Solitude_A Return to the Self Read online

  ANTHONY STORR

  SOLITUDE

  Copyright

  HarperCollinsPublishers Ltd.

  1 London Bridge Street,

  London SE1 9GF

  www.harpercollins.co.uk

  This edition 1997

  Copyright © Anthony Storr 1988

  Anthony Storr asserts the moral right to be identified as the author of this work

  All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books

  HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication

  Source ISBN: 9780006543497

  Ebook Edition © MAY 2018 ISBN: 9780007385669

  Version: 2018-05-14

  Contents

  Cover

  Title Page

  Copyright

  Introduction

  1 – The Significance of Human Relationships

  2 – The Capacity to be Alone

  3 – The Uses of Solitude

  4 – Enforced Solitude

  5 – The Hunger of Imagination

  6 – The Significance of the Individual

  7 – Solitude and Temperament

  8 – Separation, Isolation, and the Growth of Imagination

  9 – Bereavement, Depression and Repair

  10 – The Search for Coherence

  11 – The Third Period

  12 – The Desire and Pursuit of the Whole

  References

  Epigraphs

  Index

  Acknowledgements

  About the Author

  Also by the Author

  About the Publisher

  Introduction

  ‘Conversation enriches the understanding, but solitude is the school of genius; and the uniformity of a work denotes the hand of a single artist.’

  Edward Gibbon

  Gibbon is surely right. The majority of poets, novelists, composers, and, to a lesser extent, of painters and sculptors, are bound to spend a great deal of their time alone, as Gibbon himself did. Current wisdom, especially that propagated by the various schools of psychoanalysis, assumes that man is a social being who needs the companionship and affection of other human beings from cradle to grave. It is widely believed that interpersonal relationships of an intimate kind are the chief, if not the only, source of human happiness. Yet the lives of creative individuals often seem to run counter to this assumption. For example, many of the world’s greatest thinkers have not reared families or formed close personal ties. This is true of Descartes, Newton, Locke, Pascal, Spinoza, Kant, Leibniz, Schopenhauer, Nietzsche, Kierkegaard and Wittgenstein. Some of these men of genius had transient affairs with other men or women: others, like Newton, remained celibate. But none of them married, and most lived alone for the greater part of their lives.

  Creative talent of a major kind is not widely bestowed. Those who possess it are often regarded with awe and envy because of their gifts. They also tend to be thought of as peculiar; odd human beings who do not share the pains and pleasures of the average person. Does this difference from the average imply abnormality in the sense of psychopathology? More particularly, is the predilection of the creative person for solitude evidence of some inability to make close relationships?

  It is not difficult to point to examples of men and women of genius whose interpersonal relationships have been stormy, and whose personalities have been grossly disturbed by mental illness, alcoholism, or drug abuse. Because of this, it is easy to assume that creative talent, mental instability, and a deficient capacity for making satisfying personal relationships are closely linked. Regarded from this point of view, the possession of creative talent appears as a doubtful blessing: a Janus-faced endowment, which may bring fame and fortune, but which is incompatible with what, for the ordinary person, constitutes happiness.

  The belief that men and women of genius are necessarily unstable has been widely held, especially since the time of Freud. It cannot possibly be the whole truth. Not all creative people are notably disturbed; not all solitary people are unhappy. Gibbon, after his initial disappointment in love, enjoyed a particularly happy and equable life which anyone might envy. As he wrote himself:

  When I contemplate the common lot of mortality, I must acknowledge that I have drawn a high prize in the lottery of life … I am endowed with a cheerful temper, a moderate sensibility, and a natural disposition to repose rather than to activity: some mischievous appetites and habits have perhaps been corrected by philosophy or time. The love of study, a passion which derives fresh vigour from enjoyment, supplies each day, each hour, with a perpetual source of independent and rational pleasure; and I am not sensible of any decay of the mental faculties’ According to the scale of Switzerland, I am a rich man; and I am indeed rich, since my income is superior to my expense, and my expense is equal to my wishes. My friend Lord Sheffield has kindly relieved me from the cares to which my taste and temper are most adverse: shall I add, that since the failure of my first wishes, I have never entertained any serious thoughts of a matrimonial connection?1

  As Lytton Strachey wrote in his essay on Gibbon:

  Happiness is the word that immediately rises to the mind at the thought of Edward Gibbon: and happiness in its widest connotation – including good fortune as well as enjoyment.2

  Some might allege that Gibbon, by renouncing his love for Suzanne Curchod at the behest of his father, had cut himself off from the chief source of human happiness, and should be labelled pathological on this account. Sexual love may have played little part in Gibbon’s life, but Gibbon’s other relationships were rewarding. Although the immense labour of composing The Decline and Fall of the Roman Empire necessitated long periods of solitary study and writing, Gibbon was equally happy in company. When he was in London, he led an active social life, was a member of Boodle’s, White’s, and Brook’s, as well as of The Literary Club, and was appreciated everywhere as a fascinating talker. In addition, he displayed a touching affection toward his aunt, Mrs Porten, who had largely been responsible for his upbringing, and a gift for friendship which was most clearly manifest in his long and close relationship with Lord Sheffield. Gibbon occasionally laments his solitary state in his correspondence, and toyed with the idea of adopting a female cousin. But the prospect of matrimony was a daydream which he soon dismissed.

