Montaigne Essay

IOHN FLORIO.

Florio che fai? Vai cosi ardito di Monte?
    Al monte piu scoscese che Parnasso,
    Ardente piu che Mingibello?
    Plino qui muore prima, che qui monte.
Se'l Pegaso non hai, che cavi'l fonte,
    Ritirati dal preiglioso passo.
    L'hai fatto pur', andand' hor' alt' hor baffo:
    Ti so ben dir', tu sei Bellerophonte.
Tre corpi di Chimera di Montagna
    Hai trapassato, scosso, rinversato.
    Del' honorat' impres' anch' io mi glorio.
Premiar' to potess' io d'or' di Spagna,
    Di piu che Bianco-fior' saresti ornato.
        Ma del' hono' ti basti, che sei Florio.

Il Candido.


A reply upon Maister Florio's answere to the Lady of Bedfords
Invitation to this worke, in a Sonnet of like terminations. Anno. 1599.

 Thee to excite from Epileptic fits,
    Whose lethargie like frost benumming bindes
    Obstupefying sence with sencelesse kindes,
    Attend the vertue of Minervas wittes;
Colde sides are spurrd, hot muthes held-in with bittes;
    Say No, and grow more rude, then rudest hindes;
    Say No, and blow more rough, then roughest windes.
    Who never shootes, the marke he never hitt's.
To take such taske, a pleasure is no paine;
    Vertue and Honor (which immortalize)
    Not stepdame Iuno (who would wish thee slaine)
Calls thee to this thrice-honorable prize;
    Montaigne, no cragg'd Mountaine, but faire plaine.
    And who would resty rest, when SHEE bids rise?

Il Candido


To my deere friend M. Iohn Florio,
concerning his translation of Montaigne.

Bookes the amasse of humors, swolne with ease,
The Griefe of peace, the maladie of rest,
So stuffe the world, falne into this disease,
As it receives more than it can digest:
And doe so evercharge, as they confound
The apetite of skill with idle store:
There being no end of words, nor any bound
Set to conceipt, the Ocean without shore.
As if man labor'd with himself to be
As infinite in words, as in intents,
And draws his manifold incertaintie
In ev'ry figure, passion represents;
That these innumerable visages,
And strange shapes of opinions and discourse
Shadowed in leaves, may be the witnesses
Rather of our defects, then of our force.
And this proud frame of our presumption,
This Babel of our skill, this Towre of wit,
Seemes onely chekt with the confusion
Of our mistakings, that dissolveth it.
And well may make us of our knowledge doubt,
Seeing what uncertainties we build upon,
To be as weake within booke or without;
Or els that truth hath other shapes then one.
    But yet although we labor with this store
And with the presse of writings seeme opprest,
And have too many bookes, yet want we more,
Feeling great dearth and scarsenesse of the best;
Which cast in choiser shapes have bin produc'd,
To give the best proportions to the minde
To our confusion, and have introduc'd
The likeliest images frailtie can finde.
And wherein most the skill-desiring soule
Takes her delight, the best of all delight,
And where her motions evenest come to rowle
About this doubtful center of the right.
    Which to discover this great Potentate,
This Prince Montaigne (if he be not more)
Hath more adventur'd of his owne estate
Than ever man did of himselfe before:
And hath made such bolde sallies out upon
Custome, the mightie tyrant of the earth,
In whose Seraglio of subjection
We all seeme bred-up, from our tender birth;
As I admire his powres, and out of love,
Here at his gate do stand, and glad I stand
So neere to him whom I do so much love,
T'applaude his happie setling in our land:
And safe transpassage by his studious care
Who both of him and us doth merit much,
Having as sumptuously, as he is rare
plac'd him in the best lodging of our speach.
And made him now as free, as if borne here,
And as well ours as theirs, who may be proud
That he is theirs, though he he be every where
To have the franchise of his worth allow'd.
    It being the portion of a happie Pen,
Not to b'invassal'd to one Monarchie,
But dwells with all the better world of men
Whose spirits are all of one communitie.
Whom neither Ocean, Desarts, Rockes nor Sands
Can keepe from th'intertraffique of the minde,
But that it vents her treasure in all lands,
And doth a most secure commercement finde.
    Wrap Excellencie up never so much,
In Hierogliphicques, Ciphers, Caracters,
And let her speake nver so strange a speach,
Her Genius yet finds apt decipherers:
And never was she borne to dye obscure,
But guided by the Starres of her owne grace,
Makes her owne fortune, and is aever sure
In mans best hold, to hold the strongest place.
And let the Critic say the worst he can,
He cannot say but that Montaige yet,
Yeeldes most rich pieces and extracts of man;
Though in a troubled frame confus'dly set.
Which yet h'is blest that he hath ever seene,
And therefore as a guest in gratefulnesse,
For the great good the house yeelds him within
Might spare to taxe th'unapt convayances.
But this breath hurts not, for both worke and frame,
Whilst England English speakes, is of that store
And that choyse stuffe, as that without the same
The richest librarie can be but poore.
And they unblest who letters do professe
And have him not: whose owne fate beates their want
With more sound blowes, then Alcibiades
Did his pedante that did Homer want.

