates the practical implications of adopting cognitivist misanthropy, asking what living with such an attitude would involve. A Philosophical Defense of Misanthropy will appeal to researchers and advanced students working in ethics and the philosophy of human nature. (shrink)

David. E. Cooper’s claim in Animals and Misanthropy is that honest reflection on the ways human beings treat and compare with animals encourages a dark, misanthropic judgment on humankind. Treatment of animals manifests a range of vices and failings that are ubiquitous and entrenched in our practices, institutions, and forms of life, organized by Cooper into five clusters. Moreover, comparisons of humans and animals reveals both affinities and similarities, including a crucial difference that animals are capable of virtues while being (...) vice-free, whereas humans are both virtuous and vicious. Various familiar ways of thinking morally and scientifically about animal life are criticized for being overly abstract, occluding richer ways of engaging with animals that are better able to disclose the fundamental wrong of their treatment by humans. The book offers a concise, lucid challenge to mainstream ways of thinking morally about animals and to comfortably optimistic estimations of the moral performance of humankind. (shrink)

Don't tell terrible stories—everyone here has enough of their own. Everyone here has a whole bloody sack of terrible stories, and at the bottom of the sack is a hammer the narrator uses to pound you on the skull the instant you dare not believe your ears. Or to pound you when you do believe. Not long ago I saw a tomboyish girl on Khreshchatyk Street demand money of an elderly woman, threatening to bite her and infect her with syphilis. (...) Don't stroll through Volodymyr Hill Park, don't stroll around the botanical garden, and especially don't stroll on Kontraktova Square. Don't stroll anywhere. Don't go to the pavilion with the Golgotha panorama near St. Alexander's Church. Not even the twelve-meter-tall crucified Christ will save you. Don't go outside when it's dark and people turn into shadows a shade darker than dark. Also don't go where you can be seen from far away. Not to imply that people used to be like a bunch of lilies, but now they stink like a cellar of cabbage.The city, which earlier might have had some fun, is now going crazy. It's like a fish in warm water: it doesn't react to anything, swims slowly like it doesn't care if it swallows a hook or not. The excitement and exaltation pass into oppression, just as our necks have sunk into our shoulders, our shoulders into our lumbars, our lumbars into our nether regions. The holiday turns into a funeral, the parades into explosions, depression into mania. Winter passes into summer, people turn into beasts, the hours into ages, and the ages into hours. It's worth simply walking around the city to see a soldier from an unknown army taking a piss near the opera. Farther on is a row of identical old widows selling ball gowns and candelabra. Then there are the aristocrats and manufacturers who throw so much at the prostitutes that they'll soon be richer than their wives.I returned late through the Kyryliv Wood, not heeding all the warnings that I myself have given here. It really is dangerous—the place is famous for it. There's a madhouse nearby, caves where criminals and the sick can hide out. Also, once upon a time, as they say in fairy tales, the great dragon Zmei Gorynich lived here beside the Puchai River. The stench in these places drives away the most committed misanthropes and even one type of philanthrope—that is, perverts. It sounds dumb, but the stench is cleansing. I don't know where it comes from. After the operating theaters and the rooms with amputees, the stench no longer repelled or attracted me; it just was. And this was a great place to think. As I walked, I considered an incident with our patient.The patient, a respectable individual whose name carries too much weight for me to state it directly, one day began to assault people. He nearly strangled a merchant who he believed asked too much for a beaver coat. He likewise wanted to kill his business partner when he didn't say hello loudly enough. But the worst was, he lost all shame of his own nakedness. At first it was the police who took care of it. When our future patient slipped off his pants and undergarments, he was taken to Kyrylivska, which has had means for dealing with such cases dating back to the day when unhinged Cossacks and composers from Kyiv Mohyla Academy were taken there.During the examination we determined that the patient was experiencing a severe breakdown. His wife added that lately, more than once, he had allowed himself strong words in front of the children and often suffered from ennui. Furthermore, she said, the patient had been undergoing treatment for “the French disease” for some years—which was, obviously, where we needed to start.“Syphilis!” Skorsky spat out the matchstick he was chewing on. He was a specialist on the psychological aspects of diseases related to the venereal. “Tertiary syphilis! When poorly treated, over time ‘the French disease’ can destroy the central nervous system. Hence the patient's chicanery. Such theater!”Skorsky and I had not spoken since the incident at Bilinsky's. Meanwhile, something significant had happened to him. The most boring person on earth, Skorsky had simply caught fire. He said hello and kibitzed. I even heard the doctor got drunk alone in his office, then wandered through the forest. Could he be using narcotic substances?“Cocaine!” was the doctor's second proclamation. It was his favorite treatment for the psychological complications of syphilis. Skorsky himself never took what he called “the universal drug”—good for alcoholism and toothaches, neuroses and morphine dependency—though he had read in an article by a respectable Viennese physician, who used cocaine as a panacea, that it was not addictive. That doctor subsequently recanted, but Skorsky paid no attention. He believed the retraction was made under pressure from pharmacologists who had no incentive to cease production of the medications that cocaine might supplant. Their representatives either paid or threatened the Viennese to repent.As the patient was escorted to his room, he assaulted the orderly, Alevtyna. They tried pulling him off her, but, though he released his fingers from her neck, he buried his teeth in her leg. The poor orderly, who had not until then been attacked by a psychotic, nearly died of fear. Later, panic set in over Skorsky's diagnosis. He told her about the consequences of syphilis: grotesque patterns on one's face due to infection of the skin, mucous membranes, cartilage, and bones. He went on about the devastation to the central nervous system, which they had just observed in real life: “The face starts to look like lace some mangy dogs fought over before rolling in the mud.”Alevtyna, who had not yet regained her faculty of speech, straightened up. Ignoring the slavering male orderlies, she bared her leg to get a better look at the wound. She then ran down the hall and out into the garden, where she fell on the ground to rip up grass and small bunches of daisies. Alevtyna ate them along with the soil in their roots.“Minor hysteria. She needs fifteen milligrams of cocaine.”Skorsky took a snuff box out of his pocket and scooped up some white powder with a toothpick made from a goose feather. He gave the order to close Alevtyna's mouth and one of her nostrils, forcing her to snort the medication.We fretted over her so long that evening fell. I decided to walk down, along the ravine, behind the church.It was unlikely there were any large beasts there, but something was rustling. The pits and mounds, ravines, paths, graves of witches whose living sisters flew in the treetops from time to time, the whispers of the forest spirits, the spirits of the nutcases who died in the hospital, the spirits of the monks from the St. Cyril Monastery, Zmei Gorynich and the bogatyrs who wanted to defeat him. The city would be calmer without this forest. I saw the gaps between the trees and went off in the direction of the tram tracks.As I was coming out of the forest, there was a patch of Amanita muscaria that had been trampled into porridge. A bit farther on, the body of Professor Bilinsky lay killed in the blackberry bushes. The way he was lying it looked as though he had not struggled before death. I quickly examined his body but saw nothing out of the ordinary. There were no wounds, no dirt under the fingernails. Animals had not yet smelled the carrion, but swarms of various insects covered him. Oh, why did I have to find the putrid body?The best thing would be to take the tram to his house to inform his relatives. The doors closed, and I noticed my own calm. This death had not evoked any emotions in me other than a feeling of responsibility, the need to tell the family. But also—some alarm at the thought of who the murderer could be. I knew that it was murder.“Your nose is bleeding.” A woman as round as an onion, carrying two baskets full of strawberries, offered me an ironed and starched handkerchief.“Have I dirtied my shirt?”“No, it's as neat as a pin. It's just your nose that's dirty. Wipe it now before you spray blood on my strawberries.”“No one will see the red on red.”“Ah, but it's salty!”“You know why it's not sweet? We'd drink it like syrup.”“Those with Christ in their heart do not talk that way.”“Are your strawberries expensive?”“Why? What?”“I'm checking to see if you have God in your heart.”“Child, if you knew how I have to work for this berry! I have to weed it a hundred times. In a week, the quitch grass grows as high as a horse. And I water it with water I carry from the stream, it kills my arms... ”“How much are the berries?”“They're not for sale. Anyway, soon money won't mean a thing. Soon all money, all these papers made from the skins of sinners on their satanic presses will be annulled. What matters is how we treat each other.”“So if I try your strawberries for free, my ‘thank you’ will be enough?”“Hands off!” she said and thwacked my fingers.I heard loud laughter behind me—same laughter as from the café near the Continental. There was no one sitting near Alina. (This is what fate looks like, remember.) Without asking, I sat next to her, away from the old lady.“Excuse me, but the night before last didn't you, yes, didn't you intrude on my privacy?” She started right away.“I saw it a little differently. Who was that young man with the mustache who paid me for you?”“Are you checking to see if you can flirt?”The tram stopped. People got on and off.“Are you coming back from the hospital?” she asked. “Don't be shocked. My uncle works there. He's told me all about you.”“An uncle by the name of Skorsky?”(Remember: this is what fate looks like.)“Yes. Skorsky's been strange recently—says things that make me wonder if he hasn't lost his mind. Have you noticed anything?”“I don't know.”“You know perfectly well.”“Where are you going?” I tried to change the subject.“I have to send something to my theater friends in Odesa. By the way, they'll be putting on Oedipus Rex soon in Kyiv—in Ukrainian.”“Greek tragedy in Ukrainian! That's a first.”“Exactly. The troupe is rehearsing now in Odesa. The theater where they will perform this fall is being remodeled.”“Wait. Now I remember where I've seen you before—it was at a performance! Vynnychenko's Black Panther and White Bear, at the Bergonier on Fundukleivska.“The same director is doing the Oedipus. He's my friend.”“He's your friend in what sense?”“Again with that tired subject. By the way, I've been thinking about you.”“And I about you.”“That's good. I was thinking not about you, to be precise, but about that elevator you invited me on.”“Who was that man with you?”“Like a broken record! Even if he had been my fiancé, I'm not bought or inherited. I'm not a brooch or a hundred acres of land, and I'm not a house in Kaniv!... Who was with you when you saw Black Panther?“Ah, so.”“Answer!”“That was my mother. She looks very young. She is coming to Kyiv the day after tomorrow. I can introduce you.”“Oh, this is my stop.”I looked out the window and realized that I had long since passed the stop for Bilinsky's.“Can we see each other again?”