Heidegger’s reading of the Pre-Socratics: Anaximander Part 1.

Summary and Analysis.

In this lecture course, Heidegger is looking at rethinking Anaximander and Parmenides.  The Anaximander fragment is usually interpreted to mean things come to be and pass away using legal language, and so Nietzsche translates: “Whence things have their origination, thence must they also perish, according to necessity; for they must pay retribution and be judged for their injustices, according to the order of time.”  To begin to unpack this we need to think the law imagery in a Greek way.  Walker comments: “the Greeks loved their laws, the children of their ideals, above all else. Plato and Aristotle reiterate Herodotus when they describe the ideal state as one that controls every detail of a citizen’s life. In the Greek mind, there was no distinction between the state and the citizen. (Walker, 2014, np reprinted online).”  Lets explore this.

Anaximander is speaking of ta onta, plural of the neuter to on- the being; plural: the beings.  Already in Sanskrit, this didn’t just mean a plurality, but the beings in their unity.  So for example we might think the beings of the world of a schizophrenic which presence for her in a conspiracy saturated manner.  Heidegger gives the example of such a meaning saturated presencing of beings in their unity in the world of a farmer:

The farmer, whose “world” might strike the city dweller as narrow and poor in the end posses “that which is” much more intimately and immediately.  The farmer’s experience proceeds quite differently into the whole and comes quite differently out of the whole than the agitated squirming of the city dweller, who clings only to the “telephone and radio.”  The smallest and narrowest sphere of known beings has nevertheless its expansion into the whole; even narrowness is always still an expanse- an expansion into the whole.  On the other hand, the widest variety is largely lacking in expanse, so much that it- as mere scatterings and their running on and on- never even amounts to narrowness (Heidegger, 5).

Nietzsche for example talks in a letter to Overbeck about being in a rainy cottage happily writing his Untimely Meditation while his friends there had terrible cabin fever.  I remember going on a car trip with a friend who refused to put the radio on and how out of joint the world felt in the stretching out of time (Langeweile in German: boredom).     

There is further a wholeness or unity that belongs to a being which is more than just the sum of its parts.  Hegel gives the example of when we tear a sock the hidden category of Unity is made conspicuous precisely “as” a lost unity.  For another example, if I take the teddy bear and cut its head, arms, and legs off from its torso and put them all in a bucket, all the parts are there but the bear in its teddy bear-ness is not, not the bear “as a being.”  “That which is (ta onta)” is not just a collection of all beings.   It means beings as a whole. For the Greeks the being is going to be seen through the lens of its being.

For example, in Philosophy this means the orientation to this “logos” permeates everything that “is” in whatever way.  Plato, in the Sophist, called Antisthenes (who only acknowledged addressing the unique individual entity) denial of this truth “the most laughable, katagelastotata (252b8),” because Antisthenes denied that something was to be understood by appealing to something beyond the thing itself, something “as” something, while Antisthenes himself unwittingly adopted a whole slew of ontological structures that go beyond the mere entity at hand, such as einai-Being, choris-separate from, ton allown-the others, and kath auto-in itself.  I encounter the dog “as” not me, for instance.  I am outside of myself with beings, e.g. haecceities/things in themselves (uniqueness) are not encountered but always already made intelligible (re-presented) in the light of concepts. This “as,” something “as” something, which is to say something “as” something else (eg., the grass taken “as” green), was key for Aristotle when he refined Heraclitus’s logos into the logos apophantikos: something as something else, eg., the bird as blue, or pretty, or as it is in itself, or a quick flyer, etc.

In order to understand beings as a whole for Anaximander, let’s think of the old statement a few rotten apples ruin the whole barrel.  In Montgomery’s Anne of Green Gables, Anne starts out the story angry at God because He gave her red hair, made her an orphan, etc., her world was out of joint (adikia).  By the end of the story, Anne’s hair had become Auburn and she found family and a home at Green Gables.  Everything had fallen into place, jointure (dike), and she quoted Robert Browning that “God is in his heaven and all’s right with the world.”  This is a window into the human condition that the normal state of affairs is things are not as they could be but sometimes special things happen that temporarily puts things in place.