SAM. DANYEL.


PREFACE

To the Right Ho-
norable and all praise-worthie Ladies,
Elizabeth Countesse of Rutland, and Ladie Penelope Rich

    Give me leave 


THE AUTHOR TO THE READER

EADER, loe here a well-meaning Booke. It doth at the first entrance forewarne thee, that in contriving the same I have proposed unto my selfe no other than a familiar and private end: I have no respect or consideration at all, either to thy service, or to my glory: my forces are not capable of any such desseigne. I have vowed the same to the particular commodity of my kinsfolk and friends: to the end, that losing me (which they are likely to do ere long), they may therein find some lineaments of my conditions and humours, and by that meanes reserve more whole, and more lively foster the knowledge and acquaintance they have had of me. Had my intention beene to forestal and purchase the world's opinion and favour, I would surely have adorned myselfe more quaintly, or kept a more grave and solemne march. I desire thereun to be delineated in mine own genuine, simple and ordinarie fashion, without contention, art or study; for it is myselfe I pourtray. My imperfections shall thus be read to the life, and my naturall forme discerned, so farre-forth as publike reverence hath permitted me. For if my fortune had beene to have lived among those nations which yet are said to live under the sweet liberty of Nature's first and uncorrupted lawes, I assure thee, I would most willingly have pourtrayed myselfe fully and naked. Thus, gentle Reader, myselfe am the groundworke of my booke: it is then no reason thou shouldest employ thy time about so frivolous and vaine a subject. Therefore farewell,
    From MONTAIGNE,
    The First of March, 1580.

When Michel de Montaigne retired to his family estate in 1572, aged 38, he tells us that he wanted to write his famous Essays as a distraction for his idle mind. He neither wanted nor expected people beyond his circle of friends to be too interested.

His Essays’ preface almost warns us off:

Reader, you have here an honest book; … in writing it, I have proposed to myself no other than a domestic and private end. I have had no consideration at all either to your service or to my glory … Thus, reader, I myself am the matter of my book: there’s no reason that you should employ your leisure upon so frivolous and vain a subject. Therefore farewell.

The ensuing, free-ranging essays, although steeped in classical poetry, history and philosophy, are unquestionably something new in the history of Western thought. They were almost scandalous for their day.

No one before Montaigne in the Western canon had thought to devote pages to subjects as diverse and seemingly insignificant as “Of Smells”, “Of the Custom of Wearing Clothes”, “Of Posting” (letters, that is), “Of Thumbs” or “Of Sleep” — let alone reflections on the unruliness of the male appendage, a subject which repeatedly concerned him.

French philosopher Jacques Rancière has recently argued that modernism began with the opening up of the mundane, private and ordinary to artistic treatment. Modern art no longer restricts its subject matters to classical myths, biblical tales, the battles and dealings of Princes and prelates.

If Rancière is right, it could be said that Montaigne’s 107 Essays, each between several hundred words and (in one case) several hundred pages, came close to inventing modernism in the late 16th century.

Montaigne frequently apologises for writing so much about himself. He is only a second rate politician and one-time Mayor of Bourdeaux, after all. With an almost Socratic irony, he tells us most about his own habits of writing in the essays titled “Of Presumption”, “Of Giving the Lie”, “Of Vanity”, and “Of Repentance”.

But the message of this latter essay is, quite simply, that non, je ne regrette rien, as a more recent French icon sang:

Were I to live my life over again, I should live it just as I have lived it; I neither complain of the past, nor do I fear the future; and if I am not much deceived, I am the same within that I am without … I have seen the grass, the blossom, and the fruit, and now see the withering; happily, however, because naturally.

Montaigne’s persistence in assembling his extraordinary dossier of stories, arguments, asides and observations on nearly everything under the sun (from how to parley with an enemy to whether women should be so demure in matters of sex, has been celebrated by admirers in nearly every generation.

Within a decade of his death, his Essays had left their mark on Bacon and Shakespeare. He was a hero to the enlighteners Montesquieu and Diderot. Voltaire celebrated Montaigne - a man educated only by his own reading, his father and his childhood tutors – as “the least methodical of all philosophers, but the wisest and most amiable”. Nietzsche claimed that the very existence of Montaigne’s Essays added to the joy of living in this world.