“We can. But you have only one chance.”Alina the anarchist wrote something on a scrap of paper and handed it to me.Morning, not morning but a thick porridge (I hate porridge). Dew, thick spit, crushed fruits, urine, all on the sparkling cobblestones. The sun, just barely having made its appearance, is already scorching. The human masses scurry and grumble like poorly digested food inside a stomach.I walked diagonally across St. Sofia's Square, then along the perimeter, then one edge, then again diagonally across. I went underground. The basement café of the Continental Hotel was practically empty. I again asked the server to bring the cloth with the embroidered portrait, but I couldn't remember the musician's last name, only that it ended with -sky. The server said that -sky was currently in the southern cities of Yalta and Odesa. I added that Kurbas, the director, Alina's friend, was also in Odesa, rehearsing Oedipus Rex, and that he'd previously put on Black Panther.I was bored, so I walked along Khreshchatyk and then headed down, calling to mind all the Kyiv churches of Podil: there's Birth of Christ, St. Nicholas on the Shore, Intercession, Pyrohoshcha, Holy Presentation, St. Dymytrii Rostovsky, St. Illia's. And also the Epiphany Brotherhood Monastery, Ascension Convent, and St. Katherine's, all these whipped-cream churches on the waffles of our streets. A few of them reminded me of themselves by appearing suddenly out of nowhere.The smells on Kontraktova Plaza where commerce buzzed were like multicolored light bulbs turning on one after another. Here you could catch the aroma of Balabukha jam, which blended with the next smell, English shoe polish at the Raiskys’ shop. Then the crunchy-smelling cabbage from old women standing in a row like herons and spitting out the shells of sunflower seeds. Farther on, the stench of a good-sized rat that crawled under Mrs. Shevchuk's shop where she sells broadcloth. Oh, she can't scream: no, she'll quietly dig that rat out herself so as to not scare off her clients.I bought a paper and two pairs of underwear. I asked two laughing young chambermaids who were secretly puffing in a grape-filled yard for a smoke. I wandered around Podil until evening when I came across a sawmill near the Dnipro that surprisingly smelled pleasantly of mazut fuel oil. The weather was dry, yet in the middle of the road was an enormous puddle, a deep dark black. A forty-year-old woman in a pale pink dress stood near it. The theatricality of it all provoked me to pose her a question,“Ma'am, what should I do?”But she paid me no attention. I shouted,“What should I do?”“What to do, what to do?” she said in Polish. “Jump in the water and swim so far away that you cannot return.”I quickly crossed a section of the forest. The wind brought a mixture of unpleasant air, like a stinky handkerchief held under one's nose. Passing the trees, I saw light in the spaces between them and exited at the hospital.Outside the windows, two orderlies lay in chairs with their heads thrown back. Two others—fools—ran around the yard in different directions, peering out at... something. The lights on the first floor of the hospital were on, and the staff milled about.“You're just in time!” said Ivan, a tall, young orderly.“For what?”“Your patient ran away! We went into his room and he wasn't there.”“What patient?”“The one who bit Alevtyna,” said Danylo, the other orderly, short and middle-aged.“That's Skorsky's patient, not mine.”I had no intention of helping them. This was all history—like my family, Kyiv, and my previous life. I had no intention of thinking about it. I wanted to go to my office, pack up my field surgery kit, and get out. So what? Their psychotic syphilitic ran away—it happened.Of course, that patient could have something to do with Bilinsky's murder. But that was no longer my problem.“What a strange coincidence!” the doctor on duty said. “Comrade doctor, the other one responsible for this patient was just here.”“And where is he now?”“He took off toward the church to look for the patient.”“Didn't the patient escape earlier?”“Don't know.”“How do you not know? You had better call the police, moron, before he kills someone. And get those sleeping orderlies to look for him.”“They can't... ”“Why not? Should I go wake them?”“They're on morphine.”“And you, I can see, have lost your mind. Go, catch your psycho! If it turns out that he killed Bilinsky—and on your watch—you can't imagine what's in store for you.”I adjusted my homburg and set off in the direction of St. Cyril's, that unwelcoming monolithic cube. I glanced around—what if our escaped syphilitic were to jump out of the bushes and bite or strangle me. I looked around because I wasn't sure of my actions, wasn't sure of my choices. Tripping over a clump of clover, I reached the open doors of the church. I couldn't stop myself from going in.The walls and ceiling were covered with frescoes. There was what used to be an angel rolling up the sky on the southern column of the narthex. But also graffiti: people scratched their names on it so as not to be forgotten—their idea of eternity. Prince Volodymyr the Great compared this activity to the desecration of graves. The vandals paid a fine and were beaten with canes. During the raids of Batu Khan, the church was deserted and cracks appeared all over it. Wild martens and feral dogs sought shelter here; insects swarmed under the ceiling with its red mosaics. Birches grew in its midst. Water seeped in the cracks, the water became ice, the ice widened the cracks, more water seeped in the cracks, becoming more ice that further widened the cracks, the wall split and nearly fell over, and then the wall fell over. Yet the angel is still rolling up the sky... When I reached the exit, I heard a rustling behind me. I turned after I stepped outside: in the depths of the church, like a stick in a pot of tar, stood a man with a large bag thrown over his shoulder and a revolver pointed right at me.“Is that you, Doctor?“Don't move!”“What's... Skorsky, what's with you?”“Don't move, I say!”“What are you doing here?”And finally I understood... Skorsky was himself the psycho! (Really, I had known for a while.)“You are the murderer! I knew it! But—why?”“Shut up.”“It was you. You! The stolen cigarettes, the strange behavior, Bilinsky. If I shout, everybody will come running. They've already called the police!”There was heavy breathing behind me. And then a gun rang out.The city is overgrown with new buildings. They encircle everything that was once on the periphery. Kyiv has become an old lady that can no longer restrain herself in the face of pastries. The city climbs farther. It steps over the swamps, turns the old rivers into a series of lakes; the other bodies of water it drives into canals. The grain that falls from the wild wheat is black. When the sun heats it, the grain melts and trickles into the earth. St. Cyril's stands indestructible. No one spackles the small cracks in its walls with either expensive putty or glues, nor with cheap cement and whitewash. One day a small fox appears in the doorway. It runs inside and along the floor of simple gray tiles. The gods watch from the walls, watch and fall into ruin. The fox runs to the iconostasis. Before it is a time-darkened Virgin Mother and Child in oil on sheets of zinc. The fox runs the metal steps that wind up to the second floor. The fox runs past all the vaults, naves, all the frescoes. A buckthorn seed flies in through a broken window. It will be the first. Soon the buckthorn will grow everywhere. A dumb hare will make its nest in the buckthorn bushes and nightingales will settle in the upper branches to sing until the end of the world. The fox runs between the thick rays that penetrate the windows. It catches one of the rays, squints its eyes, and warms itself in the sun.The shot rang out, but I did not fall. I looked around—and on the church threshold was our syphilis patient bearing a rod. His head lay on the rocks by the doorway.“If only he'd been at the stage of nose deformity! Just imagine: a hole instead of a nose plus a hole from the bullet—like an extra pair of eyes!” Skorsky laughed at the corpse.“We need to call the orderlies.”“They heard the shot. They'll run here on their own. You see, Professor Bilinsky believed it would take two or three years to wrap up this patient's case,” Skorsky told me. “But I took care of it much faster!”“Excuse me, but I'm going crazy in this city. I thought that you were Bilinsky's murderer.”“Just so. Why not? I am Bilinsky's murderer.”“Don't tease. You've changed a lot recently, so... ”“Yes, I've started killing people. You might term such a change significant.”“You have the right to irony.”“I am not being ironic.”“Let's call it sarcasm.”“It's the honest-to-God truth.”“And yes, you have the right to mock me.”“Well then, let's be done. To the horses!”“What horses?”“Alina's waiting!”Alina, her uncle Skorsky, a few others I didn't know, and I rode like the wind that ripped off my homburg and carried it back to Kyiv.“There's a fresco in the choir loft at St. Cyril's where Vrubel painted himself and patients from the hospital as the apostles. When I came across it by accident, I really believed they were saints,” Alina said.“I've never been up there. I've only seen the church from below.”“Remember the way back so you can see it sometime.”“The Puchai River used to flow here. You shouldn't trust the landscape,” Skorsky said, reaching for something, perhaps his bag, just when we left the darkness of the trees and saw the endless steppe ahead of us.We rode all night without stopping. Though no one was chasing us. Though we had nowhere to be. We rode like beasts released from a cage. The promises of the horizon turned what we'd left behind into a cage fit for those from whom freedom had been severed, like an anomaly, at birth.The pre-morning sky looked at first like a sack of turnips—filled with something heavy. But with each verst, the sky became lighter. When it was finally light enough to see clearly, we arrived at a knoll at the foot of a stone wall that from a distance had appeared to be a gigantic piece of halva. The exterior ruins of the castle gave no hint of how it was when all was fine here, when people defended themselves successfully from the nomads’ raids. From far off, the wreckage looked like a natural agglomeration of stones—a rocky elevation, no more: a cluster of cliffs. It would rain a few hundred more times, a few hundred more winds from a few hundred directions would blow on this heap, and it would collapse as though nothing had ever been here.A few stalks of wheat grew from one of the rocks. Someone had probably cast a handful of grain here for some birds that forgot to eat it.“Who could this castle belong to?” I asked Skorsky.“I reckon the Swan Princess,” the doctor rejoined, hoping to sound knowledgeable.From behind one of the piles of gray sandstone emerged a young man in a black reptilian coat and a white papakha as lush, bright, and out of place as a dahlia. His name was Artem. The heat was melting our brains, but he was dressed like that, in rooster fashion, which was popular among the otamans. Artem helped Alina dismount her horse and tried to kiss her on the lips, but she offered him a cheek instead.Had she been racing to see this clown?We entered the yard—the ruins had fashioned an internal space that was more or less protected, at least from strangers’ eyes. It turned out that there were even places where it was possible to hide from the rain, and from there the ruins didn't look half bad.In the center of the court was a table, and on it a wooden bucket with pink gladiolas. How romantic! It all looked like it came from outer space. Where on earth, in the middle of the steppe, far from any village or town, did this table, this simple table, come from? And the gladiolas? The steppe hadn't been plowed in so long that any cultivars would have gone wild, degenerated, dried up completely.A campfire crackled nearby—a little preview of what we would soon do to the houses, villages, and cities. Artem the otaman brought over a cezve from the fire and poured the first portion into a small, copper cup for Alina. He also got out a porcelain cup with images of rosy cherubim—but how...?“Who else would like coffee?”Only Skorsky and I responded. The question excited me, even distracted me from the thought of the kiss I had recently witnessed and the Kyiv I had recently left.“It's obvious who the professors here are; cultured people drink coffee. Are you both doctors?”“Uh-huh.”“For wolves of the steppe, like us, doctors are gold, even more precious than gold. Actually, a Hippocrates like you should eat more, because those in your profession will soon be worth your weight in gold. Work on your figures, both of you.”“Who will take pity on the horses that have to carry us?”