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THE IMAGES of ORPHEUS and NARCISSUS Ble Power; Opposition to Such Defamation Easily Succumbs Symbols Have Been Accepted, and Their Meaning Is Usually to Ridicule

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THE IMAGES of ORPHEUS and NARCISSUS Ble Power; Opposition to Such Defamation Easily Succumbs Symbols Have Been Accepted, and Their Meaning Is Usually to Ridicule Herbert Marcuse, Eros and Civilization, The Beacon Press (1955), chs. 8 & 11 158 EROS AND CIVILIZATION struggle for existence would involve a decisive change in this dynamic. Indeed, such a change would appear as the prerequisite for sustaining progress. We shall presently try to show that it would affect the very structure of the psyche, alter the balance between Eros and Thanatos, reactivate ta­ CHAPTER EIGHT booed realms of gratification, and pacify the conservative tendencies of the instincts. A new basic experience of be­ The Images of Orpheus ing would change the human existence in its entirety. and Narcissus The attempt to draft a theoretical construct of culture beyond the performance principle is in a strict sense " un­ reasonable." Reason is the rationality of the performance principle. Even at the beginning of Western civilization, long before this principle was institutionalized, reason was defined as an instrument of constraint, of instinctual sup­ pression; the domain of the instincts, sensuousness, was considered as eternally hostile and detrimental to reason.1 The categories in which philosophy has comprehended the human existence have retained the connection between reason and suppression: whatever belongs to the sphere of sensuousness, pleasure, impulse has the connotation of be­ ing antagonistic to reason - something that has to be sub­ jugated, constrained. Every-day language has preserved this evaluation: the words which apply to this sphere carry the sound of the sermon or of obscenity. From Plato to the " Schund und Schmutz " laws of the modem world,2 the defamation of the pleasure principle has proved its irresisti- 1 See Chapter 5 above. 2 A bill proposed by the New York Joint Legislative Committee on Comic Books would prohibit the sale and distribution of books portraying " nudity, sex or lust in a manner which reasonably tends to excite lustful or lecherous desires ... " (New York Times, February 17, 1954) . EROS AND CIVILIZATION THE IMAGES OF ORPHEUS AND NARCISSUS ble power; opposition to such defamation easily succumbs symbols have been accepted, and their meaning is usually to ridicule. interpreted in terms of phylogenetic or ontogenetic stages, Still, the dominion of repressive reason ( theoretical and long since surpassed, rather than in terms of an individual practical) was never complete: its monopoly of cognition and cultural maturity. We shall now try to identify some was never uncontested. When Freud emphasized the fun­ of these symbols and examine their historical truth value. damental fact that phantasy (imagination) retains a truth More specifically, we look for the " culture-heroes " who that is incompatible with reason, he was following in a long have persisted in imagination as symbolizing the attitude historical tradition. Phantasy is cognitive in so far as it and the deeds that have determined the fate of mankind. preserves the truth of the Great Refusal, or, positively, in And here at the outset we are confronted with the fact that so far as it protects, against all reason, the aspirations for the predominant culture-hero is the trickster and ( suffer­ the integral fulfillment of man and nature which are re­ ing) rebel against the gods, who creates culture at the price pressed by reason. In the realm of phantasy, the unreason­ of perpetual pain. He symbolizes productiveness, the un­ able images of freedom become rational, and the "lower ceasing effort to master life; but, in his productivity, bless­ depth" of instinctual gratification assumes a new dignity. ing and curse, progress and toil are inextricably intertwined. The culture of the performance principle makes its bow Prometheus is the archetype-hero of the performance prin­ before the strange truths which imagination keeps alive in ciple. And in the world of Prometheus, Pandora, the fe­ folklore and fairy tale, in literature and art; they have been male principle, sexuality and pleasure, appear as curse - aptly interpreted and have found their place in, the popular disruptive, destructive. " Why are women such a curse? and academic world. However, the effort to derive from The denunciation of the sex with which the section [on these truths the content of a valid reality principle surpass­ Prometheus in Hesiod] concludes emphasizes above all else ing the prevailing one has been entirely inconsequential. their economic unproductivity; they are useless drones; a Novalis' statement that "all internal faculties and forces, luxury item in a poor man 's budget." 