According to Leo Strauss, one of the primary purposes of the esotericism practiced by philosophers is the defense against persecution. This defense entails communicating the truth only to philosophers and concealing it from non-philosophers. For many commentators, this conception of esotericism has inegalitarian implications—for example, that the philosophers, who constitute a minority of people, are naturally capable of being told the truth, while the non-philosophers, who constitute a majority, are not. In this article, I argue that Strauss gives another account (...) of esotericism that does not have inegalitarian implications. He gives this account in his discussion of Farabi’s esotericism in the “Introduction” to Persecution and the Art of Writing. I also argue that Strauss presents this account esoterically. The “Introduction” reproduces text from an earlier article by Strauss, “Farabi’s Plato,” and Strauss makes certain changes, which point towards this other account. Finally, I explain why Strauss presents this other account esoterically. (shrink)

This article offers a new account of Leo Strauss’s interpretation of Maimonides’ esoteric teaching in the Guide for the Perplexed, which Strauss offers in his seminal essay ‘The Literary Character of the Guide for the Perplexed.’ According to the generally-accepted view, for Strauss, Maimonides’ esoteric teaching is the identity of the secrets of the Torah with Aristotelian philosophy, and—since that philosophy contradicts the foundational beliefs of the Torah—that the Torah has the merely instrumental function of bringing about political well-being. By (...) contrast, I argue that, for Strauss, Maimonides’ esoteric teaching is the necessity of breaking the laws of the Torah for the sake of restoring Israel’s sovereignty. Additionally, I claim that Strauss’s interpretation depends on Carl Schmitt’s ‘decisionism.’. (shrink)

Paul Celan’s “Tenebrae” is a scandalous poem: it describes how “unity with the dying Jesus” is achieved by means of the Jewish experience of the concentration camps. In this paper, I provide a new interpretation of “Tenebrae” that breaks from the two traditional ways in which the poem has been viewed—on the one hand, as a Christian poem that suggests that Jesus, insofar as he suffers just like Jewish concentration camp victims do, can provide “hope and redemption for the faithful”, (...) and, on the other hand, as an ironic criticism of this Christian idea. Rather, I suggest that “Tenebrae” is a modification of Christianity: preserving Christian belief about Jesus’s death, it destroys that belief, and does so for the sake of the defense against Christian persecution. Finally, I suggest that this view reveals the peculiar poetic form of “Tenebrae”—what I call “political form.”. (shrink)

This paper is an elaboration of Paul de Man’s critique, in “Heidegger’s Exegeses of Hölderlin,” of Martin Heidegger’s commentary on Friedrich Hölderlin’s poem, “As when on a holiday…” I show that de Man’s critique can be expanded into a critique of a type of testimony that Heidegger ascribes to Hölderlin’s poem. Heidegger ascribes to Hölderlin’s poem what I call “infinite testimony,” but, thereby, suppresses in the poem another type of testimony—what I call “finite testimony. This suppression is most in evidence (...) in Heidegger’s interpretation of Hölderlin’s reference to the myth of Semele, as well as in Heidegger’s excision, in the version of the poem that he printed in the commentary, of the concluding lines of the poem. Additionally, I discuss the political implications of Heidegger’s suppression of the finite testimony depicted in “As when on a holiday...”. (shrink)

This paper critiques Adorno’s interpretation of Paul Celan’s poetry, as well as some of the philosophical ideas that motivate it. For Adorno, Celan’s poetry is “hermetic”—it refuses aesthetic representation; and, by virtue of this hermeticism, it expresses the horror of the Holocaust—a horror whose content is that it refuses aesthetic representation. I give a reading of Celan’s “Tenebrae,” from his 1959 collection Sprachgitter, and show that it uses aesthetic representation; that this use expresses the horror of the Holocaust; and that, (...) in comparison to this, Adorno’s concept of hermeticism is a way of concealing this horror. (shrink)

This paper critiques Adorno’s interpretation of Paul Celan’s poetry, as well as some of the philosophical ideas that motivate it. For Adorno, Celan’s poetry is “hermetic”—it refuses aesthetic representation; and, by virtue of this hermeticism, it expresses the horror of the Holocaust—a horror whose content is that it refuses aesthetic representation. I give a reading of Celan’s “Tenebrae,” from his 1959 collection Sprachgitter, and show that it uses aesthetic representation; that this use expresses the horror of the Holocaust; and that, (...) in comparison to this, Adorno’s concept of hermeticism is a way of concealing this horror. (shrink)

ABSTRACTA primary theme in Leo Strauss’s early work is how medieval Jewish and Islamic political philosophy, while influenced by Plato, differs from him in crucial ways. This theme is central to Strauss’s 1935 book Philosophy and Law. Philosophy and Law concerns the medieval ‘philosophic foundation of the law,’ which provides a rational justification of revelation. For Strauss, the foundation provides this justification by virtue of some difference it has from Plato. In this paper, I offer a new interpretation of Strauss’s (...) view of this difference. I suggest that, for Strauss, whereas Plato conceived of the legislator and his legislation, the foundation conceives of the sovereign and his sovereign laws. On this basis, I also suggest a solution to a perennial mystery of Philosophy and Law: Strauss claims that the medieval foundation reveals ‘ultra-modern thoughts,’ yet does not explicitly state the identity of these thoughts. I suggest that their author is Carl Schmitt. (shrink)