“We'll find the horses. And very large doctors can be transported on machine-gun carts. We'll need to seat the otamans near you. Only a fool would shoot at a doctor.”“I think we'll find quite enough fools here.”“With your beard, Doctor, you look like Tsar Nicholas II. But even so you won't be shot. You might even be canonized!”“We've only just arrived and you're going on about executions,” Skorsky grumbled and checked to make sure that he still had his bag.“Apologies, apologies, pardonnez-moi. But you are not merely a doctor. A venereologist! Skorsky, you're a specialist! A venereologist is the most important person in wartime. The most valuable! You are the botanists of war. You can't imagine what varieties of flowers grow here, and these beds have long awaited a proper gardener. Or even just a man with a scythe!”“Bite your tongue,” Alina said. “I don't need to listen to this.”“Yes, yes, of course. Excuse me, my r—. ” He almost said “rose.”We rested all day. We went down to a surprisingly close river overgrown with lilies. We rowed the boats left by fishermen. I talked to Skorsky. He took his bag everywhere, refusing even to swim so he wouldn't have to part with it. I asked him what he had in it, but he said it wasn't my damned business.Alina rowed with the otaman to the middle of the river. They were having a loud discussion. She was waving her hands. The current carried their boat downstream slowly and smoothly. What a nuisance, that current!I tried to meet with Alina one-on-one, but she was avoiding me. In the morning I was confused, by lunch I was sad, and after lunch I got angry.In the evening, I lay on the hot grass and drank another cup (I have no idea where they got such good coffee), which had no effect at all on my sleep. I watched the Perseids. Every year, the Earth passes through the tail of Comet Swift-Tuttle. People can see the meteor shower and make a wish. I wished. I counted forty-seven falling stars. All forty-seven of my wishes were for the same thing.Around the campfire, they were sitting, talking. I saw how he tickled her face with a piece of grass and she brushed him off in annoyance. Then they were screaming at each other. Later they again spoke kindly, after which they again quarreled. My joy grew after each tiny mistake that Artem made. I wanted him to show the worst he was capable of.They were screaming at each other, but all I could hear was beautiful opera singing. The stars fell to the sound of their screaming. The stars blessed my joy.Then this happened: Alina kicked the fire, scattered burnt kindling, and burned some of the grass. Artem grabbed her by the arm, but she broke away from him and ran off to the horses.“Go then! I guarantee you'll get to Katerynoslav and return with your tail between your legs.”“I'm going to Huliai-Pole! To Father Makhno!”I jumped up and ran after her.“Where do you think you're going?” Artem shouted.Really—where was I going? I was going after her: to Huliai-Pole, to Katerynoslav, to Rome, to Washington, to Istanbul, to Montevideo... “Go to sleep,” he said. “Come morning, this coquette will be here, right as rain. We've already been through this show. Tomorrow she'll be right here next to my boot!”... No, she won't.In some sort of shape we entered some town. There were some buildings that were some colors, some trees, some streets, some roads, and some signs. Posts, flustered birds’ nests, echoes, colors, shapes—each of some kind. A wedding procession was coming toward us. If you want to make orange, you need to add yellow to red, and then bam—it's black. If you want to salt the soup, shake in a little, and then bam—two handfuls. You want to say a kind word, and then bam—a punch in the face. I was rocked around like a watermelon on a boat and threw up my breakfast straight into the horse's fluffy mane. Sanko found this hilarious, but I said I'd pulverize him. So Sanko sped ahead.No one knew anything about Alina. The daytime sky was like a poorly washed bowl. The sun was a squashed, rotten apricot. The night sky looked like the sole of a boot to me. The moon was a dirty cheap copper coin that had gotten stuck to the sole. Everything seemed spoiled to me, irrelevant, unnecessary. Without her, this journey was a waste of time.“You'd better stay away from everyone,” Artem said. “You'll infect us with your pining, and pining is worse than the clap.”The wedding procession was before us. The young couple, still utter children, walked so calmly it was as if they didn't see us. As if we were made of a light breeze—our bodies, clothes, our horses and their iron shoes—of the lightest gasses. As if we were visible only to ourselves and the coal-black dog that barked, panting and gasping.The wedding was headed straight for us. We were in the middle of the road, and so were they. We approached each other slowly, a wave going toward a wave. Some ten meters before their indifferent faces, I noticed the color of the bride's eyes. And the coral-colored tulips that fell on the road before her. Round goose eggs on meaty stems, the flowers were falling and falling before her. The bride's eyes were almond shaped.“Hey there,” Artem shouted at me. “Wake up!”I came to and saw the whole village, everyone there, not realizing my group had turned left onto a side street away from the procession. The tulips disappeared—where'd they get tulips in the fall? I was sitting alone on my horse in the middle of the road, and the entire wedding procession came to a stop. I moved to the side, and the throng marched on, cutting off our escape route. We rode a few more meters and came across the synagogue.“You know what, you're right,” said the otaman.“Who is?”“Oleksii is the only one here who's right.”“About what?”Artem turned his horse and raced back. Everyone stood still while he ran his horse into the crowd and began firing his revolver. People scattered in all directions. Artem trotted, cackling like an imbecile. The horse kicked an old guy in the mouth. The man fell, spitting out his gold teeth. We rode up to the commotion and formed ranks, but none of us wanted to join the otaman.The bride stopped in the middle of the street. On both sides were buildings and trees, as well as dust, sky, and sun. She stood still, beautiful, as if nothing had happened. Then she adjusted her garland and walked calmly on.“Well, should we get some sugar now?” Artem laughed, looking at the bride, and off he went toward the sugar factory.It was then I noticed that all of the houses had shutters—fuchsia, blue, ocher—and that all the shutters were closed.We flew toward the dirty building, whistling and shouting. If there had been aesthetes among the otamans, they would certainly have razed the abomination in this field after seizing it. They would have spread soil on top and sown buckwheat. Long live buckwheat!, that wonderful crop. Like hunting dogs hot on the trail, we raced to our defenseless victim, with the baying of hundreds of hounds behind us. The field shook beneath us. We became an artist's canvas, evolving from Realism to Romanticism, Romanticism to Expressionism, Expressionism to Suprematism. If we had been painted in black and white, we would have been splotches (until the ink ran, annihilating all remaining patches of white).Two men stood near the gate—unarmed and undressed, in nothing but their undershirts and boots. Our fervor, our kinship with the elements, our entirety, were all for naught.“Jesus Christ! What bores!” Artem exclaimed. “How boring you are!”“Maybe boring for us, but fireworks for them,” Sanko said, dismounting his horse.“The fear of death engenders creativity,” our otaman—a distinguished philosopher of the early twentieth century, that demonic breed—prophesied.He went on, “Excuse me, but with all due respect, we are not going to search you. Just show us right away where the money is. Why are there so few of you? Don't say there's not much money. I want piles and piles of money! If you don't show it to us, we'll print our own on your skin. Believe me, we will.”We entered the factory grounds. There were no workers, only an enormous mountain of sugar beets that looked like a pile of coal from a distance and a pile of dead rats from up close.“So, did you have a good year?” Artem asked a man in an undershirt.“Not really—too dry.”“Nah, that's fine. You wouldn't have been able to gather most of the harvest this year anyway. There's a fire burning across all of Ukraine, all of Russia. The whole world!”While Artem tossed thoughts like well-chewed sunflower seeds into the crowd, the two men quietly stepped aside and then ran fast ahead to the factory's main hall. The gigantic door slammed shut. The gate was locked behind us! The windows were smashed! The factory roared from inside like a cumbersome machine starting up. Bullets whirred through every window.“Bastards! It's a trap! Quick, after me!”Still on horseback, Artem bounded over to a vast window, low to the ground, and smashed it mercilessly. He broke the frame and jumped inside on his horse. I and a few others followed. We broke into their lair, threw open the doors, and let the other warriors inside.Iron vats of hot sugar were steaming, pipes were clattering; machinery groaned.“Parasites!” Artem gritted his teeth. “I'll get you. I'll get you red sons of bitches. Painted whores!”At the word “painted,” his horse fell to the ground. Lying prone, Artem continued fighting, but the red soldiers wouldn't let him stand. Fighting nearby, I rode over to assist but did not know where to aim. Artem got up, ran forward, and brought his sword down on the head of the closest soldier, all the way to the middle of his skull, to the bridge of his nose. It was like butchering a pig. Artem thrust the sword into the buttock of another who was fleeing and cut off his leg at the bend in the knee.“I'll cut off every last one of your asses! Cut off your asses!” Artem bellowed.A half hour later, the dead were lying, the captured sitting, and the victors doing anything they pleased.“Skorsky, are there a lot of casualties?” I asked the doctor, whose hour it was. I hoped not, because I was too tired to help him.“Just a few. The dead are already dead, and the wounded are not ours.”Though Skorsky rarely asked my help, and though I'd become an ordinary soldier, the doctor in me was still present in the most unpleasant attribute—knowledge. Others saw an eviscerated man, pieces of dusty flesh smeared with clay, soil, sand, and straw. I saw a perfectly formed kidney hanging perfectly from the rest of its body like a child's mitten from its coat. You could try this death on for size. Wear it like a sanbenito of the Inquisition.Artem counted the money and then lay on the floor alongside the gigantic sugar mountain in the middle of the room. From time to time, the crystals rustled as they fell.“I didn't think you'd be such a fighter!” the otaman said without turning toward me. “I thought you'd be healing us. You'd keep to the rear and we'd hide you like a girl. But here you are, in the vanguard, like a lion!”“I got excited,” I told him, choosing not to react to the “girl” part.“’Cause Alina said there was no sense counting on you to fight.”“Really?”“Does that sting?”“Why would it? I'm a doctor—not everyone is. It requires a brain. Unlike waving a sword.”“Yeah, yeah. I gave her gladiolas. We were lying in the boat near that castle, doing all manner of things, and she told me all about you. How you met.”“You were lying in that boat talking about me?”“It was the day before you left Kyiv. You agreed to go with the anarchists so quickly!”“Were you surprised? Doctors make fast decisions.”“But you probably had great prospects. Your parents are rich, right?”“And who are your parents?”“Probably all your relatives fled abroad—bourgeois. Why did you stay?”“What the hell's your point?”“Alina, by the way, died a while ago. Probably.”“Don't jinx her.”“Listen here,” he said, staring at the ceiling. “And listen good. If you have designs on her—dead or alive—it's best you castrate yourself now.”“After you.”“If I want to kill somebody, you know, I just do it.”At last he looked at me. I was lying on the floor nearby and looking in his direction, sweaty and relaxed, my appearance complemented by my disdain for his opinion, his authority, his stupid hat. His everything.Artem raised his arm above his head, stuck a finger in the sugar mountain, and licked it. We both got up. Had I anticipated this turn of events, I would have readied a gift for him. Artem held his revolver. Under my hand I found a knife the workers used for gathering beets: it was a deliberately sharpened arc they sank into the swollen brassicas. I jumped up and quickly stepped around the sugar mountain.Artem's bullet hit a pane and broke the glass.