Philosophy Diaries, Volume I: Nihilism and Existentialism

Dante, Nihilism and Existentialism: the Dilemma of the Absurd

The second ledge of Dante’s ante-purgatory hosts souls who perished due to a violent death, and inevitably, Dante starts an extensive discussion on the movement of the absurd occurrence in human life, covering questions concerning the reason of the phenomenon and its origin. The poet states that the absurd is moved by ‘necessity’, partly alluding to the presence of chance; despite this statement, Dante doesn’t provide a definitive conclusion about the origin of the event and doesn’t lay out a clear thesis on its driving force (chance, fate, divine providence). He only declares that the solution to this mystery is to place trust in providence and put into practice our good will, which saves the soul from failure to repent in case of violent death. Not by any chance does the poet enhance the concept of vigilance in numerous chants of the Comedy. The matter of the absurd also appears in the VI chant, in the apostrophe to God in the long digression on the situation of Italian politics at the time:

E se licito m’è, o sommo Giove

che fosti in terra per noi crucifisso,

son li giusti occhi tuoi rivolti altrove?

O è preparazion che ne l’abisso

del tuo consiglio fai per alcun bene

in tutto de l’accorger nostro scisso?

In these tercets, in a moment of doubt and anguish due to Italy’s decay, Dante asks God if the evils and injustices which reigned in Italy at the time were sent by His will or were the result of His indifference to man, product of the lack of divine intervention in the world, therefore assuming the existence of another driving force in charge of the absurd, and the human tendency to discord (as suggested by Hobbes). Like so, Dante questions the presence of the absurd in the world once again (this time on a universal scale instead of particular), providing the term with a new connotation, equaling it to discord: war crimes, tragic innocent deaths, the degeneration of an empire, absurd universal events like these, do they have their own meaning, or are they completely arbitrary and uncontrollable?

During periods of anguish as in Dante’s time, the birth of such questions is spontaneous, naturally resulting in the immediate reaction of existential doubt and vacillation of faith. The philosophical currents of nihilism and existentialism (and absurdism) are based on this, supporting the idea which suggests the absence of an inherent meaning of life. Both springing from this general premise, the movements change route according to their own specific conceptions of human reaction before such truth, but no philosopher will answer Dante’s question; Nietzsche, for instance, states that the right reaction of man to the meaninglessness of life is the acceptance of its tragedy and ephemerality through artistic expression, which gives the possibility of catharsis and redeem. The philosopher theorizes, moreover, of a long lost balanced way of living, which ceded its place to western decadence: it’s the harmony between the Dionysian and Apollonian. It’s the balance between the intuitive impulse, the creative exhilaration which produces the acceptance of becoming (whose artistic expression is music), and rationality, order (whose artistic expression is sculpture). Through the course of history, the second philosophical impulse prevailed over the first, suffocating it and giving way to western decadence

, in which values contrary to life prevailed, thus atrophying vital energy. Sartre, on the other hand, wondered how to escape the absurd, and came to the conclusion that to act, man needs to possess responsibility and awareness, because man is the creator of essence. Everything is founded on the relation between existence and essence applied to mankind, according to which, subsequently to the inexistence of God, existence precedes essence; from these premises, Sartre deduces that human beings don’t have a predetermined nature (as for example an object, which is created according to pre-planned purpose), and therefore, they must commit to gain moral values during their life, to mould it and shape it as best they can. In fewer words, according to Sartre, the individual is the architect of their own destiny, along with humanity’s. According to Camus, formalizer of absurdism, life is a constant fight between human desire for order and the indifference of the universe; simply, one cannot fill their sense of void through the invention of an artificial meaning. Camus believed that to escape nihilism or suicide, an awareness and rebellion before the absurd is needed; and while this revolt doesn’t have the ultimate purpose of canceling the phenomenon, it permits the individual to live in the present with dignity.

