Sarah Bakewell - How to Live - A Life of Montaigne in One Question and Twenty Attempts at an Answer

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From Starred Review
Review In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. -Bryce Christensen
“This charming biography shuffles incidents from Montaigne’s life and essays into twenty thematic chapters… Bakewell clearly relishes the anthropological anecdotes that enliven Montaigne’s work, but she handles equally well both his philosophical influences and the readers and interpreters who have guided the reception of the essays.”
— “Serious, engaging, and so infectiously in love with its subject that I found myself racing to finish so I could start rereading the Essays themselves… It is hard to imagine a better introduction — or reintroduction — to Montaigne than Bakewell’s book.”
—Lorin Stein, “Ms. Bakewell’s new book,
, is a biography, but in the form of a delightful conversation across the centuries.”
— “So artful is Bakewell’s account of [Montaigne] that even skeptical readers may well come to share her admiration.”
— “Extraordinary… a miracle of complex, revelatory organization, for as Bakewell moves along she provides a brilliant demonstration of the alchemy of historical viewpoint.”
— “Well,
is a superb book, original, engaging, thorough, ambitious, and wise.”
—Nick Hornby, in the November/December 2010 issue of “In
, an affectionate introduction to the author, Bakewell argues that, far from being a dusty old philosopher, Montaigne has never been more relevant — a 16th-century blogger, as she would have it — and so must be read, quite simply, ‘in order to live’… Bakewell is a wry and intelligent guide.”
— “Witty, unorthodox…
is a history of ideas told entirely on the ground, never divorced from the people thinking them. It hews close to Montaigne’s own preoccupations, especially his playful uncertainty — Bakewell is a stickler for what we can’t know…
is a delight…”
— “This book will have new readers excited to be acquainted to Montaigne’s life and ideas, and may even stir their curiosity to read more about the ancient Greek philosophers who influenced his writing.
is a great companion to Montaigne’s essays, and even a great stand-alone.”
— “A bright, genial, and generous introduction to the master’s methods.”
— “[Bakewell reveals] one of literature's enduring figures as an idiosyncratic, humane, and surprisingly modern force.”

(starred)
“As described by Sarah Bakewell in her suavely enlightening
Montaigne is, with Walt Whitman, among the most congenial of literary giants, inclined to shrug over the inevitability of human failings and the last man to accuse anyone of self-absorption. His great subject, after all, was himself.”
—Laura Miller, “Lively and fascinating…
takes its place as the most enjoyable introduction to Montaigne in the English language.”
— “Splendidly conceived and exquisitely written… enormously absorbing.”
— “
will delight and illuminate.”
— “It is ultimately [Montaigne’s] life-loving vivacity that Bakewell succeeds in communicating to her readers.”
—The Observer
“This subtle and surprising book manages the trick of conversing in a frank and friendly manner with its centuries-old literary giant, as with a contemporary, while helpfully placing Montaigne in a historical context. The affection of the author for her subject is palpable and infectious.”
—Phillip Lopate, author of “An intellectually lively treatment of a Renaissance giant and his world.”
— “Like recent books on Proust, Joyce, and Austen,
skillfully plucks a life-guide from the incessant flux of Montaigne’s prose… A superb, spirited introduction to the master.”
— In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. -Bryce Christensen Named one of Library Journal’s Top Ten Best Books of 2010 In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers.
—Bryce Christensen

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From its beginning in the form of a mildly rebellious, open-minded answer to the question of living well, “Wake from the sleep of habit” gradually metamorphosed into something much more rabble-rousing and even revolutionary. After Romanticism, it would no longer be easy to see Montaigne as a cool, gracious source of Hellenistic wisdom. From now on, readers would persist in trying to warm him up. He would, for evermore, have a wild side.

11. Q. How to live? A. Live temperately

RAISING AND LOWERING THE TEMPERATURE

IN MANY WAYS, readers of the late eighteenth and early nineteenth centuries found it easy to like the Montaigne they constructed for themselves. As well as appreciating his praise for the Americans, they responded to his openness about himself, his willingness to explore the contradictions of his character, his disregard for convention, and his desire to break out of fossilized habits. They liked his interest in psychology, especially his sense of the way different impulses could coexist in a single mind. Also — and they were the first generation of readers to feel this way in great numbers — they enjoyed his writing style, with all its exuberant disorder. They liked the way he seemed to blurt out whatever was on his mind at any moment, without pausing to set it into neat array.

