Tag Archives: paul johnson

‘Humorists: From Hogarth to Noel Coward’ by Paul Johnson – review

Humorists: From Hogarth to Noel CowardHumorists: From Hogarth to Noel Coward by Paul Johnson

My rating: 5 of 5 stars

It’s gobsmacking to see how people misidentify humor with mockery or sarcasm in their misconception about laughter (the loud the better) as a product of a merry heart. Whereas humor should be appealing not only to the senses but also to Reason with a natural assistance of wit to discern the light side of life and to elevate it to wisdom of life it bears, people tend to derive funniness from faux-pas and gaucheness of targeted individuals as if they were Olympian gods and goddesses laughing at the sorrow and travail of mortals on earth. That being said, this aptly witty book by Paul Johnson is an intelligent receipt against the philistine understanding of humor drawn on his erudition and sharp witticism.

Johnson sees humor as a handmaid to hope in life that gives a jolt to a meaning of life, a mental and physical therapeutic means to make the strains of existential malaises bearable, and presents us a society of famous artists who shares the same views on the pristine essence of humor. Life is indeed a comedy in a long shot and a tragedy in close-up. If our human existential life is a tragedy at the core, it also has a periphery of comedy, which helps us to understand and embrace the attitude of “Amore Fati” Love of Fate, regardless of a boundary of classes, races, and genders. Accordingly, finding humor in human suffering is one of the manifest functions of arts in sublimating human emotions and thoughts into the aesthetically pleasing and intellectually satisfying artifacts.

From Johnson’s humorists, the persons of Charles Dickens and G. K. Chesterton strike me as scintillating artists of classless humor whose abilities to draw humor upon people of all walks of life and to look upon the bright side of existential life and kindly side of human nature, for human nature is the same in all professions as it is in water, not stone. Even madness does not look grim and dismal in the eyes of amiable Chesterton: “The mad man is the man who has lost everything except his reason.”

This is the fourth book by Paul Johnson I have read, and it never ceases to amaze me with his erudition and wit manifested across pages after pages at the expanse of his will to enlighten general readers in plain English accessible to all. If you think abrupt peals of boisterous laughter in disguise of hearty mirth in public places are none other than a sign of incivility and citizenship, then this is a fit read that you will enjoy to your quiet hear’s content.

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‘Socrates: A Man for Our Times’, by Paul Johnson -review

Socrates: A Man for Our TimesSocrates: A Man for Our Times by Paul Johnson

My rating: 5 of 5 stars

In the constellation of philosophers in the intellectual firmament, there is none other than Socrates whose influence on humanity, ranging from academic disciplines to everyday cultural memes, strikes the chords with the contemporary minds at its simplest form. It is this essence of Socrates’s simple but profound moral philosophy that has been enshrined in the pantheon of Immortal Knowledge of our collective human civilization for thousands of years. In Socrates by Paul Johnson, this immortal philosopher is hard to resist and difficult to find fault with through the author’s cicerone guide to the streets of the ancient Athens, where Socrates is in his usual convivial mood to speak in public and welcomes the reader with his genuine warm smile to join his conversation.

The stratagem of moral education in the form of philosophy is to tame the appetites (the senses or the id) and to guide spirits (emotions or the ego) in man to reach the highest level of humanness, which is the reason (the judgment or the superego). The process of this moral education is civilization, a standard by which barbarism is judged and separated from the educated mind, and Socrates thought it essential to implement it in all aspects of Athenian life because it was the surest avenue to happiness, meaning of human life. In fact, Socrates was the first philosopher to democratize the concept of philosophy from lofty abstraction of an academic plane to practical realism of a living guide. Johnson describes Socrates as something of a Prometheus, who translated the heavenly into the terrestrial in the sense that Socrates wanted to unlock the goodness of life for the benefit of mankind. For Socrates was the one who brought philosophy down from the wondering skies, domesticated it the huts and villas of people, and familiarized it with the ordinary life in examination of good and evil.