It is evident then, that no interpretation finds clear and precise conclusions to Dante’s question, only circling around the man-absurd relation. One can understand, therefore, that they are faced with an unanswered question, a dilemma, which only generates further questions. In light of this, the sole verified statement in which one can confide is the following: life is absurd.

Introducing a New Series: Philosophy Diaries

Hello dear readers!

I haven't directly spoken to you since my very first introductory post, and I feel as though I should do it more often. Although there aren't many of you, I'd like to thank you for reading my articles, it means a lot to me; I don't care about numbers, so long as there is one person who enjoys reading my blog, I will be delighted and honored.

I'm writing to announce a brand new series; "Philosophy Diaries" will cover the main ideologies of philosophy and some of their core themes, the digressions will spring from any outer source which sparks curiosity and raises philosophical inquiries: literary writings, primary and secondary philosophical texts, and even some of my own reflections. The first volume will be dedicated to 'the absurd', a concept which I already explored briefly in the article about Kafka; the essay will decipher the connection between Dante, Nietzsche and Sartre, introducing nihilism and existentialism. I can't wait for you to read it!

I'll see you very soon, stay tuned :)

Love, 

Vittoria

Thoughts on Kafka's short story 'The Judgment': pacing, narration, and magical realism

Franz Kafka's The Judgment: A Perpetual Quest for Answers; or a Contemplation of Absurdity

Imaginary Scenario

"The flicker of the candle's flame illuminated the bare table slightly, creating a play of shadows on the walls confining the kitchen; the door to the yard showed a dark-tinted light from outside, so bleak it made me forget whether I should dine or have breakfast. The rain battered on the glass-door displaying the immitigable storm and the bright black, drenched soil; cold drops splattered on the door so harshly that, had the rain been blood-colored, a crimson mess would be staining the surfaces for evermore, leaving me testimony of a dire tragedy. A thunder echoed in the sky, an aggressive flash of white appeared and faded rapidly, I witnessed all this from the chair I sat in; the rain soaked the thousand and one thoughts that heavily burdened my mind, but each came from one: I had to free myself from the wicked heirloom."

On 'The Name of the Rose' by Umberto Eco

'The Name of the Rose': A synthesis of Aristotelic influence on the Medieval Catholic Church

Umberto Eco’s Il Nome della Rosa is considered to be one of the most illustrious pieces of contemporary Italian literature, and although it is commonly mistaken as a simple crime thriller set in the 12th century, the narration conceals a much deeper meaning than that captured in the façade of the story. In fact, the work presents a profound history that unravels a variety of paradoxes and controversial themes; it is a novel that encaptures mystery, ambiguity and fascination, combined with philosophical doubt and mysticism.

In 1327, tension arose within the Catholic Church due to the conflict between the new monastic orders regarding the reform of the doctrine. During that time period, Adso of Melk, a young novice and his preceptor William of Baskerville (an English Franciscan friar) are encharged by the Abbot of a Benedictine abbey in northern Italy with the arduous work of resolving the enigma of the unexplained assassination of one of the monks, Adelmo of Otranto. Within the span of the seven days in which the two stay in the abbey, the unfathomable happens: from peccaminous encounters and heretic discourse, to bloody murder and prohibited paths, William and Adso find themselves stuck in an endless labyrinth (quite literally). The narration, full of twists and turns, ends in tragedy, depriving the reader of a satisfying closure, but leaving them with a scarring doubt that will torment them for the rest of their life.

The author concludes the work by quoting the ancient book ‘De Contemptu Mundi’ written by Pope Innocent III, revealing the hidden message of the story and finally clarifying its title:

Est ubi gloria nunc Babylonia? Nunc ubi dirus / Nabucodonosor, et Darii vigor, illeque Cyrus / Qualiter orbita viribus incita praete-rierunt, / Fama relinquitur, illaque figitur, hi putruerunt.

