11 Oct 2009

Habits of Successful Plants. Samuel Butler. Life & Habit. Chapter 5: Personal Identity. pp.78-82




by
Corry Shores
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Habits of Successful Plants


Samuel Butler


Life & Habit (1910)


Chapter 5: Personal Identity


pp.78-82



The more times we practice something, the better we get at it. In a sense, we are contracting all our past performances into a present habit. [For more on habitual contraction, see §39 & §40 of Bergson’s Matter and Memory, and §215, §218, §219; §234; §310; & §333, §352, §355 of Hume’s Treatise on Human Nature]. Now consider also how corn plants have the ‘habit’ of growing outward towards water, nutrients, and light. In a sense, they presuppose these things, so in a way, a plant ‘contemplates’ those things it reaches-out for. And then it brings these presupposed things into itself, contracting with them. Such an example illustrates Deleuze’s notion that habitual contractions – cerebral or not – are ‘contemplative.’ In Difference and Repetition, he draws this illustration from Samuel Butler’s Life and Habit. Deleuze writes:

No one has shown better than Samuel Butler that there is no continuity apart from that of habit, and that we have no other continuities apart from those of our thousands of component habits, which form within us so many superstitious and contemplative selves, so many claimants and satisfactions: ‘for even the corn in the fields grows upon a superstitious basis as to its own existence, and only turns the earth and moisture into wheat through the conceit of its own ability to do so, without which faith it were powerless ...’. Only an empiricist can happily risk such formulae. What we call wheat is a contraction of the earth and humidity, and this contraction is both a contemplation and the auto-satisfaction of that contemplation. By its existence alone, the lily of the field sings the glory of the heavens, the goddesses and gods – in other words, the elements that it contemplates in contracting. What organism is not made of elements and cases of repetition, of contemplated and contracted water, nitrogen, carbon, chlorides and sulphates, thereby intertwining all the habits of which it is composed? [Deleuze Difference and Repetition 1994:75a.b]


Nul mieux que Samuel Butler n’a montré qu’il n’y avait pas d’autre continuité que celle de l’habitude, et que nous n’avions pas d’autres continuités que celles de nos mille habitudes composantes, formant en nous autant de moi superstitieux et contemplatifs, autant de prétendants et de satisfactions : « Car le blé des champs lui-même fonde sa croissance sur une base superstitieuse en ce qui concerne son existence, et ne transforme la terre et l’humidité en froment que grâce à le faire, confiance ou foi en soi-même sans laquelle il serait impuissant »1. Seul l’empiriste peut risquer avec bonheur de telles formules. Il y a une contraction de la terre et de l’humidité qu’on appelle froment, et cette contraction est une contemplation, et l’autosatisfaction de cette contemplation. Le lys des champs, par sa seule existence, chante la gloire des cieux, des déesses et des dieux, c’est-à-dire des éléments qu’il contemple en contractant. Quel organisme n’est pas fait d’éléments et de cas de répétition, d’eau, d’azote, de carbone, de chlorures, de sulfates contemplés et contractés, entrelaçant ainsi toutes les habitudes par lesquelles il se compose ?

1.Samuel BUTLER, La vie et l’habitude (trad. Valery LARBAUD, N.R.F.), pp.86-87.[102b.d]


According to Butler, we might think our personalities to be some unified aspect of us, which we may cleanly define. Personal identity, could however, be quite the opposite.

But in truth this "we," which looks so simple and definite, is a nebulous and indefinable aggregation of many component parts which war not a little among themselves, our perception of our existence at all being perhaps due to this very clash of warfare, as our sense of sound and light is due to the jarring of vibrations. [Butler 1910:78d]

There are component parts to our personality. But they change moment-to-moment. That means our personality depends on our current state. Yet, the present is evanescent. Just as soon as we try to get it in our grasp, it has slipped away. And also, our component parts are inextricably bound-up with things in the world around us. [Is the air exhaling from our lungs a part of us? Can we regard the personality of a loving father without also considering his relation to his children?] So we are never able to draw determinate lines around us to delimit who we are.

