Roxana Doncu Abstract The Enlightenment discourse of reason as the highest human faculty was inextricably bound up with a specific conception and a resulting attitude to evil: evil was seen to originate in the animal passions resident in man, and reasons capacity to control them was conceived as the key to freedom. Passions bind men to their lower, animal natures reason frees them and orientates towards the higher. !omanticism reacted strongly against the instrumental rationality developed by Enlightenment, and proposed a re"evaluation of the passions, understood as resources of the creative process. The aim of my paper is to locate these two attitudes to passions, the Enlightenment and the !omantic, in two of #alman !ushdies novels: Shalimar the Clown and Fury, and to focus on the conception of evil as bondage to the passions that underlies both of them. $n Shalimar the Clown, the desire for revenge that animates %oman #her %oman is the source of all evil & his unrestrained passion leads to murder and transforms him into a terrorist. $n Fury, 'alik #olankas apparently unmotivated anger causes the break"up of his marriage and his subse(uent misfortune. )ut whereas %oman is totally absorbed in the whirlpools of his anger, #olanka is able to find an outlet for his negative emotions in creation. The conception of evil underlying both novels has its origins in Platonic and *ristotelian thought+ the good life as the rule of reason,, in the valuation of reason and de"valuation of passions which was dominant in Enlightenment discourse. -owever, the positive re"evaluation of anger as a .daimonic/ +#teven *. 0iamond,, as a source of creativity that 1 surfaces in Fury is closely linked to the !omantic reaction against the tyranny of reason. -aving in mind )runo 2atours criticism of modernity, $ propose a re"evaluation of the conception of evil as bondage to the passions. 3ocusing on textual evidence from both novels, $ will argue that the source of evil lies not so much in the bondage to the passions that the novels analy4e extensively, but in the ignorance of what 2atour has defined as the networks that structure our lives, and the complex relationships that govern these networks. 5hat makes us function as moderns, 2atour argues, is the work of purification doubled by that of hybridi4ation. %oman is evil because he focuses exclusively on the work of purification, like most fundamentalists, whereas #olanka manages to transcend his anger by undertaking such a work of hybridi4ation as creation. Key Words: passions, Enlightenment6 !omantic, daimonic, translation and mediation 1. !o vie!s o" the #assions The Enlightenment discourse of reason as the highest human faculty was inextricably bound up with a specific conception and a resulting attitude to evil: evil was seen to originate in the animal passions resident in man and reasons capacity to control them was a guarantee of freedom. This early modern attitude to evil was in fact anything but modern: it originated in ancient 7reek thought as the ethics underlying *ristotles philosophy. 3or *ristotle life had meaning in so far as it was understood as a search for the highest good. 5ealth, good looks, physical strength and status were secondary to the achievement of eudaimonia +harmony or happiness,. *lthough we must be blessed with the possession of a certain amount of secondary goods in order to be happy, this was not sufficient in itself: a person striving for eudaimonia had to exercise the virtues. The practice of virtue lead to phronesis +practical wisdom,, which was 8 mainly the ability to control ones passions. 0epending on their capacity to exercise control of passions, *ristotle distinguished between three types of people: the continent, the incontinent and the evil. The first were those who were able to master their feelings, and the third those who, in their desire for more +pleonaxia,, did not even attempt to become continent. *ristotle divided the category of the incontinent into the weak +those who reali4ed that it was better to control their passions, but chose to give way to them, and the impulsive +those that acted on the spur of their feelings and later repented,. 