W.B. Yeats’ Classic Poem “When You Are Old” Gets Adapted Into a Beautiful Short Film

W.B. Yeats’ 1891 poem “When You Are Old” is wide­ly con­sid­ered a com­men­tary on his unre­quit­ed life­long pas­sion for actress, Irish Repub­li­can and suf­fragette Maud Gonne.

Yeats first met Gonne in 1889 (a meet­ing which Yeats was lat­er to describe in his mem­oirs as the day ‘the trou­bling of my life began’) and he remained in love with her for much of his life, propos­ing mar­riage at least four times. Gonne became his muse, and he drew on his tor­tured love for her, albeit unnamed, as the inspi­ra­tion for many of his works, includ­ing most notably the poem, “When You Are Old.”

Freely based on a son­net by Pierre de Ron­sard, which first appeared in Le Sec­ond Livre Des Son­nets Pour Hélène in 1578, “When You Are Old” enjoins the object of an unre­turned love to reflect–in years to come–on a love reject­ed, to remem­ber one who ‘loved your moments of glad grace’, and who ‘loved the pil­grim soul in you, And loved the sor­rows of your chang­ing face.’

Although Yeats’s poet­ry is often very dense and rich in allu­sion to mythol­o­gy, the occult and his­to­ry, in “When You Are Old” the pain and bit­ter­sweet nature of a spurned love is all too appar­ent.

Aus­tralian play­wright Jes­si­ca Bel­lamy drew on the poem and her love of W.B. Yeats’ work when writ­ing the the­atre mono­logue “Lit­tle Love,” which she then adapt­ed with direc­tor Damien Pow­er to cre­ate the short film Bat Eyes. Watch it above.

In Bat Eyes, Adam and Jen­ny (‘Bat Eyes’) Bar­rett are brought togeth­er through an inci­dent of class­room bul­ly­ing. Through the metaphor of visu­al impair­ment and an eye exam­i­na­tion under­gone by an adult Adam, Bel­lamy and Pow­er explore the poem’s themes of long­ing, insight, rev­e­la­tion and regret, and poet­ry’s capac­i­ty to pro­vide solace and awak­en empa­thy in every­day life. The script of this beau­ti­ful short film con­sists prin­ci­pal­ly of the text of the poem, with the film’s two young leads repeat­ing Yeats’ words back and forth to each oth­er, as the sto­ry flips back and forth in time, the mean­ing of the lines becom­ing more tan­gi­ble and res­o­nant with each recita­tion.

Says Jes­si­ca Bel­lamy:

‘Yeats writes about ancient mythol­o­gy and the his­to­ry of his time, but you don’t have to under­stand all that to get the feel­ing of what he has to say. There are lines, there are moments that, as a read­er, you just get and you think: I’m not alone in this world and that some­one else has felt these things as well. I hope view­ers will hear the truth of what this poem is say­ing, and that they’ll see the film as an ode to love, rela­tion­ships and to poet­ry itself.

Gonne, who died in 1953, out­lived Yeats by 14 years. She was pho­tographed by Life mag­a­zine in Octo­ber 1948, old and grey, sit­ting by a fire and read­ing Yeats poet­ry.

You can watch the orig­i­nal mono­logue, “Lit­tle Love,” here:

And read and lis­ten to the text of “When You Are Old” here. There’s also a ver­sion read by Col­in Far­rell. Find it below.

Dan Prichard is an online film and web­series pro­duc­er, based in Syd­ney, whose work explores iden­ti­ty, place, and the space between film and per­for­mance in the dig­i­tal are­na. Vis­it his web­site here.

Relat­ed Con­tent:

Rare 1930s Audio: W.B. Yeats Reads Four of His Poems

Aleis­ter Crow­ley & William But­ler Yeats Get into an Occult Bat­tle, Pit­ting White Mag­ic Against Black Mag­ic (1900)

T.S. Eliot’s Clas­sic Poem “The Love Song of J. Alfred Prufrock” Gets Adapt­ed into a Hip Mod­ern Film

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Watch the Dutch Paint “the Largest Mondrian Painting in the World”

Ear­li­er this month, the Dutch unveiled “the largest Mon­dri­an paint­ing in the world.” Above, you can watch the City Hall build­ing in The Hague (some­times known as “The Ice Palace”) get paint­ed Mon­dri­an-style, with those icon­ic red, yel­low and blue sur­faces and straight lines.

