Non-Fiction:
The Aristos
“I Write Therefore I am”
“On Being English, But Not British”
The emphasis on the depiction of the ensnared self in The Collector, takes a deviation prior to Fowles’s publication of his next novel, The Magus. Absorbing himself into the possible questions which had beleaguered him on the backlog of religion, superstition, inequality and mysticism, he took a hiatus from fiction writing for a time, trying to establish imperatives in his next endeavor, The Aristos - A Self Portrait in Ideas. His
philosophy in this book becomes a reflection of his creative works, and a keen reader of The Aristos will find it a valuable support to comprehend his fiction.
This chapter also includes two of Fowles‟s essays written in the same time as The Aristos: “I Write Therefore I Am,” and “On Being English, But Not British.” These essays are the elaborations of his philosophy laid down in The Aristos. Extremely personal and interlaced with strong opinions, they replicate Fowles‟s notions of enriching the self, with views on the artist and human nature as the prominent ends.
The Aristos published in 1964, is a collection of aphorisms Fowles had started writing as an undergraduate in Oxford. Here he lays down the foundation of the premises and thoughts of his later fiction, and the importance he attaches to his individual philosophy.
The Aristos was the second work published after the success of The Collector,and advisors were serious to promote his image and popularity, and contemplated that a book like The Aristos, could impair his career as a novelist. They argued that : “How could a man with such ideas emerge and prosper as a literary entity in an England preoccupied for more than three decades with the revolt of the labouring masses…? ” (Baker 167).
Reading this out as a common-place book, some were astonished and perchance annoyed to “encounter a mind that does not seem to belong to a more congenial popular novelist…” (Baker 167).
These qualms were confounded because, although The Aristos was not extensively read, it gave Fowles more magnitude, casting aside the fears of the critics. He wrote a revised edition in 1968, and a preface for its re-issue in 1980. The key projection in The Aristos,
concern in The Aristos is to preserve the freedom of the individual against all those pressures-to-conform that threatens our century…” (The Aristos vii). The original impetus for this non-fictional endeavor, came from the essentials of Heraclitus, a pre- Socratic philosopher, who lived in Ephesus, Asia Minor, 500 B.C. It is said that Heraclitus came from a ruling family, but declined to rule. Not believing in the curriculum of schools, he educated himself. He preferred playing with children and
“wandering about the mountains, listening to the glossy platitudes of his eminent contemporaries” (The Aristos 187). Although the philosophies of Heraclitus is available only in obscure fragments, Fowles considers him to be the “grandfather of modern totalitarianism”(Ibid ix).
The title itself indicates that the self can arrive at the aristos through alteration and recognition, by accepting each other‟s freedom, responsibility and humanizing them. The title also reveals the author‟s wish to foster the development of a nucleus of like-minded individuals, who will be the elite of a new category, “enlightened, responsible, moral, yet at all times detached, not only from the mass of humanity, but even from their fellow aristoi” (Loveday 140). In the light of such a situation under the principles of existential reality, Fowles hints that the self should try to achieve and arrive at the aristos. The idea of biological disparity is repulsive to a humanist, which Fowles foresees as a extra- terrestrial discrepancy and turmoil.
The Preface of The Aristos, elaborates the division of mankind by Heraclitus, “the intellectual elite, or the “aristoi…and an unthinking, conforming mass-the hoi polloi…”
(The Aristos ix). The Preface also elaborates on the nucleus of The Collector, the dichotomy between the Few and the Many, that had plagued Fowles, as it discriminated between the talented and the ungifted, the intelligent and the unintelligent. The dividing line drawn between the Few and the Many, runs through each individual, not between groups. This is a suggestion that there exists an interrelated view of this social conflict, precisely in the externalization of “cerebral conflicts” (Fawkner 32). Fowles in the Preface, comments: “One cannot deny that Heraclites has been used by reactionaries; but it seems to me that his basic contention is biologically irrefutable” (The Aristos ix). This statement is pertinent in the understanding of his fiction, because it holds the key “to a three fold structure (old man, hero and heroine) which in one transformation or another recurs in every one of his full-length fiction”(Loveday 3). In this regard, the wise old men in Fowles‟s fiction are Conchis in The Magus, Dr. Grogan in The French Lieutenant’s Woman, Breasley in The Ebony Tower and Professor Kirnberger in Daniel Martin, who represent Fowles‟s the Few, or the aristoi. Around them are the intermediates who are between the aristoi and the hoi polloi: Clegg, Nicholas, Charles, David and Daniel, who undergo tribulations and soul-searching ordeals to find their inner selves. The object of their symbolic quest are the Fowlesean women: Miranda, Alison, Sarah, Diana and Jane.
