Love

God as the other within: Simone Weil on God, the self and love

Doğa Çöl read

Abstract

Simone Weil (1909-1943) is a French philosopher who is also a prominent figure in the tradition of Christian mysticism. In her early philosophical writings and lectures, she describes her understanding of the aim of philosophy as “the Search for the Good”. Very much influenced by Plato, Descartes and Kant, Weil states that God as the absolute Good is beyond known truths and can only be reached through Love. This treatment of love as a destructive power whereby the Self effaces itself in order to get closer to God, echoes a somewhat mystical scheme. Weil believes that the only way to reach such knowledge and therefore God, which in her view is the sole purpose of life and should also be the purpose of philosophy. This dissertation focuses on the grounds that bring her to such conclusions as well as providing an analysis of whether Weil’s philosophical approach as an alternative to metaphysical and ethical problems in philosophy is able to stand firm on its own.

Excerpt

With that in mind, the first chapter of this dissertation is on the nature of the self or what we refer to as the ‘I’ which is a good starting point because anything that an individual contemplates begins with either an explicit or an implicit ‘I’ which is inevitable by any being that would be classified as human. This is perhaps, in a way, our curse as Weil later notes, because we are able to contemplate our very own being as well as the only beings who are also aware of the implications of affliction that we face in our lives. This is not true for other beings, either animals who feel pain but do not contemplate the metaphysics of pain, or God and other supernatural beings who are said to not feel pain. As this is a dissertation of philosophy, it is vital that I must try to keep an open mind regarding definitions and beliefs of supernatural entities insofar as Weil engages with the concepts as such, however it is also important that I try and present an analysis of the way they are defined. This is the reason why the first two chapters include all the major religious and philosophical influences that Weil shares with us in her work. In this way, we will be able to not only revisit and examine but also compare those thoughts and ideas fresh in our minds. It is perhaps one of the most important aspects of a philosophical investigation that we must try and capture the essence of a problem before embarking on a journey where that problem presents other problems with it in its natural habitat.

The nature of self is, thus, first examined in the light of Plato’s works and how Plato presents a concept of the ‘I’ or rather what he understands from this concept. Plato’s understanding of the self is characterized in three parts, the λογιστικόν, the θυμοειδές and the ἐπιθυμητικόν, or the parts related to reason, to spirit and to desire, which make up the tripartite soul. The tripartite soul is the foundation for further investigation regarding the self and consciousness. Through examination of these ideas within Plato’s relevant body of work, a deeper understanding of Weil’s influence of Plato’s concept of the self will be reached. The aim is to look at primary sources but then compare these ideas with Weil’sinterpretation of them in her esoteric view.

DOCTORAL THESİS (Philosophy Department)

Philosophy Doctoral Programme

Thesis Advisor: Prof. Dr. Fatma Hülya Şimga

İstanbul / T.C. Maltepe University Graduate Institute (May, 2023)

Simone Weil and George Herbert on love through poetry

H. Roberts read

Abstract: In two letters written shortly before she sailed from Marseille in May 1942, Simone Weil reveals the profound impact George Herbert’s ‘Love (III)’ had on her. When reciting the poem to herself during intense headaches, she had a religious experience that involved Christ descending and taking her up. This article offers a comparative case study of focused attention on poetry as a form of prayer leading to a religious experience. It offers a close reading of ‘Love (III)’ through the lens of Weil’s philosophical and spiritual writings from the last year of her life and vice-versa. The beauty of poetry on Weil’s account is analogous to the beauty of the world and hence can approach human expression of God’s will or the ineffable order of the universe.

Forum for Modern Language Studies (2022)

Anemones—A Simone Weil Project

Lisa Robertson read

It is with great pleasure that we present Lisa Robertson’s Anemones: A Simone Weil Project, the fourteenth publication within the “If I Can’t Dance” Performance in Residence programme.