“Not man enough for hand-to-hand?”The otaman shot again.“You should've challenged me to a duel, you romantic!”Encrusted with white crystals, I charged Artem from the sugar mountain. We fell in, and the sugar stuck in our hair, mustaches, nostrils, armpits.The gang ran in to get us apart, then backed off because it had nothing to do with them. By now the sugar mountain had burst its banks. Of the once perfect pyramid, a deformed mound remained.Wounded, Artem fell on the sugar mound, turning the white red.I stood before the gang sugar-coated and holding a bloody hook. The old otaman was drawing his last breath. Blood trickled from the corner of Artem's mouth and streamed from the left side of his breast.“What's the commotion?” Old Roman had just come in.“Be quiet,” the boys told him. And a good thing they did.“You killed him? You killed the otaman!”“Shut your mouth,” the boys told him.“You... ”I slugged Roman's stinky herring mouth. How did that son of a bitch find pickled herring in a sugar factory? My fist was now bigger and stronger than ever before, a steel anvil that could split nails and shatter memorial plaques. The unfortunate man's jaw twisted like an upper millstone that had gone off track from the lower.“Let's get out of here and go to Makhno's camp,” I gave my first order.We galloped so fast the grass burned beneath us. The birds and bugs had no time to fly out of the way; hooves trampled the burrows of rodents who didn't dare crawl out of their holes for a long time after. We raced like no one had ever raced before.The steppe, that sly fox, pretended to be an innocent fool. The steppe said, “I'm like Adam: I don't even know my own name.” But its grass harbored the tracks of thousands of armies and the heels of Herodotus, the crunch of Trypillia vessels, and the smell of Scythian hemp, Roman coins, clay figures of wolf people, the chevrons of Denikin's army, glass from the Chekists’ ruby stars, traces of uranium from flying saucers. I threatened it: “Steppe, show me your layers, or I will burn you, plow you under, flood you.” But it just replied: “I'm like Adam: I don't yet know my name.”I lost geography as if it were a silver coin. It fell out of my pocket and rolled through the feather grass that blanketed the steppe in white foam. The open space ahead was so endless that the whole world might as well have been steppe. If people ended up here from somewhere else, they would conclude they were on another planet. The coin fell and became an argentum, became one with the ring on the hand of the princess who had one green eye and one blue, with the twisted candlestick at the monastery on the other side of the steppe, with melted ingots. It broke down into simpler elements, simpler and simpler yet. The horse carried me spreading the seeds of northern plants to the south, just as southern riders had once brought flowers and weeds to the north. And then I turned back. Just as I had no geography, I had no time. Every night I fell asleep with the thought that the next day I would again race. Through all spacelessness, all timelessness. I exchanged one horse for another, got on a train, on a boat, traversed forty versts on foot—in rain that brought the river up to the road, in heat that overturned cattle. The earth I walked on became mine. Mine was the water in the lakes and springs, clean water, dirty water, enlightened water, contaminated with oil, stinking of algae, of fish that died in wells, stinking of the memory of atrocities, water as clean as broken bread. The water did not become Alina.I was doing this for her: I got the basturma out from under my saddle, sodden with the horse's sweat, sliced the throat of a rich man whose daughter I had danced with at a ball, climbed into a vat of beet juice and took a sugar bath, carried out the expropriation of the savings banks, wiped the sweat from my face with my shirt—and the cloth turned red; I didn't know from what. If it was someone else's blood, I didn't care; if it was my own, even less.We mostly came across Reds. We scraped them up like old red paint on a door in order to repaint the boards black. Black looked better. Red is tasteless, but black has style. Healthy men died before us of myocardial rupture like bunnies found in the nest. The ones whose hearts were sewn of steel wire envied the deceased. Seizing estates, banks, distilleries, and prisons reminded us of gathering in the harvest. If you're too lazy to pick an apple, you can shake the tree; some of the fruit gets bruised when it falls. We seized buildings like we were shaking apple trees. No one picked the fruits, we just shook: shook under the beds, under the tables, behind the curtains. No, there was no picking. We just shook until the red juice spurted from the apples.Near the Khorol River with Father Makhno and me in charge, we captured sixteen machine guns and four cannons, as well as five hundred prisoners who immediately came over to our side. The villagers voluntarily gave us bread and cheese, chickens and kvas. People joined us. The front of the machine-gun cart said “You can't run,” and “You won't catch us” at the back. We took factory after factory. Millions of karbovantsi, thousands of poods of sugar, weapons. We smashed the telephone exchanges and captured the telegraphs. We made alliances with some and then with others. Lenin, Wrangel, Frunze, the Germans, Chinese, Australians, Kaiser Wilhelm II, Cleopatra, Maria Theresa Walburga Amalia Christina. We ran the steppe. There were a hundred thousand of us. There were three hundred thousand of them. There were three hundred thousand of us. There were a million of them. There were two million of them. We were all of humanity. We were so many that we were none.The nobles’ estates were long ago forsaken. In the people's deepest trunks lay silks and guipure laces that were once perhaps used only to cover a table. Five steps from the barn in the direction of the pear tree, some silver candlesticks are buried; there's a plaster figure of an angel in the chicken coop, covered with shit and feathers.I was reluctant to be going to my home, but I didn't see any way out. Fate intended me to be a different being from the one I was before.Here my grandfathers and great-grandfathers were born. Here the ones who caused my grandfathers and great-grandfathers to flee had stopped. When we were still far off I noticed that someone was in the house. It was our men—Skorsky had brought them here, about twenty in all. I asked Sanko, whom I had walked with side by side more than once, where the doctor was now. All the men answered that he was around somewhere, but I didn't see him that evening.In 1918, the spirit of my great-grandfather Stepan, along with my mother and uncle, had gotten into a britzka and scrambled off to Paris, to Napoleon, against whom my great-grandfather had fought with the Cossacks, to whom the Russians promised to return self-rule. Following him in the cart went the soul of Grandpa Oleh, who lost a finger when he cut down the old linden near the house; his second finger was blown off by a cannonball near Balaklava, and later his entire hand was cut off by some Turk. Next went the spirit of my father, also Stepan, who did not take part in any war but died of measles at the age of forty. They all got the hell out of here. First, they went to Kyiv, led by my mother, Tamara Makarivna, in order to collect Uncle's family and me, their son. And their son, it turns out, has now come back to rob his own home (I didn't drive my war buddies away, did I?). It's a shame that I didn't know where the bathtub was, or whatever they bathed me in when I was small. It would have been good to walk through the ranks of anarchists with that basin and tell them all to spit into it.Remembering every room, I carried Alina upstairs to my mother's bedchamber. There was no longer furniture or pictures, only bare walls. The bed and mattress remained, but that was enough. Mother hated noise, so she set up her room far away from the running in the halls and the creaks on the stairs. I adjusted the mattress; in a gap, looking like a stalk of wheat, there lay a gold bracelet that she lost in the haste and that the thieves could not find in the mayhem. I tucked it into my pocket.The place could still be saved. It was strong, built under the leadership of my grandfather, who knew how to do it right. He built a sawmill, a gristmill, a dress factory (today it's probably been ransacked, maybe even by our own men).Alina had a complete, displaced break in her right fibula. We needed water first. I went downstairs—the guys were dragging out the piano like an old cow to the slaughter.“What are you doing with that?”“Taking it out.”“Why?”“What's it to you? We want to have fun.”“Can you play?”“We're not your bourgeois lily-handed bitches.”They couldn't play, but they were famous at destruction. “Noise is the music of the new time,” one of the smarter among them might have said. “But noise is the opposite of music. Just as a rose is the opposite of your ugly mugs,” I'd have responded if there was anyone to say it to. I could also have said that this was a Bosendorfer grand piano, that it was very valuable—but do the guys not deserve such a luxury?“Why are you so boring? We're relaxing.”“Then let me play a little first.”“Go ahead, but fast. One-two.”So I played. As before. My fingers ran up and down the black and white keys, which weren't simply keys of these, the simplest, colors. These were the keys that remembered my fingers specifically—achieved by that slovenly German Katerina, our governess. She knew a bundle of languages, could play the piano, and was interested in the latest scientific discoveries. But she had not an ounce of sympathy for anyone who couldn't master anything on the first try. More than once she hit my pinkie against the black key that remembered every one of its four thousand touches. She would pound it on the key and shout, “Si bémol! Si bémol,” and later bang my fingers and translate, “B flach! B flach!”I played. I could not expose myself, so the only thing I could do was believe in miracles. What if these coarse men saw value in this bit of furniture so unintelligible to them? And what if they didn't destroy it, this emblem of my childhood, my land, my air, which I could protect in no other way? My air. My water.“Shchedryk, shchedryk, shchedrivochka,” one of them who recognized the tune began to sing along.“Look at you.” They did not expect music from me, who had until recently been drinking blood like water.They said, “Again, again!”A group of curious men gathered around me. They were ordinary farmers, thieves, and recidivists, peasants and workers, everyone except for Skorsky. They needed this music as they needed baths. The music cleansed them from the inside, perhaps. They had not heard anything besides the whistle of a bullet, the neighing of a horse, or the knocking of a chisel and the whirring of a saw, amputating limbs, for a long time.But it could not go on long. I did not close the piano lid, just stood and went to fetch water for Alina, leaving the unfinished song for later. The well was to the north—that is, at the “Head.” My father once promised to give me a compass if I could learn to identify the ends of the earth by means of the sun. And to make it easier to remember, I gave each one of them a name: the east where the day begins was “Right” (my right hand), the west “Left,” the north “Head,” and the south “Feet.” Back when I could still do whatever I wanted all day long, I would wake in the morning and say: I'm going to the Feet. The mound was at the Feet, Left had the river, Right had the forest. It was only to the Head that I rarely went, because a village was located there. When the villagers saw me, they would speak in whispers and avoid the master's son.... I wiped her brow and her burning, sunken cheeks. I lay down next to her to feel the heat of her skin.When the fire in Alina calmed slightly, I went out into our orchard. My father had once been given a gift from Japan—a tulip tree that blossomed with yellow-green flowers. It had to have grown in the time that I was away. It would have been fatal had it been cut down. I again took the stairs down into the drawing room and came across nobody—they had all disappeared in search of food or were hidden away in their burrows. In the middle of the hall, like an opened rib cage, was the piano, irreparably shattered.B Flach! B Flach!Translation © Ali Kinsella 2022. (shrink)