Romantic readers were particularly taken by Montaigne’s intense feeling for La Boétie, because it was the only place where he showed strong emotion. The tragic ending of the love story, with La Boétie’s death, made it more beautiful. Montaigne’s simple answer to the question of why they loved each other—“Because it was he, because it was I”—became a catchphrase, denoting the transcendent mystery in all human attraction.

illustration credit i111 In her autobiography the Romantic writer George - фото 32
(illustration credit i11.1)

In her autobiography, the Romantic writer George Sand related how she became obsessed with Montaigne and La Boétie in her youth, as the prototype of spiritual friendship she herself longed to find — and did, in later life, with writer friends such as Flaubert and Balzac. The poet Alphonse de Lamartine felt similarly. In a letter, he wrote of Montaigne: “All that I admire in him is his friendship for La Boétie.” He had already borrowed Montaigne’s formula to describe his own feelings in an earlier letter to the same friend: “Because it is you, because it is I.” He embraced Montaigne himself as such a companion, writing of “friend Montaigne, yes: friend.”

The new highly charged or heated quality of such responses to Montaigne can be measured in the increase, during this era, in pilgrimages to his tower. Visitors called on the Montaigne estate, drawn by curiosity, but once there they lost their heads; they stood rapt in meditation, feeling Montaigne’s spirit all around them like a living presence. Often, they felt almost as though they had become him, for a few moments.

There had been little of this in previous centuries. Montaigne’s descendants lived at the estate until 1811, and for most of this time no one interfered with them while they converted the ground floor of the tower into a potato store and the first-floor bedroom sometimes to a dog kennel, sometimes to a chicken coop. This changed only after a trickle of early Romantic visitors turned into a regular flow, until eventually the potatoes and chickens gave way to an organized re-creation of his working environment.

This all seemed self-explanatory to the Romantics. Naturally, if you responded to Montaigne’s writing, you must want to be there in person: to gaze out of his window at the view he would have seen every day, or to hover behind the place where he might have sat to write, so you could look down and almost see his ghostly words appear before your eyes. Taking no account of the hubbub that would really have been going on in the courtyard below, and probably in his room too, you were free to imagine the tower as a monastic cell, which Montaigne inhabited like a hermit. “Let us hasten to cross the threshold,” wrote one early visitor, Charles Compan, of the tower library:

If your heart beats like mine with an indescribable emotion; if the memory of a great man inspires in you this deep veneration which one cannot refuse to the benefactors of humanity — enter.

The pilgrimage tradition outlived the Romantic era proper. When the marquis de Gaillon wrote of his visit to the tower in 1862, he summoned up the pain of departure in lover’s language:

But at last one must leave this library, this room, this dear tower. Farewell, Montaigne! for to leave this place is to be separated from you.

The problem with all such passionate swooning into Montaigne’s arms has always been Montaigne himself. To fantasize about him in this way is to set oneself at odds with his own way of doing things. Blocking out parts of the Essays that interfere with one’s chosen interpretation is a timeless activity, but the hot-blooded Romantics had a harder task than most. They were constantly brought up against things like this:

I have no great experience of these vehement agitations, being of an indolent and sluggish disposition.

I like temperate and moderate natures.

My excesses do not carry me very far away. There is nothing extreme or strange about them.

The most beautiful lives, to my mind, are those that conform to the common human pattern, with order, but without miracle and without eccentricity.

The poet Alphonse de Lamartine was one such frustrated reader. When he first came across Montaigne he hero-worshiped him, and kept a volume of the Essays always in his pocket or on his table so he could seize it whenever he had the urge. But later he turned against his idol with equal vehemence: Montaigne, he now decided, knew nothing of the real miseries of life. He explained to a correspondent that he had only been able to love the Essays when he was young — that is, about nine months earlier, when he first began to enthuse about the book in his letters. Now, at twenty-one, he had been weathered by pain, and found Montaigne too cool and measured. Perhaps, he wondered, he might return to Montaigne many years later, in old age, when even more suffering had dried his heart. For now, the essayist’s sense of moderation made him feel positively ill.

George Sand also wrote that she was “not Montaigne’s disciple” when it came to his Stoical or Skeptical “indifference”—his equilibrium or ataraxia , a goal that had now gone out of fashion. She had loved his friendship with La Boétie, as the one sign of warmth, but it was not enough and she tired of him.

The worst sticking-point for Romantic readers was a passage in which Montaigne described visiting the famous poet Torquato Tasso in Ferrara, on his Italian travels in 1580. Tasso’s most celebrated work, the epic Gerusalemme liberata , enjoyed immense success on its publication that same year, but the poet himself had lost his mind and was confined to a madhouse, where he lived in atrocious conditions surrounded by distressed lunatics. Passing through Ferrara, Montaigne called on him, and was horrified by the encounter. He felt sympathy, but suspected that Tasso had driven himself into this condition by spending too long in states of poetic ecstasy. The radiance of his inspiration had brought him to unreason: he had let himself be “blinded by the light.” Seeing genius reduced to idiocy saddened Montaigne. Worse, it irritated him. What a waste, to destroy oneself in this way! He was aware that writing poetry required a certain “frenzy,” but what was the point of becoming so frenzied that one could never write again? “The archer who overshoots the target misses as much as the one who does not reach it.”

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