3or the 7reek philosopher the passions +ta patheia" also translated as emotions or feelings, were obstacles to the achievement of phronesis and the good life +understood as the rule of reason,. *ristotles thought came to the fore again due to the reinterpretation and re"evaluation of the classics undertaken by !enaissance scholars and it exerted a great influence on scholastic theology. Early 9hristian thought, it should be emphasi4ed, had taken a more ambiguous view of the passions: for example #t Evagrius +: th century, in his writings emphasi4ed that passions" particularly anger, which is the focus of this paper" should be regarded as weapons to be rightly employed in our fight against the devil. *lthough apatheia + the lack of passions, was to be regarded as a sign of closeness to 7od, #t Evagrius insisted that anger was not something to be overcome, but a tool which could be put to good or bad use. 5hile Enlightenment rationalism shared the *ristotelian perspective on the good life as the rule of reason, romanticism reacted strongly against this devaluation of the passions. $t cultivated spontaneity of feelings and praised genius as the origin and guarantee of value. 7enius +the roman translation of the greek daimon, was seen as a capacity of the soul to be inspired +by 7od, demons, passions, and to rely on these sources rather than on the rules of reason in the process of creation. Thus, whereas *ristotle and Enlightenment spawned a conception of art based on imitation +mimesis, of reality, the romantics encouraged inspiration +the writer was possessed by a force beyond his control,. ; $. he aim o" the #a#er The aim of this paper is to compare and contrast two novels by *nglo"$ndian writer #alman !ushdie which engage with the issue of passions +anger especially, as a potential wellspring for either evil or creativity. $n Shalimar the Clown, the desire for revenge that animates %oman #her %oman is the source of all evil" his unrestrained anger leads to murder and transforms him into a terrorist. Fury recounts the sorry fate of 'alik #olanka, occasionally sei4ed by bouts of unexplained rage which cause the break"up of his marriage and his subse(uent misfortune. )ut whereas %oman is totally absorbed in the whirlpool of his anger, #olanka is able to find an outlet for his negative emotions in creation. <nderlying Shalimar the Clown is the *ristotelian" Enlightenment conception of the passions, while in Fury the 9hristian"!omantic view takes precedence. $n a study entitled Anger, Madness and the Daimonic, #tephen *. 0iamond investigates the psychology of evil and argues that anger can be both a strong psychological force responsible for violent behavior as well as the hidden spring of creativity:/ creativity can be broadly defined as the constructive utilization of the daimonic/+8=>, $nterviewed by 0ouglas Eby, he returns to the !omantic model of the genius6 daimon, showing how rage and creativity can be inter"related : ?The more conflict, the more rage, the more anxiety there is, the more the inner necessity to create. 5e must also bear in mind that gifted individuals, those with a genius +incidentally, genius was the 2atin word for daimon, the basis of the daimonic concept, for certain things, feel this inner necessity even more intensely, and in some respects experience and give voice not only to their own demons but the collective daimonic as well./ 9reativity, argues 0iamond, is the way artists manage to constructively use their anger" to put it to good use, as #aint Evagrius : would say. @et the word constructively is important. $t made me think of )runo 2atour, of constructivism and the seminal role he attributes to mediation in the construction of any stable reality. $f anger reveals the internal disorder, the inner chaos that leads to destruction, can mediation and hybridi4ation be the strategies through which anger is channeled towards positive resultsA %. he Pathos o" Anger The demoni4ed #aladin 9hamcha in he Satanic !erses is able to resume human shape only after giving vent to his secret hatred of 7ibreel in a bout of rage that destroys a whole nightclub. *nger seems to have a long history in !ushdies work. $t is the dominant feeling in both Fury and Shalimar the Clown, two novels written after the fatwa episode. The first is set in %ew @ork, while the second makes the typical !ushdies(ue Bourney around the world +from $ndia to the <#,. The geographical context is important, as different cultures frame the pathos of anger. $n Shalimar the Clown, %oman #her %omans anger springs from his betrayed love and is associated with a specific Cashmiri 'uslim notion of honour. <pon learning of his wifes infidelity with the *merican ambassador, %oman decides to kill both of them and the child born from their affair: .#ooner or later he would find his way to the *merican ambassador as well and his honour would be avenged.DEF -onour ranked above everything else, about his sacred vows of matrimony, above the divine inBunction of cold"blooded murder, above decency, above culture, above life itself./+:81, Pachigam, the Cashmiri village where both %oman and his wife )oonyi grow up and fall in love with each other is of mixed population, as )oonyi herself is -indu. Their parents, though 'uslim and -indi +in Pachigham, !ushdie explains, these were descriptions, not divisions, are close friends, so %oman inherits both the 'uslim notion of honour and the $ndian conception of the passions, explained by )oonyis father:
= .There are six instincts DEF which keep us attached to the material purposes of life. These are called Caam the Passion, Crodh the *nger, 'adh the intoxicant, e.g. alcohol, drug et caetera, 'oh the *ttachment, 2obh the 7reed and 'atsaya the Gealousy. To live a good life we must control them or else they will control us. The shadow planets act upon us from a distance and focus our minds upon our instincts. !ahu is the exaggerator the intensifierH Cetu is the blocker the suppressorH The dance of the shadow planets is the dance of the struggle within us, the inner struggle of moral and social choiceH/+I>, $n order to live a good life we must control our passions. This sounds surprisingly similar to *ristotles philosophy. *ctually, these concepts come from ancient Jedic texts and were later appropriated by #ikhism to denominate the evils that every believer had to fight against. #ikhism is a predominantly military faith, as are some 'uslim factions. $t is no wonder that #halimar the 9lown, .interpellated/ by such ascetic creeds and the fundamentalist religious ideology of )ulbul 3akh" The $ron 'ullah, will turn into an international assassin. @et his motivation remains intensely private, his desire for revenge finding an .obBective correlative/ in the martial ideology instilled in him by the $ron 'ullah. 5hile the $ron 'ullah takes upon himself to train all his converts in his religion of war by altering their consciousness +what we would call brain"washing,, #halimar finds himself unable to be a total devotee to the holy war: .3or #halimar the 9lown the total abnegation of self was a more problematic re(uirement, a sticking place. -e was, he wanted to be, a part of the holy war, but he also had private matters to attend to, personal oaths to fulfill. *t night his wifes face filled his thoughts, her face and behind hers the face of the > *merican. To let go of himself would be to let go of them as well and he found that he could not order his heart to set his body free./ +:;>, The bad reviews that Shalimar received after its publication mentioned disappointments. *fter the recent events of K611, a book which portrays a sham terrorist is unforgivable. 5hat escaped the 5estern public so concerned with current issues of terrorism and fundamentalism was the insight into the real theme of the novel, which is the descent into the private chaos of rage and revenge. That the private pathos of anger should be disguised under the cloak of international terrorism proved inexcusable for a public which expected to read about the workings of a terrorist mind. Shalimar the Clown is first and foremost a book about passions" and shadows. The shadow planets" !ahu and Cetu" resurface in %omans consciousness whenever he is about to take a fateful decision: killing his first victim +a writer standing up against $slam,, his wife )oonyi or the retired ambassador 'ax Lphuls. $n Jedic astrology these two planets are called the shadow or the invisible planets +they do not have real, but spiritual existence,, and are said to influence peoples emotional lives, by either exaggerating or playing down their instincts. #ymbolically, they represent the conflict between the achievement of desire, which gives temporary happiness +!ahu, and spiritual self"reali4ation through sacrifice +Cetu,. Thus, !ahu and Cetu represent the two opposite instincts that distinguish the continent from the incontinent in *ristotles view: !ahu the intensifier is the impulse to give in, to act on your feeling while Cetu the suppressor is what blocks passion, allowing reason to step in and assume control. &. Anger as a daimonic. 'ediated versus unmediated anger The fury that drives professor #olanka to point a knife at the sleeping bodies of his wife and child cannot be separated from creation and its meanings. $t is frustration that breeds fury, and even if the motives are never clearly laid out before the reader +#olankas I rage is all the more powerful as he represses its real motivation, the fate of 2ittle )rain speaks volumes. 3ollowing a visit to *msterdam, the aging academic develops a passion for manufacturing dolls. -is favourite creation is 2ittle )rain, a doll with a story and a philosophic personality, who challenges the prevailing mentality of the day. #he becomes a mediatic success" but the higher she soars in the publics appreciation, the more a disappointment she becomes to her creator, who resolves one day to destroy it. -e cant do it personally, so he asks his wife to get rid of all the 2ittle )rains in the home" and the same night he is tempted to murder her. #olanka flees home in a hurry and settles in %ew @ork, where he is repeatedly sei4ed by bouts of fury. The anger that leads to #olankas self"destructive behavior is determined by the destruction of 2ittle )rain" first the subversion of her complex character by the media, which transforms her into a fashion"icon, then her physical annihilation. This effect cannot be explained unless we regard it as an expression of #olankas anima. 