It was 100 years ago, in 1917, that the Dutch art move­ment called “De Sti­jl” (The Style) took flight. Led by the artists Theo van Does­burg and Piet Mon­dri­an, “De Sti­jl” embraced, notes The Art Sto­ry, “an abstract, pared-down aes­thet­ic cen­tered in basic visu­al ele­ments such as geo­met­ric forms and pri­ma­ry col­ors.” To mark the cen­te­nary of “De Sti­jl,” the Hague is now stag­ing a cel­e­bra­tion, which includes 300 Mon­dri­an works, all brought togeth­er for the first time, in an exhi­bi­tion called “The Dis­cov­ery of Mon­dri­an.” It runs from 3 June to 24 Sep­tem­ber.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Guggen­heim Puts Online 1600 Great Works of Mod­ern Art from 575 Artists

Rijksmu­se­um Dig­i­tizes & Makes Free Online 210,000 Works of Art, Mas­ter­pieces Includ­ed!

Down­load 100,000 Free Art Images in High-Res­o­lu­tion from The Get­ty

The Nation­al Gallery Makes 25,000 Images of Art­work Freely Avail­able Online

Down­load 448 Free Art Books from The Met­ro­pol­i­tan Muse­um of Art

Marcel Proust Plays Air Guitar on a Tennis Racket (1891)

Was “air gui­tar” a thing back in 1891, when a pho­tog­ra­ph­er cap­tured young Mar­cel Proust in this play­ful pho­to­graph? Prob­a­bly not. Maybe it’s anachro­nis­tic to read the pho­to­graph this way. But you have to admit, it’s worth sus­pend­ing dis­be­lief for a moment and imag­in­ing what song Mar­cel was play­ing. Any clever guess­es?

via The Atlantic

Relat­ed Con­tent:

The First Known Footage of Mar­cel Proust Dis­cov­ered: Watch It Online

An Intro­duc­tion to the Lit­er­ary Phi­los­o­phy of Mar­cel Proust, Pre­sent­ed in a Mon­ty Python-Style Ani­ma­tion

When James Joyce & Mar­cel Proust Met in 1922, and Total­ly Bored Each Oth­er

16-Year-Old Mar­cel Proust Tells His Grand­fa­ther About His Mis­guid­ed Adven­tures at the Local Broth­el

Mar­cel Proust Fills Out a Ques­tion­naire in 1890: The Man­u­script of the ‘Proust Ques­tion­naire’

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Walt Disney Creates a Frank Animation That Teaches High School Kids All About VD (1973)

The com­i­cal­ly plain­spo­ken, tough-guy sergeant is a heav­en sent assign­ment for char­ac­ter actors.

Think R. Lee Ermey in Full Met­al Jack­et

Louis Gos­set Jr. in An Offi­cer and a Gen­tle­man

Even Stripes’  War­ren Oates.

Keenan Wynn, who strove to keep Amer­i­ca safe from “devi­at­ed pre­verts” in 1964’s Dr. Strangelove, was award­ed the role of a life­time nine years lat­er, when Dis­ney Stu­dios was seek­ing vocal tal­ent for VD Attack Plan, above, a 16-minute ani­ma­tion intend­ed to teach high school­ers about the scourge of vene­re­al dis­ease.

Wynn (son of Ed) threw him­self into the part with gus­to, imbu­ing his bad­ly-com­plect­ed, Kaiser-hel­met­ed germ com­man­der with the sort of straight-talk­ing charis­ma rarely seen in high school Health class.