Our bodies are essential to our personalities: when we die, so goes our personhood, and when we modify our bodies, we modify our personalities as well. But our bodies are ridding themselves of wastes on a daily basis. Are they a part of our personalities? If we amputate our limbs, our soul or self seems to remain somehow.

And if we are starving, and then eat, this drastically changes our personality. But there is no clear point in the digestive process when we can say the food has become a part of us.

Some of our parts seem separable. We awake to the cold morning. Our clothes lie upon our chair. When we dress, our clothes become a part of us like food does. Without our clothes we could die from the harms of the cold. And when we dress-up, that changes how we behave. We see then there is no scientific definition for our personhood. We normally deal with our ignorance of the true meaning of personhood by merely presuming everybody should already know what their self is, and leaving the burden of definitions for the over-curious.

When we assume without evidence that everybody knows the meaning of personality, we are being superstitious. Parenthetically, Butler adds that superstition is the cause for the actions of all life forms. Consider when we plant a corn seed. As its roots and stem move outward, there is a presumption in its movement. Its movements presume that if it extends and processes water, nutrients, and sunlight, it will continue to grow and flourish. Otherwise, it would not even begin to expand itself. So the corn has the superstition that it will have the power to perform these feats. The corn operates under a theory: adding and processing these things will empower me. So it implicitly contemplates the water, nutrients, and sunlight as it reaches-out for them. This contemplation is also a contraction. Plants contemplate water as they absorb and contract it into themselves. Butler writes:

Assuming, then, that every one knows what is meant by the word "person" (and such superstitious bases as this are the foundations upon which all action, whether of man, beast, or plant, is constructed and rendered possible; for even the corn in the fields grows upon a superstitious basis as to its own existence, and only turns the earth and moisture into wheat through the conceit of its own ability to do so, without which faith it were powerless; and the lichen only grows upon the granite rock by first saying to itself, "I think I can do it;" so that it would not be able to grow unless it thought it could grow, and would not think it could grow unless it found itself able to grow, and thus spends its life arguing in a most vicious circle, basing its action upon a hypothesis, which hypothesis is in turn based upon its action) [...]. [Butler 1910:82a.b]


Original text [click on images for an enlargement]:








Butler, Samuel. Life and Habit. London: Fifield, 1910. Available online at: http://www.archive.org/details/lifehabit00butluoft


Deleuze, Gilles. Différence et répétition. Paris: Presses Universitaires de France, 1968.

Deleuze, Gilles, Difference & Repetition. Transl. Paul Patton. New York: Columbia UniversityPress, 1994.



Image obtained gratefully from:

9 Oct 2009

Becoming Prey. "The Transformation of Actaeon into a Stag." Ovid. Metamorphoses. Book the Third



[The images were obtained with care and with my profound gratitude to the sources. Their credits are given below and in the text. Click on the images to enlarge them.]



Prey Becoming


Ovid

Metamorphoses

Book the Third

The Transformation of Actaeon into a Stag



In Difference & Repetition, Deleuze illustrates contemplative contraction with the story of Actaeon and Diana. The following summarizes Ovid's rendition.

Actaeon leads a party. They are after a stag. The sun beats down too hard on them. So he calls off the hunt for the day. They will recommence the next morning. In a wooded valley, goddess of the hunt Diana bathes in a beautiful lake. Her nymphs undress her.

Jean-François de Troy "Diana and her Nymphs Bathing"

[Femme Femme Femme]


Here did she now with all her train resort,
Panting with heat, and breathless from the sport;
Her armour-bearer laid her bow aside,
Some loos'd her sandals, some her veil unty'd;
Each busy nymph her proper part undrest;
While Crocale, more handy than the rest,
Gather'd her flowing hair, and in a noose
Bound it together, whilst her own hung loose.

François Boucher "Diana leaving her Bath" (1742)

[wikimedia commons]


Jacopo Amigoni "Diana Bathing with her Nymphs"

[www.myartprints.com]


Actaeon by chance happens upon the bathing lake. He sees the naked nymphs and bare Diana.

The frighted virgins shriek'd at the surprize
(The forest echo'd with their piercing cries).
Then in a huddle round their Goddess prest:
She, proudly eminent above the rest,
With blushes glow'd; such blushes as adorn
The ruddy welkin, or the purple morn.