More recently, Sarah Bakewell’s charming engagement with Montaigne, How to Live or a Life of Montaigne in One Question and Twenty Attempts at an Answer (2010) made the best-sellers’ lists. Even today’s initiatives in teaching philosophy in schools can look back to Montaigne (and his “On the Education of Children”) as a patron saint or sage.

So what are these Essays, which Montaigne protested were indistinguishable from their author? (“My book and I go hand in hand together”).

It’s a good question.

Anyone who tries to read the Essays systematically soon finds themselves overwhelmed by the sheer wealth of examples, anecdotes, digressions and curios Montaigne assembles for our delectation, often without more than the hint of a reason why.

To open the book is to venture into a world in which fortune consistently defies expectations; our senses are as uncertain as our understanding is prone to error; opposites turn out very often to be conjoined (“the most universal quality is diversity”); even vice can lead to virtue. Many titles seem to have no direct relation to their contents. Nearly everything our author says in one place is qualified, if not overturned, elsewhere.

Without pretending to untangle all of the knots of this “book with a wild and desultory plan”, let me tug here on a couple of Montaigne’s threads to invite and assist new readers to find their own way.

Philosophy (and writing) as a way of life

Some scholars argued that Montaigne began writing his essays as a want-to-be Stoic, hardening himself against the horrors of the French civil and religious wars, and his grief at the loss of his best friend Étienne de La Boétie through dysentery.

Certainly, for Montaigne, as for ancient thinkers led by his favourites, Plutarch and the Roman Stoic Seneca, philosophy was not solely about constructing theoretical systems, writing books and articles. It was what one more recent admirer of Montaigne has called “a way of life”.

Montaigne has little time for forms of pedantry that value learning as a means to insulate scholars from the world, rather than opening out onto it. He writes:

Either our reason mocks us or it ought to have no other aim but our contentment.

Indeed:

We are great fools. ‘He has passed over his life in idleness,’ we say: ‘I have done nothing today.’ What? have you not lived? that is not only the fundamental, but the most illustrious of all your occupations.

One feature of the Essays is, accordingly, Montaigne’s fascination with the daily doings of men like Socrates and Cato the Younger; two of those figures revered amongst the ancients as wise men or “sages”.

Their wisdom, he suggests, was chiefly evident in the lives they led (neither wrote a thing). In particular, it was proven by the nobility each showed in facing their deaths. Socrates consented serenely to taking hemlock, having been sentenced unjustly to death by the Athenians. Cato stabbed himself to death after having meditated upon Socrates’ example, in order not to cede to Julius Caesar’s coup d’état.

To achieve such “philosophic” constancy, Montaigne saw, requires a good deal more than book learning. Indeed, everything about our passions and, above all, our imagination, speaks against achieving that perfect tranquillity the classical thinkers saw as the highest philosophical goal.

We discharge our hopes and fears, very often, on the wrong objects, Montaigne notes, in an observation that anticipates the thinking of Freud and modern psychology. Always, these emotions dwell on things we cannot presently change. Sometimes, they inhibit our ability to see and deal in a supple way with the changing demands of life.

Philosophy, in this classical view, involves a retraining of our ways of thinking, seeing and being in the world. Montaigne’s earlier essay “To philosophise is to learn how to die” is perhaps the clearest exemplar of his indebtedness to this ancient idea of philosophy.

Yet there is a strong sense in which all of the Essays are a form of what one 20th century author has dubbed “self-writing”: an ethical exercise to “strengthen and enlighten” Montaigne’s own judgement, as much as that of we readers:

And though nobody should read me, have I wasted time in entertaining myself so many idle hours in so pleasing and useful thoughts? … I have no more made my book than my book has made me: it is a book consubstantial with the author, of a peculiar design, a parcel of my life …

As for the seeming disorder of the product, and Montaigne’s frequent claims that he is playing the fool, this is arguably one more feature of the Essays that reflects his Socratic irony. Montaigne wants to leave us with some work to do and scope to find our own paths through the labyrinth of his thoughts, or alternatively, to bobble about on their diverting surfaces.

A free-thinking sceptic

Yet Montaigne’s Essays, for all of their classicism and their idiosyncracies, are rightly numbered as one of the founding texts of modern thought. Their author keeps his own prerogatives, even as he bows deferentially before the altars of ancient heroes like Socrates, Cato, Alexander the Great or the Theban general Epaminondas.