  When I have painted in my fancy all the probable consequences of such an union, I have started from my dream, rejoiced in my escape, and ejaculated a thanksgiving that I was still in possession of my natural freedom.3

  Modern insistence that true happiness can only be found in intimate attachments, more especially in sexual fulfilment, does not allow a place for characters like Gibbon. It is clear that, although his friendships were many, his chief source of self-esteem and of pleasure was his work, as the famous sentence which closes his autobiography makes plain.

  In old age, the consolation of hope is reserved for the tenderness of parents, who commence a new life in their children; the faith of enthusiasts who sing Hallelujahs above the clouds, and the vanity of authors who presume the immortality of their name and writings.4


  Gibbon was a classical artist whose style embothes an attitude toward the follies and extravagances of mankind which is both ironic and detached. Romantics, like Rousseau and Coleridge, detested him for this reason. In his writings, Gibbon’s human sympathies certainly appear as limited: sex is generally treated as a subject of amusement; religion dismissed as superstition. But the immensity of the task he set himself demanded such a stance. To impose order upon the turmoil and confusion of so long a period of history required an Olympian perspective. Gibbon’s humanity did not, and could not, manifest itself in his great history; but the warmth of his feelings towards his friends and the affection which they showed him demonstrate that the man himself possessed a human heart. By most of the standards adopted in the past, Gibbon would be rated as exceptionally well-balanced. It is only since Freud advanced the notion that heterosexual fulfilment is the sine qua non of mental health that anyone would question Gibbon’s status as a more than commonly happy and successful human being.

  It is not only men and women of genius who may find their chief value in the impersonal rather than in the personal. I shall argue that interests, whether in writing history, breeding carrier pigeons, speculating in stocks and shares, designing aircraft, playing the piano, or gardening, play a greater part in the economy of human happiness than modern psycho-analysts and their followers allow. The great creators exemplify my thesis most aptly because their works remain as evidence. That mysterious being, the ordinary man or woman, leaves little behind to indicate the breadth and depth of interests which may, during a lifetime, have been major preoccupations. The rich may accumulate great collections of the works of others. Enthusiastic gardeners can be notably creative and leave evidence of their passion which lasts for years, if not for as long as a book or a painting. But nothing remains of a passion for windmills or cricket. Yet we must all have known people whose lives were actually made worthwhile by such interests, whether or not their human relationships were satisfactory. The burden of value with which we are at present loading interpersonal relationships is too heavy for those fragile craft to carry. Our expectation that satisfying intimate relationships should, ideally, provide happiness and that, if they do not, there must be something wrong with those relationships, seems to be exaggerated.

  Love and friendship are, of course, an important part of what makes life worthwhile. But they are not the only source of happiness. Moreover, human beings change and develop as life goes on. In old age, human relationships often become less important. Perhaps this is a beneficent arrangement of Nature, designed to ensure that the inevitable parting with loved ones will be less distressing. In any case, there is always an element of uncertainty in interpersonal relationships which should preclude them from being idealized as an absolute or seen as constituting the only path toward personal fulfilment. It may be our idealization of interpersonal relationships in the West that causes marriage, supposedly the most intimate tie, to be so unstable. If we did not look to marriage as the principal source of happiness, fewer marriages would end in tears.

  I shall argue that human beings are directed by Nature toward the impersonal as well as toward the personal, and that this feature of the human condition is a valuable and important part of our adaptation. We share with other animals the prime biological necessity of reproducing ourselves; of ensuring that our genes survive, though we do not. But the long span of human life which extends beyond the main reproductive period also has significance. It is then that the impersonal comes to assume a greater importance for the average person, although seeds of such interests have been present from the earliest years.

  The great creators, as we shall see, may in some instances have been deflected from human relationships toward their own field of endeavour by adverse circumstances which made it difficult for them to achieve intimacy with others. But this is a matter of emphasis rather than substitution. It does not imply, as some psycho-analysts assume, that creative endeavour is invariably an alternative to human relationships. One might argue that people who have no abiding interests other than their spouses and families are as limited intellectually as those who have neither spouse nor children may be emotionally.