Titian "Diana and Actaeon"

[wikimedia commons]


Delacroix "The Summer - Diana Surprised by Actaeon" (1856-1863)

[wikimedia commons]


Rembrandt Diana "Bathing with her Nymphs"

[staff.science.uva.nl]


Borghese "Diana and her Nymphs"

[www.wga.hu]


Diana would have killed him with her bow. It is not by her side. But water is. She splashes some in his face. 'Can you see a naked goddess now?'

Slowly Actaeon turns into a deer.

the man begun to disappear
By slow degrees, and ended in a deer.
A rising horn on either brow he wears,
And stretches out his neck, and pricks his ears;
Rough is his skin, with sudden hairs o'er-grown

Pieter van Harinxma "Aktaion betrapt Artemis" (1628-1630)

[wikimedia commons]


Balen, Hendrick van - "Diana Turns Actaeon into a Stag"

[wikimedia commons]


Giuseppe Cesari "Diana and Actaeon" (1603-1606)

[wikimedia commons]


Actaeon runs off. He happens upon a brook and peers upon its surface. He sees his horns and stag form.

Wretched Actaeon! in a doleful tone
He try'd to speak, but only gave a groan;

He cries. And he does not know whether to live among men or beasts.

What should he do? Or seek his old abodes,
Or herd among the deer, and sculk in woods!
He looks behind. The hunting hounds are fast upon his musky scent. Actaeon runs-off through the trials he once hunted along. He is shocked by the carnivorous shouts and cries of the war party chasing him. First the fastest hound leaps upon him. His jaws keep the grip until the rest of the pack descend upon him too. His servants call for Actaeon to see the kill. If only they knew he saw it far too well.

to his grief he finds himself too near,
And feels his rav'nous dogs with fury tear
Their wretched master panting in a deer.

"Diana and Actaeon"

[www.wga.hu]


Death of Aktaion K6.8

[www.theoi.com]


Titian "The Death of Actaeon" (1562)

Paolo Persico, Brunelli, Pietro Solari "The Fountain of Diana and Actaeon"


[wikimedia commons]


Lucas Cranach "Diana und Aktäon"

[wikimedia commons]


Krater Aktaion Louvre CA3482 n2




From Ovid Book the Third:


The Transformation of Actaeon into a Stag


In a fair chace a shady mountain stood,
Well stor'd with game, and mark'd with trails of blood;
Here did the huntsmen, 'till the heat of day,
Pursue the stag, and load themselves with rey:
When thus Actaeon calling to the rest:
"My friends," said he, "our sport is at the best,
The sun is high advanc'd, and downward sheds
His burning beams directly on our heads;
Then by consent abstain from further spoils,
Call off the dogs, and gather up the toils,
And ere to-morrow's sun begins his race,
Take the cool morning to renew the chace."
They all consent, and in a chearful train
The jolly huntsmen, loaden with the slain,
Return in triumph from the sultry plain.

Down in a vale with pine and cypress clad,
Refresh'd with gentle winds, and brown with shade,
The chaste Diana's private haunt, there stood
Full in the centre of the darksome wood
A spacious grotto, all around o'er-grown
With hoary moss, and arch'd with pumice-stone.
From out its rocky clefts the waters flow,
And trickling swell into a lake below.
Nature had ev'ry where so plaid her part,
That ev'ry where she seem'd to vie with art.
Here the bright Goddess, toil'd and chaf'd with heat,
Was wont to bathe her in the cool retreat.

Here did she now with all her train resort,
Panting with heat, and breathless from the sport;
Her armour-bearer laid her bow aside,
Some loos'd her sandals, some her veil unty'd;
Each busy nymph her proper part undrest;
While Crocale, more handy than the rest,
Gather'd her flowing hair, and in a noose
Bound it together, whilst her own hung loose.
Five of the more ignoble sort by turns
Fetch up the water, and unlade the urns.