There is a good deal of the Christian, Augustinian legacy in Montaigne’s makeup. And of all the philosophers, he most frequently echoes ancient sceptics like Pyrrho or Carneades who argued that we can know almost nothing with certainty. This is especially true concerning the “ultimate questions” the Catholics and Huguenots of Montaigne’s day were bloodily contesting.

Writing in a time of cruel sectarian violence, Montaigne is unconvinced by the ageless claim that having a dogmatic faith is necessary or especially effective in assisting people to love their neighbours:

Between ourselves, I have ever observed supercelestial opinions and subterranean manners to be of singular accord …

This scepticism applies as much to the pagan ideal of a perfected philosophical sage as it does to theological speculations.

Socrates’ constancy before death, Montaigne concludes, was simply too demanding for most people, almost superhuman. As for Cato’s proud suicide, Montaigne takes liberty to doubt whether it was as much the product of Stoic tranquility, as of a singular turn of mind that could take pleasure in such extreme virtue.

Indeed when it comes to his essays “Of Moderation” or “Of Virtue”, Montaigne quietly breaks the ancient mold. Instead of celebrating the feats of the world’s Catos or Alexanders, here he lists example after example of people moved by their sense of transcendent self-righteousness to acts of murderous or suicidal excess.

Even virtue can become vicious, these essays imply, unless we know how to moderate our own presumptions.

Of cannibals and cruelties

If there is one form of argument Montaigne uses most often, it is the sceptical argument drawing on the disagreement amongst even the wisest authorities.

If human beings could know if, say, the soul was immortal, with or without the body, or dissolved when we die … then the wisest people would all have come to the same conclusions by now, the argument goes. Yet even the “most knowing” authorities disagree about such things, Montaigne delights in showing us.

The existence of such “an infinite confusion” of opinions and customs ceases to be the problem, for Montaigne. It points the way to a new kind of solution, and could in fact enlighten us.

Documenting such manifold differences between customs and opinions is, for him, an education in humility:

Manners and opinions contrary to mine do not so much displease as instruct me; nor so much make me proud as they humble me.

His essay “Of Cannibals” for instance, presents all of the different aspects of American Indian culture, as known to Montaigne through travellers’ reports then filtering back into Europe. For the most part, he finds these “savages’” society ethically equal, if not far superior, to that of war-torn France’s — a perspective that Voltaire and Rousseau would echo nearly 200 years later.

We are horrified at the prospect of eating our ancestors. Yet Montaigne imagines that from the Indians’ perspective, Western practices of cremating our deceased, or burying their bodies to be devoured by the worms must seem every bit as callous.

And while we are at it, Montaigne adds that consuming people after they are dead seems a good deal less cruel and inhumane than torturing folk we don’t even know are guilty of any crime whilst they are still alive …

A gay and sociable wisdom

“So what is left then?”, the reader might ask, as Montaigne undermines one presumption after another, and piles up exceptions like they had become the only rule.

A very great deal, is the answer. With metaphysics, theology, and the feats of godlike sages all under a “suspension of judgment”, we become witnesses as we read the Essays to a key document in the modern revaluation and valorization of everyday life.

There is, for instance, Montaigne’s scandalously demotic habit of interlacing words, stories and actions from his neighbours, the local peasants (and peasant women) with examples from the greats of Christian and pagan history. As he writes:

I have known in my time a hundred artisans, a hundred labourers, wiser and more happy than the rectors of the university, and whom I had much rather have resembled.

By the end of the Essays, Montaigne has begun openly to suggest that, if tranquillity, constancy, bravery, and honour are the goals the wise hold up for us, they can all be seen in much greater abundance amongst the salt of the earth than amongst the rich and famous:

I propose a life ordinary and without lustre: ‘tis all one … To enter a breach, conduct an embassy, govern a people, are actions of renown; to … laugh, sell, pay, love, hate, and gently and justly converse with our own families and with ourselves … not to give our selves the lie, that is rarer, more difficult and less remarkable …

And so we arrive with these last Essays at a sentiment better known today from another philosopher, Friedrich Nietzsche, the author of A Gay Science (1882) .

Montaigne’s closing essays repeat the avowal that: “I love a gay and civil wisdom ….” But in contrast to his later Germanic admirer, the music here is less Wagner or Beethoven than it is Mozart (as it were), and Montaigne’s spirit much less agonised than gently serene.

It was Voltaire, again, who said that life is a tragedy for those who feel, and a comedy for those who think. Montaigne adopts and admires the comic perspective. As he writes in “Of Experience”:

It is not of much use to go upon stilts, for, when upon stilts, we must still walk with our legs; and when seated upon the most elevated throne in the world, we are still perched on our own bums.

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