Perhaps no social topic contains as many contradictions as humanism. And everytime, in one era or another, the paradoxical nature of the problem of humanity re-veals itself from an unexpected side. It is not perceived as an unforeseen situa-tion when humanism is painted in misanthropic tones. There is no particular concernabout the situation when humanism turns out to be a simulacrum and in its essence ex-presses an ordinary emptiness. In various arrangements of humanism, we are talking about the cult of (...) man, but manhimself is seen as an evil, destructive creature. They talk about the inevitability of hu-manity, but paradoxically they put race, ethnicity and other social formations insteadofa person. Abstract and concrete humanism are distinguished, but a real person findshimself in the chains of totalitarianism. Ordinary crimes are covered up with humanis-tic rhetoric.The author of the article reflects on the paradoxes that are revealed upon closer exami-nation of this concept. (shrink)

In this paper I analyze the importance of Kant’s account of principled solitude at the end of § 29 of the Third Critique. The scant attention paid to this passage by the scholarship has mistaken it to mean that solitude is a misanthropic attitude, a misreading that serves a prevailing interpretation that Kant elevates communal interaction as the solution to moral turpitude. In reality, Kant holds that solitude can afford an individual liberation from the competitive obsession with others that characterizes (...) vice. Whereas misanthropic recluses withdraw from society out of hatred, fear, or indifference toward people, the virtuous solitary withdraws from their company in order to acquire a morally principled attitude of self-possession. By carefully delineating the development of this view in Kant’s lectures and critical works, as well as by laying out the essence of Kant’s notions of philanthropy and misanthropy, I construct an account of how solitude can perform this philanthropic function. (shrink)