This pursuit of the basic theme of his fiction, is to a large extent, the pursuit of the self.
The Aristos is structured in the form of numbered notes, termed as aphorisms or maxims, which to its author is a technique to “suppress all rhetoric, all persuasion through style”
(The Aristos 3). It is divided into eleven headings, sub-divided into rubrics or sub- headings, enhancing the importance of the headlines. The Universal Situation is the
introductory heading, having seventy-six aphorisms. The rubrics under this heading are:
The Wreck and the Raft, The Necessity of Hazard, The Godgame, Finity and Infinity, God, The Contingency of Matter, Mystery and Atheism. Human Dissatisfactions, the second heading, has seventy-four maxims. The rubrics here are: Death, Having only This, The Myth of a Soul, Isolation, Anxieties, Hazard, and Envy are elaborated in this heading. The third heading, Fowles calls The Nemo, consists of forty-six maxims. The Political Nemo and The Necessity of the Nemo, being the rubrics here. Relativity of Recompense, the fourth heading comprise of twenty-five aphorisms. Happiness and Envy, are the rubrics here. Doing the Good is the fifth heading consisting of sixty aphorisms. The sub-divisions are Gratuitous Acts, The Purpose of Relative Freedom, Inability to Enact Good, Counter-supporting, Good Equals Evil, Why so Little Good.The sixth headline titled, The Tensional Nature of Human Reality, has eighty -four aphorisms. The Counterpoles of „I‟, Tension, The Mechanism of Tension, The Manipulations of the Tensions, Transposition, International Tension, and The Ultimate Tension, are the rubrics here.
Other philosophies, the seventh heading has Christianity, Lamaism, Humanism, Socialism, Fascism and Existentialism as the rubrics, bearing seventy-nine aphorisms.
The Obsession with Money, the eighth heading, has with sixty-seven aphorisms. Wealth and Poverty, The Monetization of Pleasure, The Automation Vacuum, The Duties of Leisure, and Death by Numbers are included as the sub-divisions. A New Education, the ninth heading, is elaborate with hundred and fifty aphorisms. A Universal Language, The Three Further Aims of Education, Nationalism, Art and Science, Games, Culpability, Adulthood, Adam and Eve, Sexual Freedom, The Inward Education, The Importance of
the Now, Inward Knowledge and The Synoptive Education comprise the rubrics here.
The Importance of Art, the tenth heading has ninety-five maxims. Time and Art, The Artist and His Art, Art and Society, Artists and Non-Artists, The Genius and the Craftsman, The Style is not the Man, Poetry and Humanity, are the rubrics. The concluding heading, The Aristos in the Individual, contains twelve aphorisms.
The opening heading, The Universal Situation, heightens Fowles‟s viewpoint on the essence of existence. The first pronouncement of this heading questions what had basically preoccupied Fowles: “Where are we? What is this situation? Has it a master?”
(The Aristos 5). In the rubric, The Wreck and the Raft, Fowles parallels humanity, floating on a raft, where seven men inhabit ; the cynic, the self-centered, the idealist, the onlooker, the altruist, the stoic and finally the child, the one with the perfect ignorance.
The self is a seeker in this mysterious raft who faces God, the face behind the mysterious mask of “being and not being” (Ibid 7). Laying emphasis on the necessity of hazard in life, he articulates in the rubric, The Necessity of Hazard that, “All our pleasures are dependent on it…” (Ibid 90). A foremost aspect of his later fiction, hazard is conspicuous as a feature in the quest of maturity of the self. In an essay, written later in 1995, “The Nature of Nature,” Fowles finds that the self requires hazard as a counterpoint to develop subsistence with audacity, “Our human freedom lies in allowing or admitting that this hazard is like rain in our lives” (WH 427).