A risky maneu­ver, giv­en that Viet­nam-era teens did not share their parent’s generation’s respect for mil­i­tary author­i­ty and VD Attack Plan was the first edu­ca­tion­al short specif­i­cal­ly aimed at the high school audi­ence. Pri­or to that, such films were geared toward sol­diers. (Dis­ney wad­ed into those waters in 1944, with the train­ing film, A Few Quick Facts No. 7—Venereal Dis­ease, the same year Mick­ey Mouse appeared in LOOK mag­a­zine, wag­ing war on gon­or­rhea with sul­fa drugs.

Gon­or­rhea was well rep­re­sent­ed in the Wynn’s Con­ta­gion Corps. The ranks were fur­ther swelled by Syphilis. Both pla­toons were out­fit­ted with para­mil­i­tary style berets.

The Sarge pumped them up for the com­ing sneak attack by urg­ing them to maim or bet­ter yet, kill their human ene­my. Shaky recruits were reas­sured that Igno­rance, Fear, and Shame would have their backs.

Scriptwriter Bill Bosche had quite the knack for iden­ti­fy­ing what sort of sug­ar would make the med­i­cine go down. The Sarge inti­mates that only a few of the afflict­ed are “man enough” to inform their part­ners, and while Igno­rance and Shame cause the major­i­ty to put their faith in inef­fec­tu­al folk reme­dies, the “smart ones” seek treat­ment.

Ele­men­tary psy­chol­o­gy, but effec­tu­al nonethe­less.

Today’s view­ers can’t help but note that HIV and AIDS had yet to assert their fear­some hold.

On the oth­er hand, the Sarge’s mat­ter of fact deliv­ery regard­ing the poten­tial for same sex trans­mis­sion comes as a pleas­ant sur­prise. His pri­ma­ry objec­tive is to set the record straight. No, birth con­trol pills won’t pro­tect you from con­tract­ing the clap. But don’t waste time wor­ry­ing about pick­ing it up from pub­lic toi­let seats, either.

A word of cau­tion to those plan­ning to watch the film over break­fast, there are some tru­ly gnarly graph­ic pho­tos of rash­es, sores, and skin erup­tions. Help­ful to teens seek­ing straight dope on their wor­ri­some symp­toms. Less so for any­one try­ing to enjoy their break­fast links sans the specter of burn­ing uri­na­tion.

So here’s to the sergeants of the sil­ver screen, and the hard­work­ing actors who embod­ied them, even those whose cre­ations resem­bled Pillsbury’s Fun­ny Face drink mix mas­cots. Let’s do as the Sarge says, and make every day V‑D Day!

VD Attack Plan will be added to the ani­ma­tion sec­tion of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Watch Fam­i­ly Plan­ning, Walt Disney’s 1967 Sex Ed Pro­duc­tion, Star­ring Don­ald Duck

The Sto­ry Of Men­stru­a­tion: Watch Walt Disney’s Sex Ed Film from 1946

Sal­vador Dalí Cre­ates a Chill­ing Anti-Vene­re­al Dis­ease Poster Dur­ing World War II

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City next week. Fol­low her @AyunHalliday.

A Free Short Course on How Pixar Uses Physics to Make Its Effects

A new com­put­er-ani­mat­ed spec­ta­cle that makes us rethink the rela­tion­ship between imag­i­na­tion and tech­nol­o­gy seems, now, to come out every few months. Audi­ences have grown used to var­i­ous com­put­er ani­ma­tion stu­dios all com­pet­ing to wow them, but not so long ago the very notion of enter­tain­ing ani­ma­tion made with com­put­ers sound­ed like sci­ence fic­tion. All that changed in the mid-1980s when a young ani­ma­tor named John Las­seter breathed life into the CGI stars of such now sim­ple-look­ing but then rev­o­lu­tion­ary shorts as The Adven­tures of André and Wal­ly B. and Luxo Jr., the lat­ter being the first inde­pen­dent pro­duc­tion by a cer­tain Pixar Ani­ma­tion Stu­dios.