Socrates seems even more likable thanks to Johnson’s historical accounts of Socrates’s personal traits and physiognomy: the corroboration comes from his young, handsome, controversial, but nonetheless valiant aristocratic friend Alciblades that (1) Socrates was a selfless comrade in battle, fearless in fighting, and artless in helping his battle buddies: (2) commendable hardiness enabled him to wear thin clothing despite the cold and the snow; (3) he disliked letting his emotions show on his face; (4) he regarded poverty as a shortcut to self-control; and that (5) he kept fit in the stadium and gymnasium and even danced because he believed that a healthy body was the greatest of blessings. It is also well known that Socrates was an ugly man with a flat, broad nose and beer belly, especially by the standards of Greece in the 5th century that highly valued regularity of features we would call Byronic today. And yet, Socrates, ever imperturbable and optimistic, was not depressed by his ugliness because to Socrates beauty was not inherent in itself but was by the virtue of its use. It was more of utilitarian nature for practical purpose. Socrates’s way of accepting himself as he is relates to logotheraphy, neuroplasticity, and habit of positive thinking, now bestriding the domain of self-help literature.

I have always been a fan of Paul Johnson’s writing style in harmony with his wealth of erudition and fountain of humor, a fascinating combination that makes his reads so likable and interesting. And here again, he did it again: with his customary witty narrative packed full of lots of unknown anecdotes and personal tidbits on subjects he writes about, Johnson tells the reader about Socrates as precisely and candidly as possible based upon historical evidence to resurrect him in the textual theater of literature. His interpretations draw on his exceptional knowledge of the philosopher and the history of his time, but he wears his learning lightly and always writes with a general reader in mind. Hence, the figure of Socrates in his book is no longer seen as the ancient adumbral thinker but a jovial, avuncular teacher who really cares about the lives of his students of all walks of life in this highly entertaining book. This book presents a pleasant banquet of the mind and spirit hosted by the consummate storytelling narrative of Johnson in the honor of Socrates, the people’s philosopher.

‘Creators: From Chaucer and Durer to Picasso and Disney’, by Paul Johnson – review

CreatorsCreators by Paul Johnson

My rating: 5 of 5 stars

Kurt Vonnegut encouraged anyone dabbling in the act of creativity: “To practice art, no matter how well or badly, is to make your soul grow. So do it.” Accordingly, the art of creation is a noble act of finding a meaning of life in which man searches for his freedom of will and will to meaning by translating the principles of sentiments and reason that are universal in humankind to various forms of creativity, ranging from writing and painting to music and dance, and to even gardening and making people laugh. Such act of making something out of nothing requires Herculean feats of courage and spirit that serves as a sovereign remedy for the existential ills of everyday life, however ordinary or exceptional. Paul Johnson’s Creators, which looks into the bright side of clever, talented individuals contrary to his previously published Intellectuals in which he recounted the hypocrisy of historically famous intellectuals, presents his thesis: that we all have creative traits in us is our divine prerogative of humanity; and to produce works of the arts involves prodigies of courage as well as talent that is sublimated to the aesthetic expression of intellect and beauty, such as to be in the cases of luminous artists whose oeuvres marked their standing in literature, painting, and music.

Each chapter on each different artist draws up on the artist’s unyielding courage and creativity, which is a quintessential element of creative originality of outstanding quality. Johnson admits that an artist tends to be egotistical due to his extravagant faculty of creativity into which the artist pours out everything that is in him. An unusual degree of courage that is akin to physical courage of a soldier on the front is demanded of the artist unless he bows to the final enemy of creativity, such as age or increasing debility. Take Beethoven’s struggling against his deafness by using a toothbrush in his mouth to feel the tonality of each piano key while composing his immortal symphonies. Great impressionist painter Toulouse-Lautrec’s inherited disabilities and grotesque deformities as a result of hereditary inbreeding could not stop him from producing beautiful paintings with his triumphant willpower and courage until his death at the age of thirty-seven. Robert Louis Stevenson wrote incessantly despite his chronic illness due to his weak and unreliable lungs that eventually killed him in his early forties. Emily Dickinson wrote poetry without encouragement and public response, while David Hume failed to receive public recognition upon publishing Human Understanding. So did Anthony Trollope of The Macdermots of Bally Cloran that was neither reviewed nor sold of a single copy.

The life of an artist is full of peculiar aspects and strange satisfaction often spurred on by personal weaknesses, such as in the cases of Jane Austen and George Eliot whose real name was Mary Ann Evans. Both of the women led lonely and lugubrious lives without experiencing felicities of love and adulation by men despite their brilliant spirits and ingenious minds. Surely beauty was in their time and still is only skin-deep, but their plainness left them in spinsterhood and forced themselves to spur loneliness on writing that was the solace in which they could fall in love with the men they desired. In effect, the reader will learn that it was the courage to express their spirits and feminine aspiration to be loved that fed on their creativity. Also, self-awareness, careful nursing, and restricting of the talents and subject matters, rather than audacious rampant criticism of society in general in undisciplined tempest of words, were added to the wings of their creative spirits.