Schopenhauer has a longstanding reputation for misanthropy. The reputation is warranted, but it is also potentially misleading. Privately, Schopenhauer resisted being called misanthropic, possibly because of the false implication that he hated humanity. Recent philosophical studies of misanthropy have helped to forestall this implication by detaching the definition of misanthropy from hatred and associating it instead with a negative critical verdict of humankind that can be expressed in a wider range of responses. On this definition, whether Schopenhauer endorses the misanthropic (...) verdict, on the one hand, and how he proposes to respond to it, on the other, are separate questions. In this paper, I answer the second question by presenting two of Schopenhauer’s proposals for preventing a hateful response. Both proposals confirm that Schopenhauer not only resisted hatred of humanity but also had recommendations for achieving such resistance. However, the two proposals are also markedly different in important respects. The first proposal is still based on a misanthropic evaluation of humankind but recommends a different negative response from hatred, namely contempt. The second proposal, by contrast, is based on an alternative evaluation of humankind and recommends a positive response that supplants both hatred and contempt, namely compassion. In the course of presenting these proposals, I shall give reasons to disfavour the contemptuous proposal and thereby favour the compassionate one. (shrink)

You would be hard-pressed to find someone who categorically opposes protecting the environment, yet most people would agree that the environmentalist movement has been ineffectual and even misguided. Some argue that its agenda is misplaced, oppressive, and misanthropic—a precursor to intrusive government, regulatory bungles, and economic stagnation. Others point out that its alarmist rhetoric and preservationist solutions are outdated and insufficient to the task of galvanizing support for true reform. In this impassioned and judicious work, R. Bruce Hull argues that (...) environmentalism will never achieve its goals unless it sheds its fundamentalist logic. The movement is too bound up in polarizing ideologies that pit humans against nature, conservation against development, and government regulation against economic growth. Only when we acknowledge the infinite perspectives on how people should relate to nature will we forge solutions that are respectful to both humanity and the environment. Infinite Nature explores some of these myriad perspectives, from the scientific understandings proffered by anthropology, evolution, and ecology, to the promise of environmental responsibility offered by technology and economics, to the designs of nature envisioned in philosophy, law, and religion. Along the way, Hull maintains that the idea of nature is social: in order to reach the common ground where sustainable and thriving communities are possible, we must accept that many natures can and do exist. Incisive, heartfelt, and brimming with practical solutions, Infinite Nature brings a much-needed and refreshing voice to the table of environmental reform. (shrink)