We know Pixar today as the out­fit respon­si­ble for Toy Sto­ry, The Incred­i­blesWALL‑E, and oth­er ground­break­ing com­put­er-ani­mat­ed fea­tures, each one more impres­sive than the last. How do they do it? Why, with ever-larg­er and more high­ly skilled cre­ative and tech­no­log­i­cal teams, of course, all of whom work atop a basic foun­da­tion laid by Las­seter and his pre­de­ces­sors in the art of com­put­er ani­ma­tion, in the search for answers to one ques­tion: how can we get these dig­i­tal machines to con­vinc­ing­ly sim­u­late our world?

After all, even imag­i­nary char­ac­ters must emote, move around, and bump into one anoth­er with con­vic­tion, and do it in a medi­um of light, wind, water, and much else at that, all ulti­mate­ly under­gird­ed by the laws of physics.

Thanks to Pixar and their com­pe­ti­tion, not a few mem­bers of the past cou­ple gen­er­a­tions have grown up dream­ing of mas­ter­ing com­put­er ani­ma­tion them­selves. Now, in part­ner­ship with online edu­ca­tion­al orga­ni­za­tion Khan Acad­e­my, they have a place to start: Pixar in a Box, a series of short inter­ac­tive cours­es on how to “ani­mate bounc­ing balls, build a swarm of robots, and make vir­tu­al fire­works explode,” which vivid­ly demon­strates that “the sub­jects you learn in school — math, sci­ence, com­put­er sci­ence, and human­i­ties — are used every day to cre­ate amaz­ing movies.” The effects course gets deep­er into the nit­ty-grit­ty of just how com­put­er ani­ma­tors have found ways of tak­ing real phys­i­cal phe­nom­e­na and “break­ing them down into mil­lions of tiny par­ti­cles and con­trol­ling them using com­put­er pro­gram­ming.”

It all comes down to devel­op­ing and using par­ti­cle sys­tems, pro­grams designed to repli­cate the motion of the real par­ti­cles that make up the phys­i­cal world. “Using par­ti­cles is a sim­pli­fi­ca­tion of real physics,” says Pixar Effects Tech­ni­cal Direc­tor Matt Wong, “but it’s an effec­tive tool for artists. The more par­ti­cles you use, the clos­er you get to real physics. Most of our sim­u­la­tions require mil­lions and mil­lions of par­ti­cles to cre­ate believ­able water,” for instance, which requires a lev­el of com­put­ing pow­er scarce­ly imag­in­able in 1982, when Pixar’s own effects artist Bill Reeves (who appears in the one of these videos) first used a par­ti­cle sys­tem for a visu­al effect in Star Trek II. These effects have indeed come a long way, but as any­one who takes this course will sus­pect, com­put­er ani­ma­tion has only begun to show us the worlds it can real­ize.

For more Pixar/Khan Acad­e­my cours­es, please see the items in the Relat­eds below.

Relat­ed Con­tent:

Pixar & Khan Acad­e­my Offer a Free Online Course on Sto­ry­telling

Take a Free Online Course on Mak­ing Ani­ma­tions from Pixar & Khan Acad­e­my

Pixar’s 22 Rules of Sto­ry­telling … Makes for an Addic­tive Par­lor Game

Free Online Physics Cours­es

A Rare Look Inside Pixar Stu­dios

The Beau­ty of Pixar

The First 3D Dig­i­tal Film Cre­at­ed by Ed Cat­mull, Co-Founder of Pixar (1970)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Earth, a Landmark of Soviet Cinema (1930)

Today we’re adding to our list of Free Movies a 1930 Sovi­et silent film by direc­tor Alexan­der Dovzhenko. It’s called Earth, and it’s the third install­ment in Dovzhenko’s “Ukraine Tril­o­gy.”