4 The beauty of the and all external faculties and forces, must be deduced from woman, and the happiness she promises are fatal in the productive imagination" a has remained a curiosity - as work-world of civilization. has the surrealist program de pratiquer la poesie. The in­ If Prometheus is the culture-hero of toil, productivity, sistence that imagination provide standards for existential and progress through repression, then the symbols of an­ attitudes, for practice, and for historical possibilities ap­ other reality principle must be sought at the opposite pole. pears as childish fantasy. Only the archetypes, only the Orpheus and Narcissus (like Dionysus to whom they are a Schriften, ed. J. Minor (Jena: Eugen Diederichs, 1923), III, 375· 4 See Norman 0 . Brown, Hesiod's Theogony (New York: Liberal See Gaston Bachelard, La Terre et les Reveries de la Volante (Paris: Jose Arts Press, 1953) , pp. 18-19, 33; and Hermes the Thief (University of Corti, 1948), pp. 4-5 . W isconsin Press, 1947), pp. 23ff. 1 EROS AND CIVILIZATION I THE IMAGES OF ORPHEUS AND NARCISSUS akin: the antagonist of the god who sanctions the logic of Or Narcissus, who, in the mirror of the water, tries to grasp domination, the realm of reason) stand for a very differ­ I his own beauty. Bent over the river of time, in which all ent reality.5 They have not become the culture-heroes of forms pass and flee, he dreams: the Western world: theirs is the image of joy and fulfill­ Narcisse reve au paradis .. ment· the voice which does not command but sings; the ' Quand done le temps, cessant sa fuite, laissera-t-il que cet ecoule­ gesture which offers and receives; the deed which is peace ment se repose? Formes, formes divines et perennelles! qui n'at­ and ends the labor of conquest; the liberation from time tendez que le repos pour reparaitre, oh! quand, dans quelle nuit, dans quel silence, vous recristalliserez-vous? which unites man with god, man with nature. Literature Le paradis est toujours a refaire; il n'est point en quelque lointaine has preserved their image. In the Sonnets to Orpheus: Thule . II demeure sous l'appare nce. Chaque chose detient, vir­ tuelle, l'intime harmonie de son etre, comme chaque sel, en lui, Und fast ein Madchen wars und ging hervor !'archetype de son cristal; - et vienne un temps de nuit tacite, ou aus diesem einigen Gli.ick von Sang und Leier les eaux plus <lenses descendent: dans les abimes imperturbes und glanzte klar <lurch ihre Fri.ihlingsschleier fleuriront les tremies secretes . und machte sich ein Bett in meinem Ohr. Tout s'efforce vers sa forme perdue .. .7 Und schlief in mir. Und alles war ihr Schlaf. Un grand calme m' ecoute, ou j' ecoute l' espoir. Die Baume, die ich je bewundert, diese La voix des sources change et me parle du soir; fi.ihlbare Ferne, die gefi.ihlte Wiese J'entends l'herbe d'argent grandir dans l'ombre sainte, und jedes Staunen, <las mich selbst betraf . Et la lune perfide eleve son miroir Jusque clans les secrets de la fontaine eteinte. 8 Sie schlief die Welt. Singender Gott, wie hast du sie vollendet, <lasssie nicht begehrte, Admire dans Narcisse un eternel retour erst wach zu sein? Sieh, sie erstand und schlief. Vers l' onde ou son image offerte a son amour W o ist ihr Tod? 6 Propose a sa beaute toute sa connaissance: s The symbol of Narcissus and the term "Narcissistic" as used here Tou t mon sort n'est qu'obeissance do not imply the meaning given to them in Freud's theory. See, how- A la force de mon amour. ever, pages 167-168 below. 6 " Almost a maid, she came forth sh1mmenng From the high happiness of song and lyre, . 7 " Alas, when will Time cease its flight and allow this flow to rest? And shining clearly through her veils of sprmg Forms, divine and perennial forms which only wait for rest in order to She made herself a bed within my ear reappear! 0 when, in what night, will you crystallize again? And slept in me. All things were in her sleep: " Paradise must always be re-created. It is not in some remote Thule; The trees I marvelled at, the enchanting spell it lingers und er the appearance. Everything holds within itself, as poten­ Of farthest distances, the meadows deep, tiality, the intima te harmony of its being - just as every salt holds within And all the magic that myself befell. itself the archetype of its crystal. And a time of silent night will come Within her slept the world. You singing god, o how when the waters will descend, more dense; th en, in the unperturbed abysses, Did you perfect her so she did not long the secret crystals will bloom . Everything strives toward its lost To be awake? She rose and slept. form ... " Andre Gide, Le Traite du Narcisse. Where is her death? " s "A great calm hears me, where I hear Hope. The voice of. the Rainer Maria Rilke Sonnets to Orpheus: Duino Elegies, transl. Jessie wells changes and speaks of the night; in the holy shade I hear the silver Le,mont (New York: Fine Editions Press, 1945), p. 3 (:,vith minor changes herb grow, and the treacherous moon raises its mirror deep into tlte in translation).
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