JeanPaul_Sartre_JeanPaul_Sartre_Basic_Writing

JeanPaul_Sartre_JeanPaul_Sartre_Basic_Writing JeanPaul_Sartre_JeanPaul_Sartre_Basic_Writing

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Sartre in the world15Mathieu was in no hurry. He kept his eye on this man; he had plenty oftime. The German army is vulnerable. He fired. The man gave a funnylittle jerk and fell on his stomach, throwing his arms forward likesomebody learning to swim.(Iron in the Soul, Penguin, Harmondsworth, 1963, p. 216)In the narrative, Mathieu’s shooting of the German infantyman is a freelychosen and deliberate act for which he alone is responsible. It is a deeplysignificant act metaphysically, personally, and politically. Metaphysically it isthe termination of a life. Personally it is Mathieu’s recognition of his ownfreedom; ‘For years he had tried, in vain, to act’ (p. 217) Sartre reminds us.Politically it is the commitment to resist the forces of right-wing totalitarianism.The Germans shell the clock tower and one by one Mathieu’s comradesare killed. Mathieu is alone and becomes infused with the feeling that he isgoing to die. Facing death alone, as in a profound sense we all must, herealises his own freedom:Just time enough to fire at that smart officer, at all the Beauty of theEarth, at the street, at the flowers, at the gardens, at everything he hadloved. Beauty dived downwards, like some obscene bird. But Mathieuwent on firing. He fired. He was cleansed. He was all powerful. Hewas free.(ibid., p. 225)In the play Men Without Shadows (Morts sans Sépulture, 1946), one ofSartre’s most poignant pieces, captured French resistance fighters arebeing tortured and interrogated by Nazi collaborators. Even under torture,Sartre has his characters choose whether to talk, scream or remain silent.Sorbier deliberately throws himself through the window to his death ratherthan disclose the location of the group’s leader. Canoris chooses to talk.Even under the most extreme duress we still have a choice according toSartre. Indeed, under duress, the agonising reality of our freedom of choiceis inescapable. Bad faith or the denial of freedom is then impossible.Our freedom is a burden that confronts us. It is a source of profoundanxiety because it carries with it a terrible responsibility. I and I alone canmake my choices and I and I alone am accountable to the rest of humanityfor my actions. Sartre illustrates this with an episode from his own lifeexperience in a passage in Existentialism and Humanism. During the SecondWorld War one of his pupils approached him with this dilemma: His elderbrother had been killed by the Germans in 1940 and the young man burnedto avenge his brother’s death and fight in the struggle against Nazism. Onthe other hand, the young man’s mother was sick with grief at his brother’s

16Jean-Paul Sartre: Basic Writingsdeath, lived alone, and needed her remaining son to care for her. If he joinsthe Free French he deserts his mother. If he stays with his mother he doesnothing to avenge his brother or fight the Nazis. Sartre’s advice to histormented pupil was this: ‘You are free, therefore choose’ (p. 38).Sartre cannot make his choice for him. To choose an adviser is to makea choice. It is also to choose the kind of advice one would like to hear. in thisexample Sartre turns the tables on the determinist, It is the lived confrontationwith freedom that is concrete and real. Determinism is a scientific abstraction.Even if determinism were true it would not be of the least help to the youngman in resolving his dilemma. Nothing can lift from us the burden of ourfreedom.Sartre says we are condemned to be free. We did not choose to be free;indeed, we did not choose to exist. In the Heideggerian idiom, Sartre sayswe are thrown into the world. We have no pre-determined essence. First ofall we exist, then we face the lifelong burden of creating ourselves, generatingour essence by free choices. We are nothing other than what we do and theonly constraint on our freedom is this: we are are not free not to be free.The recognition of our own freedom causes such anxiety that we pretendto ourselves that we are not free. The multitude of behavioural strategieswhich make up this pretence Sartre calls bad faith. He thinks most of us arein bad faith most of the time. It is usually only in extremis, like Mathieu in theclock tower, that we are confronted with the reality of our own freedom. Thelocus classicus of bad faith is in Being and Nothingness:Let us consider the waiter in the café. His movement is quick andforward, a little too precise, a little too rapid. He comes toward thepatrons with a step a little too quick. He bends forwards a little tooeagerly; his voice, his eyes express an interest a little too solicitous forthe order of the customer [ . . . ] He is playing, he is amusing himself.But what is he playing? We need not watch long before we can explainit: he is playing at being a café waiter.(p. 59)Committed literature combats bad faith.Questions of Method prefaces the first volume of Critique of DialecticalReason (1960). (It had appeared in an earlier version in a Polish magazinein 1958.) Sartre argues that existentialism and Marxism are mutuallynecessary in the explanation of human reality. Henceforth, the lived presentof the choosing existential individual is located in history. Sartre says‘philosophy’ does not exist, there are only philosophies. Any philosophy isan expression of a rising social class, and in modern history there have

<strong>Sartre</strong> in the world15Mathieu was in no hurry. He kept his eye on this man; he had plenty oftime. The German army is vulnerable. He fired. The man gave a funnylittle jerk and fell on his stomach, throwing his arms forward likesomebody learning to swim.(Iron in the Soul, Penguin, Harmondsworth, 1963, p. 216)In the narrative, Mathieu’s shooting of the German infantyman is a freelychosen and deliberate act for which he alone is responsible. It is a deeplysignificant act metaphysically, personally, and politically. Metaphysically it isthe termination of a life. Personally it is Mathieu’s recognition of his ownfreedom; ‘For years he had tried, in vain, to act’ (p. 217) <strong>Sartre</strong> reminds us.Politically it is the commitment to resist the forces of right-wing totalitarianism.The Germans shell the clock tower and one by one Mathieu’s comradesare killed. Mathieu is alone and becomes infused with the feeling that he isgoing to die. Facing death alone, as in a profound sense we all must, herealises his own freedom:Just time enough to fire at that smart officer, at all the Beauty of theEarth, at the street, at the flowers, at the gardens, at everything he hadloved. Beauty dived downwards, like some obscene bird. But Mathieuwent on firing. He fired. He was cleansed. He was all powerful. Hewas free.(ibid., p. 225)In the play Men Without Shadows (Morts sans Sépulture, 1946), one of<strong>Sartre</strong>’s most poignant pieces, captured French resistance fighters arebeing tortured and interrogated by Nazi collaborators. Even under torture,<strong>Sartre</strong> has his characters choose whether to talk, scream or remain silent.Sorbier deliberately throws himself through the window to his death ratherthan disclose the location of the group’s leader. Canoris chooses to talk.Even under the most extreme duress we still have a choice according to<strong>Sartre</strong>. Indeed, under duress, the agonising reality of our freedom of choiceis inescapable. Bad faith or the denial of freedom is then impossible.Our freedom is a burden that confronts us. It is a source of profoundanxiety because it carries with it a terrible responsibility. I and I alone canmake my choices and I and I alone am accountable to the rest of humanityfor my actions. <strong>Sartre</strong> illustrates this with an episode from his own lifeexperience in a passage in Existentialism and Humanism. During the SecondWorld War one of his pupils approached him with this dilemma: His elderbrother had been killed by the Germans in 1940 and the young man burnedto avenge his brother’s death and fight in the struggle against Nazism. Onthe other hand, the young man’s mother was sick with grief at his brother’s

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