Following in the tradition of Montaigne and Rousseau, a number of recent philosophers have argued that reflection on the relationship between humankind and certain animals yields good reasons for a misanthropic verdict on the former. One reason, of course, is the terrible treatment and exploitation of animals by human beings. Another reason—the one focused on and endorsed in this paper—is that humankind does very badly in the moral comparison with animal species that Hume thought was essential to any moral verdict (...) on our species. I argue that animals are favored by such a comparison since they are free of the vices and moral failings of human beings. To the objection that, in that case, they are also without the virtues that we have, my reply is that this objection is mistaken. (Even if it weren’t, animals would come off better than humankind, since it is morally more important to be without vices than to have virtues.) Simply put, the “innocence” of animals—perhaps like that of young children—is incompatible with being morally vicious, but it is not incompatible with manifesting and exercising certain virtues. Innocence does not exclude experiencing benign moral emotions, such as compassion. (shrink)

Thinking about truth can be more dangerous than it looks. Of course, our concept of truth is the source of one of the most frustrating and impenetrable paradoxes humans have ever contemplated, the liar paradox, but that is just the beginning of its treachery. In an effort to understand why one of the most beloved and revered members of our conceptual repertoire could cause us so much trouble, philosophers have for centuries proposed “solutions” to the liar paradox. However, it seems (...) that our concept of truth takes offense to our efforts to understand it because it appears to retaliate against those who propose “solutions” to the liar. It takes its revenge on us by creating new paradoxes from our own attempts to find resolution. That is, most proposed solutions to the liar paradox give rise to new, more insidious paradoxes—often called revenge paradoxes. For our attempts at understanding, truth rewards us with inconsistent theories, untenable logics, and a deep feeling of bewilderment. It is as if our concept of truth lashes out at us because it wants to remain a mystery. After a few run-ins with truth, many philosophers have the good sense to keep their distance. Far from being the serene, profound concept most people take it to be, those of us who think much about the liar paradox know truth to be a vengeful bully—a conceptual misanthrope. (shrink)

Spinoza is a hardcore realist about the nature of human beings and their desires, ambitions, and delusions. But he is neither a misanthrope nor in the business of glorifying the notion of a primal and innocent non-human nature. As he writes: Let the Satirists laugh as much as they like at human affairs, let the Theologians curse them, let Melancholics praise as much as they can a life that is uncultivated and wild, let them disdain men and admire the (...) lower animals. Men still find from experience that by helping one another they can provide themselves much more easily with the things they require, and that only by joining forces can they avoid the dangers that threaten on all sides. Indeed, Spinoza’s Ethics is a book whose aim is to lead us toward human blessedness and freedom. The question I will try to answer in the present study, then, is the following. Given his sober attempt to rid humanity of its self-aggrandizing illusions and to offer a naturalistic account of human nature, what does Spinoza see as the source of the value of humanity (if it has any)? In order to address the various aspects of this question, I will begin by examining the value of human friendship. Then, in the second part of the paper, I will consider the thorny question of whether Spinoza’s deflationary view of humanity’s status within nature allows for any notion of human dignity. In the third and final part, I will examine the value Spinoza ascribes to rationality, and the implications of this issue for his understanding of the value of humanity. (shrink)

The term 'psychopath' is ambiguous. Sometimes it refers to people who have no integrity. And sometimes it refers to people are misanthropic but may nonetheless have integrity.