In the rubric Godgame, Fowles remarks: “Imagine yourself a god, and lay down the laws of a universe. You then find yourself in the Divine Predicament: good governors must govern all equally, and all fairly” (The Aristos 9). On God he says, “God is a
situation. Not a power, or a being, or an influence”(Ibid 12). Books and views of literary critics have tried to establish Fowles as an atheist. The contradiction has been levelled against him that he does not have any established deity or a religious figure. On this issue, he clarifies his stand: “Such fairy-tale figures are for children…I do respect and sometimes admire many religious images…but I am by trade an inventor of fiction, almost a professional liar”(WH 412). In an interview to Diana Vipond, Fowles firmly reiterates his concept: “I know by reason that there cannot be a God…” (WH 10). His two basic notions on God, finds a similar analogue to Camus‟s conception of God. To Camus, “Metaphysical upheaval is the movement by which man protests against his circumstances…and its alleged Creator” (Camus 23). Camus‟s description is similar to Fowles‟s notions on atheism. Camus maintains that the act of rebellion seems like a demand for clarity and unity. As Camus elaborates:
The slave protests against the condition in which he finds himself within his state of slavery: the metaphysical rebel protests against the condition in which he finds himself as a man. The rebel slave affirms that there is something in him that will not tolerate the manner in which his master treats him: the metaphysical rebel declares that he is frustrated by the universe. (Camus 23)
Fowles‟s negative response to God, Christianity, and scientific notions, support his radical views on existentialism, aiming to pave the way for nothingness and ultimately for the self to be free. On the constituent of Mystery, a vital rubric under the present heading, Fowles says: “Mystery, or unknowing, is energy. As soon as a mystery is explained, it ceases to be a source of energy” (The Aristos 17). Fowles quotes Erigena, otherwise known as Johannes Scotus (815-877 B.C.), a philosopher and theologian, who
had said that the question of God‟s existence is in itself a mystery. If God could define himself, He would be finite: “What is created is his knowledge, what is potential is his mystery” (The Aristos 17). Fowles seems like the actual magus, more than Conchis of The Magus, leading his apprentices to self-discovery, amidst the mystery of the universe and God.
In the second heading, Human Dissatisfaction, Fowles views dissatisfaction as,
“…essential to our happiness since they provide the oil from which it grows” (The Aristos 19). In the rubric Death, he says: “We hate death for two reasons. It ends life prematurely; and we do not know what lies beyond it”(Ibid 19). The purpose of death to him, is to put anxiety in life. In the rubric, The Myth of a Soul, Fowles believes that human life “is the price we pay for death, not the reverse. The worse our life, the more we pay; the better, the cheaper” (Ibid 27). On his notion on Anxiety, Fowles considers that, “Anxiety is the name we give to an unpleasant effect on us” (The Aristos 29). Death, responsibility, otherness, ambition, social position, money, time, work health are the causes of anxiety. The concept of otherness to Fowles is something different from the potentiality of creativity. An alien self sometimes creates an estrangement within his or her own consciousness. This echoes in Mantissa, Fowles‟s sixth fiction. As Fawkner comments on this issue, “The resultant difference is amnesia, expressing and denying itself in Mantissa as the entropy of discourse: the incestuous marriage of totalitarian narrator and blank page” (Fawkner 33). There is a considerable amount of “external estrangement” (Neary 32), in the Fowlesean novels, yet this is “essentially an externalization of an internal alienation” (Ibid 32), that the self senses. As Fowles says: “I
am made constantly aware of the otherness of things. They are all in some sense my counterpoles. A Sartrean existentialist would say that they hedge me in, they tyrannize, they encroach on my selfhood” (The Aristos 69). Yet in Fowles, this otherness can be very different from the prospectives of ingenuity.
On the complications of adversaries in human life, the rubric Hazard, defines its necessity. Hazard or peril is a necessary facet in life for evolving: “The purpose of hazard is to force us, and the rest of matter, to evolve. It is only by evolving that we, in a process that is evolving, can continue to survive”(Ibid 31). In the rubric Envy, Fowles discusses this human impulse, “that is optimistically given to positive consequences” (Salami 256).
Deploying envy as a kind of honest competition, he contradicts that sometimes it is in the reverse. We envy others in order to become equal to them, and because of this we justify the means: “Humanity is this envy, this desire on the one side to hold, this desire on the other to take” (The Aristos 44). Envy to Fowles is also that great force to make the self more human, a situation allowing responsibility.
A major premise described in the third heading, is a complicated system in individuals, which Fowles calls the “Nemo” (The Aristos 35). He defines it as the fourth element in the human psyche. It is a “state of being nobody-nobodiness” (Ibid 35). The complicated system of social inequality in Western society, made him formulate this anti-ego disorder.
The nemo symptom appears as the result of the wide gap between the Few and the Many and grows in strict relation to the senses and knowledge of universal and individual disparity. This psychologically complex attitude is the perception of the self‟s own
reasonableness, ineffectiveness and ephemerality, “of his viral nothingness” (Ibid 47).
The nemo symptom is connected to the capitalist consumer society and their desire for extreme materialism, “We are part of a chain. We are nemo-tyrannized...” (Ibid 50).