  Many ordinary interests, and the majority of creative pursuits involving real originality, continue without involving relationships. It seems to me that what goes on in the human being when he is by himself is as important as what happens in his interactions with other people. Something like one third of our total lifespan is, in any case, spent in the isolation of sleep. Two opposing drives operate throughout life: the drive for companionship, love, and everything else which brings us close to our fellow men; and the drive toward being independent, separate, and autonomous. If we were to listen only to the psycho-analytic ‘object-relations’ theorists, we should be driven to conclude that none of us have validity as isolated individuals. From their standpoint, it appears that we possess value only in so far as we fulfil some useful function vis-à-vis other people, in our roles, for example, as spouse, parent, or neighbour. It follows that the justification for the individual’s existence is the existence of others.

  Yet some of the people who have contributed most to the enrichment of human experience have contributed little to the welfare of human beings in particular. It can be argued that some of the great thinkers listed above were self-centred, alienated, or ‘narcissistic’; more preoccupied with what went on in their own minds than with the welfare of other people. The same is true of many writers, composers, and painters. The creative person is constantly seeking to discover himself, to remodel his own identity, and to find meaning in the universe through what he creates. He finds this a valuable integrating process which, like meditation or prayer, has little to do with other people, but which has its own separate validity. His most significant moments are those in which he attains some new insight, or makes some new discovery; and these moments are chiefly, if not invariably, those in which he is alone.

  Although major talent is rare, creative people remain human beings with the same needs and wishes as the rest of us. Because they leave behind records of their thoughts and feelings in their works, they exemplify, in striking fashion, aspects of human striving which are common to us all but which, in the case of ordinary people, escape notice. Perhaps the need of the creative person for solitude, and his preoccupation with internal processes of integration, can reveal something about the needs of the less gifted, more ordinary human being which is, at the time of writing, neglected.

  1

  The Significance of Human Relationships

  ‘In solitude

  What happiness? Who can enjoy alone.

  Or all enjoying what contentment find?’

  Milton

  The current emphasis upon intimate interpersonal relationships as the touchstone of health and happiness is a comparatively recent phenomenon. Earlier generations would not have rated human relationships so highly; believing, perhaps, that the daily round, the common task, should furnish all we need to ask; or, alternatively, being too preoccupied with merely keeping alive and earning a living to have much time to devote to the subtleties of personal relations. Some observers, like Ernest Gellner, suggest that our present preoccupation with, and anxiety about, human relationships has replaced former anxieties about the unpredictability and precariousness of the natural world. He argues that, in modern affluent societies, most of us are protected from disease, poverty, hunger, and natural catastrophes to an extent undreamed of by previous generations. But modern industrial societies are unstable and lacking in structure. Increased mobility has undermined the pillars of society. Because we have more choice as to where we live, what society we should join, and what we should make of our lives, our relations with the other people who constitute our environment are no longer defined by age-old rules and have therefore become matters of increasing concern and anxiety. As Gellner puts it, ‘Our environment is now made up basically of relationships with others.’1

  Gellner goes on to
affirm that the realm of personal relations has become ‘the area of our most pressing concern’. Our anxieties in this field are compounded by the decline of religious belief. Religion not only provided rules of conduct regarding personal relationships, but also offered a more predictable, stable alternative. Relationships with spouse, children, or neighbours might be difficult, unfulfilling, or unstable; but, so long as one continued to believe in Him, the same could not be said of one’s relationship with God.

  Although I am far from agreeing with everything which Gellner has to say in his book about psycho-analysis, I think he is right in alleging that psycho-analysis promises a form of salvation; and that this kind of salvation is to be attained by purging the individual of the emotional blocks or blind spots which prevent him from achieving fulfilling interpersonal relationships. Gellner is also right in thinking that psycho-analysis has exerted so widespread an influence that it has become the dominant idiom for the discussion of human personality and personal relationships even by those who do not subscribe to all its doctrines.

  Psycho-analysis has changed considerably during the course of the twentieth century. The main change has been the increase in emphasis upon the patient’s relationship with the psycho-analyst. Psycho-analysis now insists that analysis of transference, that is, of the patient’s emotional response to, and attitude toward, the psychoanalyst, is the most essential feature of psycho-analytic treatment. Indeed, recognition of the importance of transference has been a main factor in creating common ground between psychotherapeutic schools like those of Freud and Jung which in other theoretical ways are still poles apart. Although the status of psycho-analysis as an effective method of curing neurotic symptoms has been questioned in recent years, the influence of concepts derived from psycho-analysis is pervasive. In most varieties of social work, for instance, consideration of the client’s capacity to make human relationships is thought to be a vital part of case-work; and attempts are often made to improve this capacity through the agency of the client’s relationship with the social worker.