In light of the above, art is not genius but a work born of love and labor of its creator whose Herculean degree of courage and desire of expressing imaginations and intellect perform a painful but delightful feat of ingeniousness. Johnson avows that rational and professional methods of using skills, experiences, creative industriousness, and self-confidence are the ingredients to create the work of art. Also, he affirms the reader that there is no need to make a pact with the devil or perform a magical ceremony to invoke a creative spirit because inspiration comes from within. It is how to find it and reveal it like a hidden diamond in its most radiant luminescence. Written in common words devoid of academic locutions and once again his usual consummate narrative skills, this is Johnson’s another scintillating book to be acquainted with the human face of geniuses whose works have produced pleasure in our senses and minds.

Intellectuals (or Talking Heads) by Paul Johnson

Intellectuals (From Marx and Tolstoy to Sartre and Chomsky)Intellectuals by Paul Johnson

My rating: 5 of 5 stars

The violent collapse of the ecclesiastical caste precipitated by the French Revolution has given rise to the secular intellectual armed with their scintillating rhetoric and dazzling display of scholastic aptitudes; these social, cultural elites have become guardians of cultures and devised moral and ideological innovations, thus replacing the ancient regime of the priestly caste. Paul Johnson’s Intellectuals lays bare the human frailties of these beneficent intellectuals – ranging from Jean-Jacque Rousseau to Leo Tolstoy, to Henrik Ibsen to Ernest Hemingway, and to Noam Chomsky – and invites us to question the duplicity of these intellectuals that contradicts what they preached for the sake of humanity.

Intellectuals have traditionally proclaimed themselves to be liberals, torch-bearers of fraternity, equality, liberty since they became new potent oracles of societies dictating modes of life and modus operandi of political, social, and cultural systems. However, they are actually bound to the canons of external authority and to the inheritance; that is, the intellectuals are and were by no means free spirits as they profess themselves to be. They are the substitutes for the pagan gods and the elites of Prometheus, who stole the numinous fire for humankind into the bargain under the pretext of shaping our attitudes and institutions and of prescribing us panacea for the social ills.

However, many notable intellectuals who have influenced the arts and shaped our modes of thinking were deficient in rectitude toward their kin, families, friends, and others in their everyday life. To illustrate, Rousseau was an absolute egoist, a brilliant self-publicist, tending to equate hostility to him with hostility to truth and virtue as such. He disdained women of low birth, such as seamstress, chambermaids, and shop girls, while he claimed to love people of all walks of life. In fact, this trait of egoism can be also found in the figure of Percy Bysshe Shelley, a great English poet known for his proclamation that “the poets are unacknowledged legislators of the world.” A sublime egoist with a strong moralizing bent, Shelley assumed that others had to applaud his decisions and when they failed to do so up to his expectation, he was quick to display a sense of outrage. And there was also Ibsen, who changed the social thinking of his generation and that of posterity by preaching the revolt of the individual against the ancient regime of inhibitions and prejudices. He did not want to help others, let alone his own family, for richer he became, the less inclined he was to make any contract with them.

To encapsulate, Intellectuals serves as a literary stethoscope to examine the moral and judgmental credentials of select intellectuals most known to us throughout the modern western history. However, this is not a book to slander their intellectual contributions to the enrichment of culture and society on the whole by revealing their personal history. Rather, it is to show us readers a peril of effaced humanity undermined by the importance of ideas as held by most intellectuals, for ideas – or ideology – were their new gods or new mammon. They put ideas before their families, friends, and people for the sake of perfection of the arts, politics, or society. Moreover, so many intellectuals have jumped on the bandwagon of liberalism in favor of careerism. It is this hypocrisy that Johnson wants to bring to light in Intellectuals. And I think this book is one of the must-haves we should keep on our bookshelves to discern true intellectuals who practice what they preach, such as Ralph Waldo Emerson or George Orwell from those who are no more than learned careerists or demagogues or just talking heads of abstract ideas.

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