ALAIN DE BOTTON
The Consolations of Philosophy
Alain de Botton is the author of On Love, The Romantic Movement, Kiss and Tell, How Proust Can Change Your Life, The Consolations of Philosophy, and The Art of Travel. His work has been translated into twenty languages. He lives in Washington, D.C., and London, where he is an Associate Research Fellow of the Philosophy Programme of the University of London, School of Advanced Study.
The dedicated Web site for Alain de Botton and his work is www.alaindebotton.com.
ALSO BY ALAIN DE BOTTON
On Love
The Romantic Movement
Kiss & Tell
How Proust Can Change Your Life
The Art of Travel
FIRST VINTAGE INTERNATIONAL EDITION, APRIL 2001
Copyright © 2000 by Alain de Botton
All rights reserved under International and Pan-American
Copyright Conventions. Published in the United States
by Vintage Books, a division of Random House Inc., New York,
and simultaneously in Canada by Random House of Canada Limited, Toronto.
Originally published in Great Britain by Hamish Hamilton,
a division of Penguin Books, Ltd., London and subsequently in hardcover
by Pantheon Books, a division of Random House, Inc., New York, in 2000.
Vintage is a registered trademark and Vintage International and colophon
are trademarks of Random House, Inc.
Permissions acknowledgments appear on this page–this page.
The Library of Congress has cataloged the Pantheon edition as follows:
De Botton, Alain.
The consolations of philosophy / Alain de Botton.
p. cm.
1. Philosophical counseling.
I. Title.
BJ595.5.D43 2000 101—DC21
99-052188
eISBN: 978-0-307-83350-1
Author photograph © Roderick Field
www.vintagebooks.com
v3.1
Consolation for
Cover
About the Author
Other Books by This Author
Title Page
Copyright
I Unpopularity
1
2
3
4
5
II Not Having Enough Money
1
2
3
4
5
6
III Frustration
1
2
3
IV Inadequacy
1
2: On Sexual Inadequacy
3: On Cultural Inadequacy
4: On Intellectual Inadequacy
V A Broken Heart
1
2: A Contemporary Love Story: With Schopenhauerian Notes
3
VI Difficulties
Notes
Acknowledgments
Copyright Acknowledgments
Picture Acknowledgments
I
Consolation for Unpopularity
1
A few years ago, during a bitter New York winter, with an afternoon to spare before catching a flight to London, I found myself in a deserted gallery on the upper level of the Metropolitan Museum of Art. It was brightly lit, and aside from the soothing hum of an under-floor heating system, entirely silent. Having reached a surfeit of paintings in the Impressionist galleries, I was looking for a sign for the cafeteria – where I hoped to buy a glass of a certain variety of American chocolate milk of which I was at that time extremely fond – when my eye was caught by a canvas which a caption explained had been painted in Paris in the autumn of 1786 by the thirty-eight-year-old Jacques-Louis David.
(Ill. 1.1)
Socrates, condemned to death by the people of Athens, prepares to drink a cup of hemlock, surrounded by woebegone friends. In the spring of 399 BC, three Athenian citizens had brought legal proceedings against the philosopher. They had accused him of failing to worship the city’s gods, of introducing religious novelties and of corrupting the young men of Athens – and such was the severity of their charges, they had called for the death penalty.
(Ill. 1.2)
Socrates had responded with legendary equanimity. Though afforded an opportunity to renounce his philosophy in court, he had sided with what he believed to be true rather than what he knew would be popular. In Plato’s account he had defiantly told the jury:
So long as I draw breath and have my faculties, I shall never stop practising philosophy and exhorting you and elucidating the truth for everyone that I meet … And so gentlemen … whether you acquit me or not, you know that I am not going to alter my conduct, not even if I have to die a hundred deaths.
And so he had been led to meet his end in an Athenian jail, his death marking a defining moment in the history of philosophy.
An indication of its significance may be the frequency with which it has been painted. In 1650 the French painter Charles-Alphonse Dufresnoy produced a Death of Socrates, now hanging in the Galleria Palatina in Florence (which has no cafeteria).
(Ill. 1.3)
The eighteenth century witnessed the zenith of interest in Socrates’ death, particularly after Diderot drew attention to its painterly potential in a passage in his Treatise on Dramatic Poetry.
Étienne de Lavallée-Poussin, c. 1760 (Ill. 1.4)
Jacques Philippe Joseph de Saint-Quentin, 1762
Pierre Peyron, 1790 (Ill. 1.5)
Jacques-Louis David received his commission in the spring of 1786 from Charles-Michel Trudaine de la Sablière, a wealthy member of the Parlement and a gifted Greek scholar. The terms were generous, 6,000 livres upfront, with a further 3,000 on delivery (Louis XVI had paid only 6,000 livres for the larger Oath of the Horatii). When the picture was exhibited at the Salon of 1787, it was at once judged the finest of the Socratic ends. Sir Joshua Reynolds thought it ‘the most exquisite and admirable effort of art which has appeared since the Cappella Sistina, and the Stanze of Raphael. The picture would have done honour to Athens in the age of Pericles.’
I bought five postcard Davids in the museum gift-shop and later, flying over the ice fields of Newfoundland (turned a luminous green by a full moon and a cloudless sky), examined one while picking at a pale evening meal left on the table in front of me by a stewardess during a misjudged snooze.
Plato sits at the foot of the bed, a pen and a scroll beside him, silent witness to the injustice of the state. He had been twenty-nine at the time of Socrates’ death, but David turned him into an old man, grey-haired and grave. Through the passageway, Socrates’ wife, Xanthippe, is escorted from the prison cell by warders. Seven friends are in various stages of lamentation. Socrates’ closest companion Crito, seated beside him, gazes at the master with devotion and concern. But the philosopher, bolt upright, with an athlete’s torso and biceps, shows neither apprehension nor regret. That a large number of Athenians have denounced him as foolish has not shaken him in his convictions. David had planned to paint Socrates in the act of swallowing poison, but the poet André Chenier suggested that there would be greater dramatic tension if he was shown finishing a philosophical point while at the same time reaching serenely for the hemlock that would end his life, symbolizing both obedience to the laws of Athens and allegiance to his calling. We are witnessing the last edifying moments of a transcendent being.