Robert Browning’s line “God’s in his heaven— / All’s right with the world!” comes from his poem “Pippa Passes” (1841). This phrase is spoken by the character Pippa, a young, innocent girl who works in a silk mill. Here’s an analysis of what Browning might mean by this:

On the surface, this line reflects a sense of optimism and innocence. Pippa, through her naive perspective, believes that with God in His rightful place, the world must be in harmony. It’s an expression of trust in divine providence, suggesting that everything is as it should be under God’s watch. However, the context of the poem adds layers to this interpretation. “Pippa Passes” deals with the darker aspects of human nature, including murder, seduction, and betrayal. Therefore, the line can also be seen as ironic or even sarcastic, highlighting the discrepancy between the ideal (all is right) and the reality (a world full of moral corruption). It might critique the complacency or ignorance of those who believe all is well simply because of divine oversight. Browning often explores complex human emotions and philosophical questions. This line could be seen as a commentary on the human condition where individuals might feel secure or comforted by the belief in a higher power, even when faced with evidence to the contrary in their daily lives. The phrase has become a cultural idiom often used to convey a sense of peace or satisfaction with the state of affairs. In literature and beyond, it’s used both to genuinely express contentment or to ironically underscore situations where things are clearly not right. From a theological standpoint, it suggests a belief in a benevolent, omnipotent God who maintains order in the world. However, it also opens up discussions on theodicy – the problem of reconciling the existence of evil or suffering in the world with the notion of an all-good, all-powerful deity. Browning’s use of this line, therefore, is multifaceted, inviting readers to ponder not just the literal meaning but also the philosophical, moral, and ironic implications within the broader context of the poem and human experience.

Lucy Maud Montgomery did not originate the phrase “God’s in his heaven, all’s right with the world”; as I said it is a quote from Robert Browning’s poem “Pippa Passes.” However, Montgomery used this line in her own works, notably in “Anne of Green Gables” and its sequels, where it is attributed to her character Anne Shirley. In Montgomery’s writings, particularly through Anne, there’s a strong emphasis on the beauty of nature and the peace it brings. When Anne uses this phrase, it often reflects her awe at the natural world’s splendor, suggesting that in moments of beauty or tranquility, one can feel that all is well because God is overseeing creation. This aligns with Anne’s character, who finds solace and spiritual connection in nature. “The world looks like something God imagined for his own pleasure,” Anne remarks in one instance, indicating her belief in the inherent goodness and beauty of the world under divine watch. Montgomery imparts a sense of optimism, faith, and the comfort derived from believing in a benevolent God. This line, when spoken by Anne, often comes at times when she is experiencing or appreciating moments of joy, peace, or beauty, suggesting that with faith, one can find the world to be in order or “right.” In “Anne of Green Gables,” Anne uses these words to express her contentment and faith after moments of happiness or when she’s struck by the beauty of her surroundings.

Similar to Browning’s use, Montgomery might also employ this phrase to contrast with the complexities or hardships of life. Anne often faces trials, yet her spirit remains buoyant, partly due to her faith and imagination. The line could serve as an ironic or hopeful counter to the adversities she encounters, embodying the idea that despite personal or worldly troubles, a higher power ensures an underlying order or goodness. Montgomery’s work often explores themes of morality, spirituality, and the human condition. By invoking this line, she might be encouraging readers to look beyond immediate troubles to find a deeper, spiritual harmony or to reflect on how one’s faith can influence their perception of the world. Montgomery’s use of Browning’s quote can also be seen as a literary homage, showcasing her appreciation for poetry and literature. It might be intended to enrich her narrative with cultural and literary references, appealing to readers who would recognize the source.

In summary, Montgomery’s use of “God’s in his heaven, all’s right with the world” through Anne Shirley reflects a blend of optimism, faith in nature’s beauty, and a somewhat idealistic view of life, all while acknowledging the complexities and challenges that exist within it.