When The Guardian cre­at­ed its list of the Top 10 Silent Movies of all time, it put Earth in the #9 slot. About the film writer Pamela Hutchin­son said:

Earth, capped by that avowed­ly sec­u­lar title, is a lyri­cal, car­nal movie about birth, death, sex and rebel­lion. Offi­cial­ly, this Sovi­et-era Ukrain­ian silent is a paean to col­lec­tive farm­ing, craft­ed around a fam­i­ly dra­ma, but its direc­tor, Alexan­der Dovzhenko, was a born rene­gade, for whom plots were far less impor­tant than poet­ry…

Earth is the final part of Dovzhenko’s silent tril­o­gy (fol­low­ing the nation­al­ist fan­ta­sy Zvenig­o­ra (1928) and the avant-garde anti-war film Arse­nal (1929), and is brim­ming with exu­ber­ant youth, but haunt­ed by the shad­ow of death.…

Sketched as trib­ute to the boons of col­lec­tivi­sa­tion, but released as those schemes were falling out of favour, Earth was con­demned on its home turf on polit­i­cal grounds. It was also snipped by cen­sors who object­ed to the nudi­ty, and the infa­mous scene in which farm­ers uri­nate into their trac­tor’s radi­a­tor. But while there was dis­may and cen­sure in the Sovi­et Union, crit­ics else­where were over­awed…

It’s the lat­ter impres­sion that endures. Dovzhenko’s sym­bol­ism is both rich and auda­cious. His scope com­pris­es vast pas­toral land­scapes, and inti­mate fleshy naked­ness. Per­haps its most cel­e­brat­ed sequence is the mag­nif­i­cent open­ing scene: the painful coun­ter­point between a dying man, his infant grand­chil­dren and the burst­ing fruit of his orchard. This is liv­ing cin­e­ma, as refresh­ing and vital as the film’s own cli­mac­tic down­pour.

You can watch Earth above, and find it list­ed in our col­lec­tion of Free Silent Films, a sub­set of our meta col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Watch Inter­plan­e­tary Rev­o­lu­tion (1924): The Most Bizarre Sovi­et Ani­mat­ed Pro­pa­gan­da Film You’ll Ever See

Watch Dzi­ga Vertov’s A Man with a Movie Cam­era, Named the 8th Best Film Ever Made

Watch Sovi­et Avant-Garde Com­posers Cre­ate Syn­the­sized Music with Hand-Drawn Ani­ma­tions (1934)

Eight Free Films by Dzi­ga Ver­tov, Cre­ator of Sovi­et Avant-Garde Doc­u­men­taries

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Bertrand Russell Writes an Artful Letter, Stating His Refusal to Debate British Fascist Leader Oswald Mosley (1962)

Image by Nation­al Por­trait Gallery, via Wiki­me­dia Com­mons

Chang­ing the minds of oth­ers has nev­er count­ed among human­i­ty’s eas­i­est tasks, and it seems only to have become an ever-stiffer chal­lenge as his­to­ry has ground along. Increas­ing­ly many, as Yale pro­fes­sor David Bromwich recent­ly argued in the Lon­don Review of Bookshave had no prac­tice in using words to influ­ence peo­ple unlike them­selves. That is an art that can be lost. It depends on a quan­tum of acci­den­tal com­mu­ni­ca­tion that is miss­ing in a life of organ­ised con­tacts.” We might find our­selves in rea­son­ably fruit­ful debates with basi­cal­ly like-mind­ed friends, acquain­tances, and strangers on the inter­net, but can we ever con­vince, or be con­vinced by, some­one tru­ly dif­fer­ent from us?

Bertrand Rus­sell doubt­ed it. In 1962, long before the struc­tures of the inter­net allowed us to build tighter echo cham­bers than ever before, the Nobel-win­ning philoso­pher “received a series of let­ters from an unlike­ly cor­re­spon­dent — Sir Oswald Mosley, who had found­ed the British Union of Fas­cists thir­ty years ear­li­er,” writes Brain Pick­ings’ Maria Popo­va.