Fowles states the assassination of President Kennedy by Lee Harvey Oswald as an example of the dissidents fighting against the nemo. Oswald had killed Kennedy because he had been dictated, “…to kill his real enemy: his nemo… What drove him to kill was the poisonous injustice of both his particular society and the whole process” (The Aristos 50).
The history of President Kennedy‟s assassination is indeed filled with twists, because of the criminalization of the C.I.A, who acting in the directions of the state ideology did not sanction the social reforms that Kennedy had lived and died for. To Fowles however, like the passion of envy, the nemo appears essential to the self, both as an inert horror of his state and the vigorous basis of the power needed to medicate it . As a evolutionary force of the self, the nemo is as vital as the ego. Preferring it to the ego, Fowles considerably honours its “uncertainty, plurality, unknowability and openness, unlike the ego, which is knowable, definite, and determined” (Salami 257). In a question by Diana Vipond on this concept, Fowles upholds that the human self is wedged between being a social entity and an individual: “I think the nemo, the sense that you are nobody, can drive all of us to violence and unreason. Through all human history it has been the hidden motive-to prove oneself somebody”(WH 444). In the rubric The Political Nemo, under the present heading, Fowles feels that, “We have no political power at all” (The Aristos 41). In the second rubric, The Necessity of the Nemo, he analyzes the nemo as a necessary
evolutionary force, as imperative as the human ego, “The ego is certainty, what I am; the nemo is potentiality, what I am not”(Ibid 44).
Conditions in individuals vary, between the better world inhabited, and the worse situation one faces. But to Fowles, there is a mysterious balance, where equality reigns, which he terms in the next heading, The Relativity of Recompense. He defines this as something, “which allows, at any stage of evolution, any sentient creature to find under normal conditions the same comparative pleasure in existing as all other sentient creatures of its own or any other age” (The Aristos 46). As animals lack what humans have, man is thus the only creation who can understand and find remedial measures.
Happiness and Envy, the rubrics of this heading view happiness to be necessary to
“prolong life just as it is…a chief obstacle to progress” (Ibid 49); and envy “a chief source of it…a kind of intention to survive…” (Ibid 49). Paradoxically, the nature of happiness, to Fowles is ultimately to create an “unequal world” (Ibid 48). Envy creates manipulation of the Many, which is vital to reconstruct the relativity of recompense, to
“isolate the virtues of both happiness and envy”(Ibid 52).
Doing the Good, the succeeding heading, introduces the Bet Situation. To Fowles it is the problem, impenetrable for the self as, “we cannot and never shall solve, but about which we ought to come to some conclusion” (The Aristos 53). Fowles introduces this situation from the pensees of Pascal, “You must bet. You have no choice. You are in the game ” (Ibid 193). The free choice of a being, ordinary situations, games like chess with set rules and movements and paradoxical situations lead to this condition. The rubric, Inability to
Enact Good, considers the failure to do good, which arises from pessimistic beliefs, conflict of intentions, refusal to act at particular times, and the “mechanism of countersupporting may prevent” (The Aristos 58). To Fowles the opposition of the self
“to counterpole will” (Ibid 58), is described in the rubric, Countersupporting. Violence, games, veiled toleration, and hypocrisy are all the factors of countersupporting. In the rubric Good Equals Evil, Fowles argues that both evil and good on expiry are metamorphosed. All actions, good or evil, “interweave so exquisitely as time passes that finally their relative goodness or badness completely disappears” (Ibid 61).
In the heading The Tensional Nature of Human Reality, Fowles projects the self to be aware of the relationship of tension in our world of opposite negations. A reader of Fowlesean fiction knows that the state of the self, if it undergoes crisis, becomes more composite. In this regard the cruel cause of this state in the self, is tension:
Tension is the effect on the individual of conflicting feelings, ideas, desires and events. Sometimes the tug-of-war will be one-sided…Each of us, and each society, and each world… is the centre of a web of such tensions. (The Aristos 71- 72)
The weak-minded, unable to endure the demands of the tension, will seek to refute this environment for inflicting a permanent structure of arrangements on things. The intellectuals will oppose this temptation, but accept the principles of vitality in themselves and in creation. In the sub-division Counterpoles of „I,‟ Fowles believes that an individual is a tissue of counterpoles. The body stands as a counterpole in relation with thoughts: “All parts of my body are objects external to me: my hands, my tongue, my digestive mechanism… My body and my thoughts and my words are like the garden and