Now all undrest the shining Goddess stood,
When young Actaeon, wilder'd in the wood,
To the cool grott by his hard fate betray'd,
The fountains fill'd with naked nymphs survey'd.
The frighted virgins shriek'd at the surprize
(The forest echo'd with their piercing cries).
Then in a huddle round their Goddess prest:
She, proudly eminent above the rest,
With blushes glow'd; such blushes as adorn
The ruddy welkin, or the purple morn;
And tho' the crowding nymphs her body hide,
Half backward shrunk, and view'd him from a side.
Surpriz'd, at first she would have snatch'd her bow,
But sees the circling waters round her flow;
These in the hollow of her hand she took,
And dash'd 'em in his face, while thus she spoke:
"Tell, if thou can'st, the wond'rous sight disclos'd,
A Goddess naked to thy view expos'd."

This said, the man begun to disappear
By slow degrees, and ended in a deer.
A rising horn on either brow he wears,
And stretches out his neck, and pricks his ears;
Rough is his skin, with sudden hairs o'er-grown,
His bosom pants with fears before unknown:
Transform'd at length, he flies away in haste,
And wonders why he flies away so fast.
But as by chance, within a neighb'ring brook,
He saw his branching horns and alter'd look.
Wretched Actaeon! in a doleful tone
He try'd to speak, but only gave a groan;
And as he wept, within the watry glass
He saw the big round drops, with silent pace,
Run trickling down a savage hairy face.
What should he do? Or seek his old abodes,
Or herd among the deer, and sculk in woods!
Here shame dissuades him, there his fear prevails,
And each by turns his aking heart assails.

As he thus ponders, he behind him spies
His op'ning hounds, and now he hears their cries:
A gen'rous pack, or to maintain the chace,
Or snuff the vapour from the scented grass.

He bounded off with fear, and swiftly ran
O'er craggy mountains, and the flow'ry plain;
Through brakes and thickets forc'd his way, and flew
Through many a ring, where once he did pursue.
In vain he oft endeavour'd to proclaim
His new misfortune, and to tell his name;
Nor voice nor words the brutal tongue supplies;
From shouting men, and horns, and dogs he flies,
Deafen'd and stunn'd with their promiscuous cries.
When now the fleetest of the pack, that prest
Close at his heels, and sprung before the rest,
Had fasten'd on him, straight another pair,
Hung on his wounded haunch, and held him there,
'Till all the pack came up, and ev'ry hound
Tore the sad huntsman grov'ling on the ground,
Who now appear'd but one continu'd wound.
With dropping tears his bitter fate he moans,
And fills the mountain with his dying groans.
His servants with a piteous look he spies,
And turns about his supplicating eyes.
His servants, ignorant of what had chanc'd,
With eager haste and joyful shouts advanc'd,
And call'd their lord Actaeon to the game.
He shook his head in answer to the name;
He heard, but wish'd he had indeed been gone,
Or only to have stood a looker-on.
But to his grief he finds himself too near,
And feels his rav'nous dogs with fury tear
Their wretched master panting in a deer.

Ovid. Metamorphoses. Sir Samuel Garth, John Dryden, et al, transl. Available online at: http://classics.mit.edu/Ovid/metam.html

François Boucher "Diane sortant du bain." Huile sur toile, 1742. / "Diana leaving her Bath." Oil on canvas, 1742

Jacopo Amigoni "Diana Bathing with her Nymphs"

Jean-François de Troy "Diana and her Nymphs bathing"

Titian "Diana and Actaeon"

Borghese "Diana and her Nymphs"

plate "Diana and Actaeon"

Hendrick van Balen "Diana Turns Actaeon into a Stag"

Cesari, Giuseppe - Diana and Actaeon - 1603-1606

Pieter van Harinxma "Aktaion betrapt Artemis" (1628-1630)

Delacroix The Summer - Diana Surprised by Actaeon (1856-1863) / O Verão - Diana Surpreendida por Acteão

K6.8 Death of Aktaion

Paolo Persico, Brunelli, Pietro Solari "The Fountain of Diana and Actaeon" at Caserta Palace, Italy

Titian "The Death of Actaeon" (1562)

Cranach, Lucas Diana und Aktäon

Krater Aktaion Louvre CA3482 n2