Three years ago, “If I Can’t Dance” invited poet and writer Lisa Robertson to develop an experimental research project based on her long-term study of medieval troubadour poetry and the invention of the rime in the historical region of Occitania. The scope of this investigation offered “If I Can’t Dance” an intriguing proposition to revisit genealogies of performance that sit outside the canons that define this rather young discipline. Troubadour poetry was composed and sung in the twelfth and thirteenth centuries using the Occitan vernacular language, a language of migratory confluences, where Arab, Jewish, Christian, and secular popular traditions blend and jostle. Unlike the stability and authority of Latin or of the then forming French territory to the north, troubadour rime culture elaborated a poetics of intermixture—linguistic, erotic, and mystical, in the southwest region of what is now France, in relation to Andalusian, Syrian and Palestinian cultural movements and influences, as well as to plant and animal neighbours. As Robertson explained at the Edition VIII—Ritual and Display introductory weekend in October 2019, this language “learn[ed] from birds, leaves and tree frogs as well as people”, each of which moved between lands and over the borders of political territories.

What was initially going to be a publication on the invention of the rime within these vocal and cultural movements eventually took a different turn. The archival research and the collaborations Robertson had envisioned for the project had to come to a halt due to the prolonged confinements provoked by the outbreak of Covid-19. In this space of arrest, Robertson encountered the essay “What the Occitan Inspiration Consists of,” penned by philosopher, mystic and political activist Simone Weil in 1942 for the Marseilles-based anti-fascist literary journal Les Cahiers du Sud. Written from within the devastations of World War II, Weil elevates the troubadour concept of love to a practice of political resistance that rejects force in all its forms. In a new annotated translation that lies at the heart of the volume, Robertson dwells on the transhistorical potential of this notion, coming to terms with the broken lineage of troubadour culture, the legacy of Weil’s philosophical thought, and the violent context from which it emerged. In so doing, Robertson embraces the effect of both actualised and suppressed histories, testifying to friendship, readership, and the resistance of words across incommensurable distances.

Designed by Amsterdam-based Rietlanden Women’s Office, Anemones: A Simone Weil Project moves between poetry, the epistolary genre, and scholarly research. Echoing Weil’s philosophical concerns, the publication is also the site of a performance of dedication that takes the form of a series of floral actions conceived and realised by artist Benny Nemer. Carrying a letter written by Robertson, Nemer delivered an arrangement of flowers to seven people—artists, writers, poets—this book is dedicated to. The pages of the book then become the receptacle of a performativity that resists consumption and is not meant to be seen, announced, and disclosed, but rather imagined, whispered, and savoured in a moment of intimacy.

Attention in Simone Weil’s Thought

Zahra Qasemzadeh, Seyyed Mostafa Mousavi Azam, & Ehsan Momtahen read

Abstract

Simone Weil has considered attention more than any other philosopher and mystic. Her thoughts on attention are not merely cognitive, scientific, or psychological issues, rather, it has direct and far-reaching effects on education, theology, and even politics. She expresses attention as a way of life, both at individual and socio-political levels. According to Simone Weil, although man does not create or make anything by paying attention to it, attention brings life to what is being attended to. Only that man’s attention to surrounding matters is a life-giving one which is “pure”. Pure attention is free from any attachments and through which man frees himself from imaginary and illusory matters and achieves the truth. What leads a person to pure attention is “to desire without an object”. On the other hand, Simone Weil refers to the suspension of thought as a state of pure attention, which is to endure void and wait.

In Simone Weil’s view, pure attention can be considered as love, because just as attention is consenting for anything other than oneself, so love also requires recognizing reality by turning away from oneself. Simone Weil introduces attention-based ethics, and by turning one’s attention to God, not only she builds her individual ethics, but also her epistemology and socio-political philosophy. And along with divine grace, she considers attention as an antidote that is necessary for man’s salvation.

Philosophy of Religion Research, vol. 19, no. 37, issue 1 (Summer/Autumn 2021), pp. 1-28