Thoreau so frequently and pointedly criticizes his society that he is commonly seen as antisocial and nearly misanthropic. I maintain, though, that his critiques primarily reflect an attempt to serve other people. Like certain recent commentators, I read his writings as a revival of so-called spiritual guidance in ancient Greek and Roman philosophy-- guidance which was spiritual not in a religious sense, but insofar as it was aimed at the transformation of the whole self-- and I argue that Thoreau's critiques (...) play a vital role in his approach to guiding other people toward self-transformation. (shrink)

"I have a tree, which grows here in my close, / That mine own use invites me to cut down, / And shortly I must fell it" (Shakespeare 2001, 168)—Timon's lament, which in Shakespeare's rendition occurs shortly before its utterer's demise "upon the beached verge of the salt flood" (2001, 168) beyond the perimeter of Athens, is an indictment of the nature that Timon finds unable to escape. Having given away his wealth in misguided generosity to a host of parasitic (...) sycophants, Timon turns misanthropic when his "friends" reject his requests for help in kind to repay his debts, eventually exiling himself from the city with the intent of sustaining himself on nothing but water and roots. Yet he soon finds that removing .. (shrink)

This article defends misanthropy against what I take to be an underappreciated objection. Several recent defenders of misanthropy have held that it should be understood as involving a critical judgment of humanity based on the belief that human life is saturated with moral failings. The first half of this article identifies a problem for this view: namely, most people do not experience their lives in ways that would seem to be entailed by the misanthrope’s judgment. The second half proposes (...) a solution to this objection—an error theory for misanthropy. Several arguments are given. A common theme among them, however, is that there are good reasons to think that human beings habitually ignore and/or suppress certain displays of their moral failings. A misanthrope can also argue that beings whose lives are choked in moral failings will be more likely to overlook and to disavow them. (shrink)

Widespread misanthropy, understood as the disposition to reject society, is at once a permanent source of instability and injustice, and yet also a valuable support of cherished liberal practices, such as toleration. We must seek therefore to ‘civilise’ the misanthropic temper. Michel de Montaigne provides an instructive case study in this context, for he successfully moderated his misanthropy by his conviviality and friendship. The non-conditional character of Montaignean friendship functions to moderate rational misanthropic antipathy and thereby suggests a striking reinterpretation (...) of civic friendship. Montaigne may seem an unpromising ally for contemporary defenders of civic friendship, but in fact his essays provide a valuable resource for the political theory of community. (shrink)

Nietzsche est trop mal connu et trop méconnu. On lui a fait dire tout et n'importe quoi! On l'a dit nihiliste, lui qui a éreinté le nihilisme. On a fait de lui un misanthrope violent, lui qui était la courtoisie, la sensibilité et la douceur mêmes. On a voulu faire de lui un précurseur du nazisme, lui, l'ami des Juifs qui ne haïssait tant rien que le militarisme et le germanisme. On sait que Nietzsche proclamait que "Dieu est mort!". (...) Mais sait-on de quel Dieu il parlait et sait-on qu'il fut le prophète de la Vie et de l'Amour du Destin... On sait que Nietzsche était un philosophe du soupçon et le pourfendeur de toutes les espérances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Paul Woodruff ROUSSEAU, MOLIÈRE, AND THE ETHICS OF LAUGHTER Rousseau attacks comedy on the grounds that it is bad for our morals. He tries to show that to make a comedy moral is to take the fun out of it. No one would deny that some jokes are bad, and bad for us. But I think Rousseau is mistaken in his belief that the fun of comedy depends on (...) the bad sort of joke. In this essay I examine the ethics of laughter and the techniques of comedy, and find them rooted in a common metaphysics of human nature. It turns out, if I am right, that the most effective comic techniques are the most innocent. A comic playwright can make us laugh at almost anything, even at things that unsettle or horrify us outside the theater. Surprised by our own laughter, we are grateful to see our bugbears turned ridiculous. But what if we find ourselves laughing at virtue in the theater, and are shocked by our own laughter? Laughter, it seems, can be elicited to good or bad effect, depending on the nature of its object. And even towards the same object there can be good and bad laughter. An ethnic joke can be told in a way that brings warm laughter, bridging impossible gulfs, or it can be told in a racist way, with unforgivable laughter driving us apart. Comic playwrights are dangerous people. Plato thought them so (though not so dangerous as tragedians) and argued for restrictions on the use of ridicule. It should always be good-natured, he says in the Laws, and ought never to be directed against citizens.1 Rousseau goes beyond this. In his Letter to M. d'Alembert on the Theater2 he appeals to the danger of comedy as he vehemently defends Geneva's law against theater. Comedy, he argues, must be bad for our morals, or be nothing but a dull sermon. We must not dismiss Rousseau's critique of comedy lightly. Rousseau 325 326Philosophy and Literature was fascinated by the theater, and particularly by Molière, whom he admired as the grand master of comedy. And he knew something of what he admired and why he admired it. He had tried his hand at writing comedy and comic opera. He was not without a sense of humor (as readers of his Confessions are well aware), and he had ideas about how audiences are made to laugh. So it is not out of ignorance that he writes of comedy, "It is all bad and pernicious;... since the very pleasure of the comic is founded on the vice of the human heart,... the more the comedy is amusing..., the more its effect is disastrous for morals." At best, comic playwrights "make fun of vices without making virtue loved." At worst, like Molière in the Misanthrope, they make fun of virtues. Molière's misanthrope, Alceste, is a good man; so good, indeed, that no audience could be comfortable with him. So to please the audience (says Rousseau) Molière is forced to make Alceste ridiculous by adding to his scrupulous honesty a disposition to childish rages, thereby reenforcing the audience's corrupt belief that virtue in the extreme is foolish. But why could the play not be turned to virtuous effect, and Alceste's foils be made ridiculous in his place? Rousseau shows us what changes he thinks would have to be made—they reduce a great comedy to a dull sermon. Rousseau concludes that the same play cannot both make us laugh and be good for our morals.3 This radical case against comedy rests on two principles. First, as an audience we want only to find bad characters exciting and good characters amusing, so that successful comedy must make us laugh at good characters. Second, when we laugh at good characters in comedy, we do so without sympathy; by laughing at them we repudiate their example. Rousseau thinks it comforts us to laugh at Alceste in the Misanthrope because it enables us to set aside an example of immaculate honesty that would otherwise make us ashamed of our own deficiencies. Such laughter, he argues, is bad for... (shrink)