3or Gung anima is an archetype of the collective unconscious and represents the feminine psychological (ualities that are often repressed in males. $t is responsible for a mans relationships with women and if the sensitivity of the anima is denied, it leads to one of the most powerful complexes. #olankas failed relationship with his wife and his anger may be interpreted as conse(uences of the destroyed 2ittle )rain, the expression of his anima. $f fury is unleashed as a result of psychological inability to express the unconscious anima, release from it comes also with the acknowledging of the need to create. #olanka becomes able to transcend his anger and to forge a new love relationship when he begins to write the story of *kas4 Cronos and the Puppet Cings on the !iBk Planet" a story that resumes #olankas criticism of contemporaneity that had been previously appropriated and subverted by the media +the case of 2ittle )rain,. -is characters are given life by a group of $nternet enthusiasts" and so his story becomes a hyperstory, with plot and ending left open for each player. M $n order to be contained, anger needs to be constructively used, in 0iamonds opinion. 5e have a psychological need for unity and the daimonic is not easily integrated in the psyche. Thats why anger often generates violence" as not many people are capable of transmuting, translating it into something else. )runo 2atour argues that the stability of reality +its unity and coherence, depends on its degree of mediation:/ the amount of heterogeneous ingredients and the number of mediations necessary to sustain realities are a credit to their reality +the more mediated, the more real,/+:=K, 5e can use 2atours .sociology of translation/ to interpret the two kinds of anger +%omans and #olankas, as unmediated6 untranslated and mediated anger. #halimar the 9lown does not manage to translate his anger into some kind of construction" he is mobili4ed, in 2atours words, by the agents of purification +the martial religion of )ulbul 3akh, and regimented as an assassin" a destroyer. 'alik #olanka finally succeeds to overcome the frustration caused by the wrongful appropriation of 2ittle )rain by the media and translates it into a biting criticism of contemporary evils in the story of *kas4 Cronos. <nmediated anger breeds violence and could be seen as evil mediated anger, on the other hand, is constructive and integrative. )ecause translation is a practice that changes its obBects and always translates with a difference +the obBect is the same, but with a difference, translating a passion may mean changing its effects: from bad to good or vice versa. The anti" social effects of unmediated anger could also be linked to a certain cultural context that insists on the ascetic containment of anger and inhibits creation" a culture which conceives anger in *ristotelian6 Enlightenment6 Jedic6 $slamic terms, as a passion which should be suppressed. The opposite Early 9hristian6 !omantic idea of anger as a daimonic, as laid out by #tephen 0iamond in his study may tend instead to a more balanced approach to the management of the passions. *s !ushdie himself notes in Fury: K .2ife is fury, hed thought. 3ury" sexual, Ledipal, political, magical, brutal" drives us to our finest heights and coarsest depths. Lut of 3uria comes creation, inspiration, originality, passion, but also violence, pain, pure unafraid destruction, the giving and receiving of blows from which we never recover./ +;N"1, $n conclusion, anger is ambiguous it has both the potential to create and destroy and the recognition of this fact is an important step towards its integration in the self via translation and mediation.
5L!C# 9$TE0 0iamond, #tephen *. Anger, Madness and the Daimonic" he #sychological $enesis of !iolence, %vil and Creativity.*lbany: #tate of %ew @ork <niversity Press, 1KK> """. .The Psychology of 9reativity: !edeeming our $nner 0emons/ $nterview with 0ouglas Eby.5eb. 8: Gan 8N11. Ohttp:66 talentdevelop.comP 2atour, )runo. .5hose 9osmosA 5hich 9osmopoliticsA 9omments on the Peace Terms of <lrich )eck/, Common &nowledge, vol.1N6;, fall 8NN:, :=N">8 !ushdie, #alman. Fury. 2ondon: Jinatge )ooks, 8NN1 """. Shalimar the Clown. 2ondon: Jintage )ooks, 8NN= 1N
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