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A Time for ‘Sublime Madness’
Posted on Jan 20, 2013
By Chris Hedges
Primo Levi in his memoir “Survival in Auschwitz” tells of teaching Italian to another inmate, Jean Samuel, in exchange for lessons in French. Levi recites to Samuel from memory Canto XXVI of Dante’s “The Inferno.” It is the story of Ulysses’ final voyage.
“He has received the message,” Levi writes, “he has felt that it has to do with him, that it has to do with all men who toil, and with us in particular.” Levi goes on. “It is vitally necessary and urgent that he listen, that he understand … before it is too late; tomorrow he or I might be dead, or we might never see each other again.”
The poet Leon Staff wrote from the Warsaw ghetto: “Even more than bread we now need poetry, in a time when it seems that it is not needed at all.”
It is only those who can retreat into the imagination, and through their imagination can minister to the suffering of those around them, who uncover the physical and psychological strength to resist.
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Homer, Dante, Beethoven, Melville, Dostoevsky, Proust, Joyce, W.H. Auden, Emily Dickinson and James Baldwin, along with artists such as the sculptor David Smith, the photographer Diane Arbus and the blues musician Charley Patton, all had it. It is the sublime madness that lets one sing, as bluesman Ishman Bracey did in Hinds County, Miss., “I’ve been down so long, Lawd, down don’t worry me.” And yet in the mists of the imagination also lies the certainty of divine justice:
Shakespeare’s greatest heroes and heroines—Prospero, Anthony, Juliet, Viola, Rosalind, Hamlet, Cordelia and Lear—all have this sublime madness. As Theseus says in “A Midsummer Night’s Dream”:
“Ultimately, the artist and the revolutionary function as they function, and pay whatever dues they must pay behind it because they are both possessed by a vision, and they do not so much follow this vision as find themselves driven by it,” wrote James Baldwin. “Otherwise, they could never endure, much less embrace, the lives they are compelled to lead.”
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