“Mosley was invit­ing — or, rather, pro­vok­ing — Rus­sell to engage in a debate, in which he could per­suade the moral philoso­pher of the mer­its of fas­cism.” Even at the age of 89, with lit­tle time and much else to do, Rus­sell declined with the utmost force and clar­i­ty in a piece of cor­re­spon­dence fea­tured on Let­ters of Note:

Dear Sir Oswald,

Thank you for your let­ter and for your enclo­sures. I have giv­en some thought to our recent cor­re­spon­dence. It is always dif­fi­cult to decide on how to respond to peo­ple whose ethos is so alien and, in fact, repel­lent to one’s own. It is not that I take excep­tion to the gen­er­al points made by you but that every ounce of my ener­gy has been devot­ed to an active oppo­si­tion to cru­el big­otry, com­pul­sive vio­lence, and the sadis­tic per­se­cu­tion which has char­ac­terised the phi­los­o­phy and prac­tice of fas­cism.

I feel oblig­ed to say that the emo­tion­al uni­vers­es we inhab­it are so dis­tinct, and in deep­est ways opposed, that noth­ing fruit­ful or sin­cere could ever emerge from asso­ci­a­tion between us.

I should like you to under­stand the inten­si­ty of this con­vic­tion on my part. It is not out of any attempt to be rude that I say this but because of all that I val­ue in human expe­ri­ence and human achieve­ment.

Yours sin­cere­ly,

Bertrand Rus­sell

Rus­sell passed on eight years lat­er, in 1970, and Mosley a decade there­after. “His final mes­sage to the British peo­ple appeared in a let­ter to the New States­man writ­ten only a week ear­li­er,” remem­bers jour­nal­ist Hugh Pur­cell in that news­pa­per. It con­cerned an arti­cle’s descrip­tion of the “Olympia ral­ly,” the 1934 deba­cle that lost the British Union of Fas­cists much of what pub­lic sup­port it enjoyed. “The largest audi­ence ever seen at that time assem­bled to fill the Olympia hall and hear the speech,” Mosley insist­ed. “A small minor­i­ty deter­mined by con­tin­u­ous shout­ing to pre­vent my speech being heard. After due warn­ing our stew­ards removed with their bare hands men among whom were some armed with such weapons as razors and knives. The audi­ence were then able to lis­ten to a speech which last­ed for near­ly two hours.”

The New States­men, print­ing Mosley’s let­ter posthu­mous­ly, ran it under this intro­duc­tion: “Through­out his life he was intent on per­suad­ing peo­ple that their view of his­to­ry was mis­tak­en.” Despite his unceas­ing efforts, he ulti­mate­ly per­suad­ed few — and it would hard­ly have required as keen an observ­er as Rus­sell to see that some­one like Mosley cer­tain­ly was­n’t about to let him­self be per­suad­ed by any­one else.

via Let­ters of Note/Brain Pick­ings and The Bertrand Rus­sell Archives, McMas­ter Uni­ver­si­ty Library

Relat­ed Con­tent:

Bertrand Russell’s Ten Com­mand­ments for Liv­ing in a Healthy Democ­ra­cy

Lis­ten to ‘Why I Am Not a Chris­t­ian,’ Bertrand Russell’s Pow­er­ful Cri­tique of Reli­gion (1927)

Bertrand Rus­sell and F.C. Cople­ston Debate the Exis­tence of God, 1948

Face to Face with Bertrand Rus­sell: ‘Love is Wise, Hatred is Fool­ish’

How Bertrand Rus­sell Turned The Bea­t­les Against the Viet­nam War

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How Did Nietzsche Become the Most Misunderstood & Bastardized Philosopher?: A Video from Slate Explains

Is there a more mis­un­der­stood philoso­pher than Friedrich Niet­zsche? Grant­ed, the ques­tion makes two assump­tions: 1) That peo­ple read phi­los­o­phy 2) That peo­ple read Friedrich Niet­zsche. Per­haps nei­ther of these things is wide­ly true. Many peo­ple get their phi­los­o­phy from film and tele­vi­sion: Good Will Hunt­ing, True Detec­tive, Com­ing to Amer­i­ca.… There’s noth­ing inher­ent­ly wrong with that. I don’t read med­ical books. Most of my knowl­edge of med­i­cine comes from hos­pi­tal dra­mas. (If you ever hear me make unsourced med­ical claims, please remind me of this.)