By quoting these verses, which question the disappearance of the great Babylonia, Eco clearly explains the real meaning of his novel, introducing the theme of caducity and ephemerality of being. In the end, all things come to a conclusion, and the only things that will survive are our nude, empty names - as the famous latin phrase ‘Stat rosa pristina nomine, nomina nuda tenemus’ implies.

I conclude by recommending the reading of this novel to whoever is passionate about Aristotle, Medieval Christian symbolism, mysticism and esoterism, but most importantly, I recommend this novel to whoever is searching for the experience of an existential crisis and is constantly craving an intellectual challenge.

From my Diary (Captured, a vision slipping away)

08/9/2024 (18:07)

- Writing this down quickly to not let it slip out my mind, the only object left for me to write with is a pencil, sorry.

Blue Moon - Paul Evans

In the strangest but truest way every version of myself exists inside my being and shapes it every day to be as it is. Every old version of me is stacked upon the latest, previous one as a brick of stone held in place by a batter of water, sand, and cement. I wake up and I'm new, reborn, and occasionally repulsed or resentful of the person I was before (yesterday).

On Freedom

'La Chèvre de M. Seguin': On Freedom

written by Vittoria Mariggiò

Freedom is surely a value that is worth fighting for, but is it worth the risk of death? Does freedom have a limit?

---

Goats - Eliphalet Frazer Andrews

Despite the common moral of  'fighting for freedom', an all American vision of life that prioritizes liberty, a popular story for children dismisses the meaning of death by freedom and portrays this value very differently. In "Lettres de mon moulin", Alphonse Daudet depicts the concept of freedom as a value to be cautious of.  La Chèvre de M. Seguin tells the story of a shepherd who loses all his goats in the same terrible way: due to the boredom of being confined to their enclosure, the goats decide to bite the rope that keeps them attached to it and flee to the mountains, only to get eaten by the wolf hiding in the nearby forest. Although this seems to be a banal story of a Provencal berger, it holds a great amount of meaning that is a peculiar reflection on freedom.

Daudet dedicates this particular short story to a lyrical poet called Pierre Gringoire (1475-1538); he mocks him for his choice of refusing the offer of becoming a reporter and following his dream of being a poet by addressing him with a sarcastic tone and pointing out his poverty:

"Comment? on t'offre une place de chroniqueur dans un bon journal de Paris, et tu as l'aplomb de refuser... mais regarde-toi, malheureux garçon!"

The author criticizes Gringoire for not wanting to leave his dream just to stabilize financially,
and he lectures him on the consequences of choosing freedom (cultivating his true passion even though it won't guarantee a secure future) over stability, certainty, security. Daudet narrates the story of M. Seguin’s goat, and clearly demonstrates Gringoire his realistic - if not visionary - ideal of prudence: one mustn’t leave certainty for the unknown, especially in the context of a complex society that requires particular financial needs.

While Daudet’s idea of freedom has a limit, as it must end with uncertainty, Gringoire’s idea of liberty is boundless, almost romantic. Freedom is worth the risk of death if it means indulging in a long-awaited, short-term sensation of sweet-tasting peace, and clinging to it as a last breath of fresh air. This vision is based on passion, and ambition, and curiosity, and zeal; these are the ingredients to the drive of an insatiable person, who essentially would do anything to keep their ardent fire burning. In Gringoire’s perspective, being eaten by the wolf would’ve been worth it. The feeling of freedom would have compensated the disappearance of his soul.

These are the two visions of freedom: the feeling of being satisfied and the urge to stop before the unknown, and the empty sensation in one’s stomach, impatient to be filled with glory. No, there isn’t a correct definition of freedom, but it could be seen as simply the right of being able to choose or not, in a sea of endless possibilities. I’ll repeat the questions I asked myself - only because it is in my nature to overcomplicate thoughts and concepts - so that you can ask them to yourself and get lost in the profoundness of life.

Is freedom worth the risk of death? or does it have a limit?