The poet John Keats is famous for the concept of "negative capability," his description of the ability to tolerate the world’s uncertainty without resorting to easy answers. Literary minds in particular should be more attuned to beauty than facts and reason. In fact, truth in the highest sense is the same thing as beauty, he tells us at the end of his poem "Ode on a Grecian Urn." What does that mean? Is it true? Wes and Erin discuss these questions, and how aesthetic judgments might communicate a kind of truth that is not strictly factual.

Truth as Beauty in Keats’ “Ode on a Grecian Urn”

SUBTEXT is a podcast about the human condition, and what we can learn about it from the greatest inventions of the human imagination: fiction, film, drama, poetry, essays, and criticism. Each episode, philosopher Wes Alwan and poet Erin O’Luanaigh explore life’s big questions by conducting a close reading of a text or film and co-writing an audio essay about it in real time.

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Wes & Erin continue their discussion of "On the Waterfront."

Sins of Omission in “On the Waterfront” (1954) (Part 2)

Terry Malloy and his fellow longshoremen on the New York docks are witnesses to union corruption under labor boss Johnny Friendly, but won’t testify against him because of his violent intimidation tactics, which ensure that union members remain “D and D”—that is, deaf and dumb—to any illegal activity. When Terry’s collaboration with Friendly results in the death of his friend Joey Doyle, and when Terry subsequently falls in love with Joey’s sister, Edie, he’s forced to reckon with this D and D policy, as well as his own passivity, guilt, and naivete. Wes & Erin discuss Elia Kazan’s 1954 film On the Waterfront, which might be said to dramatize the so-called “sin of omission” while asserting that its opposite, truth-telling, can be a radical and perhaps even a strangely physical form of heroism.

Sins of Omission in “On the Waterfront” (1954) (Part 1)

In the medieval tradition of courtly love, the aubade inverts the serenade. Where one heralds an evening arrival, the other laments a morning departure. In John Dunne’s famous poetic contribution to the genre, he chastises the sun for waking and so separating lovers, but consoles us with the notion that the power of the sun is ultimately subordinate to the imperatives of love. More bleak, Philip Larkin’s poem “Aubade" seems to abandon this indictment on behalf of love for one on behalf of self-love, perhaps even on behalf of life itself. Morning awakens us to both workaday drudgery and an awareness of our own mortality. As a consequence, life is harder to live by the light of day, the consolations of philosophy and religion notwithstanding, and vitality is confined to the sorts of evening revelry that make waking all the harder. Wes & Erin discuss whether life (and love) can be reconciled with human self-consciousness and all that it entails.

Consciousness Bemoaned in Philip Larkin’s “Aubade” (Part 2)

Consciousness Bemoaned in Philip Larkin’s “Aubade” (Part 1)

Wes & Erin continue their discussion of Orson Welles’s "Citizen Kane." 

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Identity and Infamy in “Citizen Kane” (1941) (Part 2)

SUBTEXT Literature and Film Podcast

Truth as Beauty in Keats’ “Ode on a Grecian Urn”

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