But back to Niet­zsche…. If few peo­ple read phi­los­o­phy in gen­er­al and Niet­zsche in par­tic­u­lar, why is his name so well-known, why are his ideas so bad­ly man­gled? Because some of the peo­ple who read a lit­tle Niet­zsche write films and tele­vi­sion shows. In many of them, he emerges as a twist­ed nihilist with no scru­ples and lit­tle regard for human life. In the most infa­mous case of Niet­zsche-twist­ing, the philosopher’s sis­ter extract­ed from his books what she want­ed them to say, which sound­ed very much like the ideas of the Nazis who lat­er quot­ed him.

Nietzsche’s mas­tery of the apho­rism and his fierce­ly polem­i­cal nature have made him supreme­ly quotable: “God is dead,” “What does not kill us, makes us stronger.” And so on. Bring the con­text of these state­ments to bear and they sound noth­ing like what we have imag­ined. The video above from Shon Arieh-Lerer and Daniel Hub­bard explains how Niet­zsche became “the most absurd­ly bas­tardized philoso­pher in Hol­ly­wood.” It leads with a telling­ly hilar­i­ous clip from The Sopra­nos in which A.J. calls the philoso­pher “Niche” and Tony tells him, “even if God is dead, you’re still gonna kiss his ass.”

We might half expect Tony to embrace the Ger­man philoso­pher. The way Nietzsche’s been inter­pret­ed seems to jus­ti­fy the prin­ci­ples of sociopaths. This should not be so. “In real­i­ty,” the video’s pro­duc­ers write at Slate, “Niet­zsche was a very sub­tle thinker.” The two biggest mis­con­cep­tions about Niet­zsche, that he was a nihilist and an anti-Semi­te, get his phi­los­o­phy griev­ous­ly wrong. Niet­zsche “wrote let­ters to his fam­i­ly and friends telling them to stop being anti-Semit­ic” (and call­ing anti-Semi­tes “abort­ed fetus­es.”) He famous­ly broke off his intense friend­ship with Richard Wag­n­er in part because of Wagner’s anti-Semi­tism. His work is not kind to Judaism, but he rages against anti-Semi­tism.

Far from endors­ing nihilist ideas, Niet­zsche feared their rise and con­se­quences. So how did he become “a dar­ling of Nazis and sad teenagers?” The car­i­ca­ture arose in part because read­ers from his day to ours have, like Tony Sopra­no, found his com­plete and total rejec­tion of Judeo-Chris­t­ian moral­i­ty too shock­ing to get beyond, mis­char­ac­ter­iz­ing it as tan­ta­mount to the rejec­tion of all human val­ues. On the con­trary, Niet­zsche argued for the “reval­u­a­tion” of val­ues, “the exact oppo­site of what one might expect,” he wrote,” not at all sad and gloomy, but much more like a new and bare­ly describ­able type of light, hap­pi­ness, relief, amuse­ment, encour­age­ment, dawn.”

Of course, the fact that Nietzsche—or a butchered ver­sion thereof—was co-opt­ed by the Nazis did more to sul­ly his name than any­thing he actu­al­ly wrote. “By the time Niet­zsche made his way into Amer­i­can pop cul­ture,” says Arieh-Lerer, “we were pre­dis­posed to get­ting him wrong.” Niet­zsche may have had some strange qua­si-mys­ti­cal con­cep­tions, and he believed in a def­i­nite hier­ar­chy of cul­tures, but he was not a racist or a psy­chopath. He has been as mis­un­der­stood as many of the sad teenagers who love him. Per­haps you will be moved to read him for your­self after see­ing his reha­bil­i­ta­tion above. If so, we can point you toward online edi­tions of near­ly all of his books here.

Relat­ed Con­tent:

What Did Niet­zsche Real­ly Mean When He Wrote “God is Dead”?

Down­load Wal­ter Kaufmann’s Lec­tures on Niet­zsche, Kierkegaard, Sartre & Mod­ern Thought (1960)

The Dig­i­tal Niet­zsche: Down­load Nietzsche’s Major Works as Free eBooks

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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