Newman on the Human Condition

To consider the world in its length and breadth, its various history, the many races of man, their starts, their fortunes, their mutual alienation, their conflicts; and then their ways, habits, governments, forms of worship; their enterprises, their aimless courses, their random achievements and acquirements, the impotent conclusion of long-standing facts, the tokens so faint and broken of a superintending design, the blind evolution of what turn out to be great powers or truths, the progress of things, as if from unreasoning elements, not towards final causes, the greatness and littleness of man, his far-reaching aims, his short duration, the curtain hung over his futurity, the disappointments of life, the defeat of good, the success of evil, physical pain, mental anguish, the prevalence and intensity of sin, the pervading idolatries, the corruptions, the dreary hopeless irreligion, that condition of the whole race, so fearfully yet exactly described in the Apostle’s worlds, “having no hope and without God in the world”–all this is a vision to dizzy and appall; and inflicts upon the mind the sense of a profound mystery, which is absolutely beyond human solution.

What shall be said to this heart-piercing, reason-bewildering fact?

I used to spend pleasant hours with my teacher, Lewis White Beck, talking about our favorite writers.  He introduced me to Cardinal Newman, and to the glories of Newman’s Apologia Pro Vita Sua.  Who has ever written more perfectly controlled English prose?  Here, a piece of prose to range alongside Samuel Johnson’s The Vanity of Human Wishes.  Consider the opening ten lines or so of that great poem.

Let Observation with extensive View,
Survey Mankind from China to Peru;
Remark each anxious Toil, each eager Strife,
And watch the busy scenes of crouded Life;
Then say how Hope and Fear, Desire and Hate,
O’erspread with Snares the clouded Maze of Fate,
Where Wav’ring Man, betray’d by vent’rous Pride,
To tread the dreary Paths without a Guide;
As treach’rous Phantoms in the Mist delude,
Shuns fancied Ills, or chases airy Good.

Dick Moran Keeps it Real

There’s much to profit from in Moran’s recent interview at 3am magazine.  The section on Experimental Philosophy is a tour de force.

As to ‘experimental philosophy, I can’t claim to be very well versed in it, but it seems to be a research program in its early days. I think that by now, even its practitioners are beginning to realise that simply asking people, outside of any particular context, about their “intuitions” about some concept of philosophical interest is not really going to be informative since without any philosophical background to the question, the respondents themselves can’t really know just what question they are being asked to answer, what their responses are responses to. There are just too many different things that can be meant by a question like, “‘Was such-and-such an action intentional or not?”, for example. And without further discussion or further analysis, the experimenters themselves can’t know what answers they are being given by the respondents. It’s not good data. So I can imagine experimental philosophy evolving in a way to account for this, and starting to include some philosophical background to the investigation, perhaps even some philosophical history, to provide the needed context to the particular intuitions that they are trying to expose and test for. At that point, the experimental situation might also become less one-sided, with a researcher examining a respondent, and could allow for the experimental subjects themselves to ask questions of the experimenters, including questions of clarification and disambiguation, and perhaps even challenges to the way the experimenter has framed the questions.

Later it might be found useful to conduct such experiments in small groups rather than individually, with one experimenter and one subject, and instead the respondents could be encouraged to discuss the questions among themselves as well as with the experimenter. People could meet in these groups two or three times a week and perhaps some relevant reading could be assigned, to clarify and expand upon the question, and the respondents would be given time to do the reading, and asked to write something later on about the question in connection with the reading and the discussions they have had. Then the experimenter could provide “comments” on this writing for the experimental subjects themselves. I think grading the results would be optional in such an arrangement, and probably of no experimental interest, but other than that I think something like this could be the future of experimental philosophy. It’s worth trying anyway.

Rilke to a Young Poet–For My Students

You are so young, so before all beginning, and I want to beg you, as much as I can, dear sir, to be patient toward all that is unsolved in your heart and to try to love the questions themselves like locked rooms and like books that are written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answers.

Emerson and Montaigne 1

I will begin with a quotation–as I so often do.  But–”we are all quotation”–so, why hide it?

This is from Firkins’ strange and compelling book on Emerson.  He is addressing the issue of clarity in Emerson.

Dr. Garnett writes of the individual sentence in Emerson:  “His thought is transparent and almost chillingly clear.”  For most men, the clarity is hardly of the sort that regulates the temperature.  It is true, nevertheless, that for Emerson, as for Browning and Meredith, around the fact of obscurity and illusion of greater obscurity has grown up.  The trouble with Emerson is more often strangeness than dimness; the indistinctness of the moral Monadnock or Agiochook which he points out to us is due rather to the distance of the peak than to the haze of the atmosphere.

I will let this quotation stand alone for a moment.  I will have something to say about it, and about other moments in Firkins, in the next post.

Book Recommendations: Two Pairs

I don’t explicitly or directly recommend lots of books here, although I mention or quote from many and often make it clear that I think highly of them.  But, as I rode my bike in this morning, I started thinking about two pairs of books that have meant a lot to me, personally and intellectually.  I thought I would recommend them.

The first pair is:

The Achievement of Samuel Johnson (Walter Jackson Bate) and The Silence of St. Thomas (Josef Pieper).  Neither of these books is quite or completely a biography, neither is quite or completely literary criticism (Bate) or philosophy (Pieper).  Each is instead an examination of how the work of each man grew into what and who he was, and was grown into by what and who he was.

The second pair is:

Actor and Spectator (Lewis White Beck) and The Myth of Metaphor (Colin Murray Turbayne).   I was lucky enough to have been taught by both men, although to a lesser extent and mostly informally (in conversation) by Turbayne.  Both books are beautifully written and philosophically significant.  And each is a study of the way in which a person can become so immersed in another’s thought that it is no longer clear who is doing the thinking and who is being thought about.  With Beck, it is Kant; with Turbayne, it is Berkeley.

Enjoy!

Reading Ebersole, Reading Bouwsma

(A section from an unpublished essay.)

Their pages crucially differ in animating spirits: I have talked about one
as mulish the other as sprightly. But I can say more. At an even deeper
level, Ebersole’s pages are animated by a strictness of linguistic conscience.
Bouwsma’s are animated by a spontaneity of linguistic consciousness—a lin-
guistic hilaritas libertatis. For example, there is an deep-going reason why
Bouwsma was attracted to and imitated pages of James Joyce, and self-
consciously built unacknowledged quotations or near-quotations of literary
works into the structure of his essays. Bouwsma provokes his reader ver-
bally, reminds his reader of all of the highways and byways of words, of all
the wonders of words, and of how their wonders can and should make us
marvel at them. Ebersole minces words. He was a working poet as well as a
working philosopher, but anyone who knows Ebersole’s poetry knows that in
it the same strictness of linguistic conscience is on display. I cannot imagine
Ebersole on a spree among words like Bouwsma’s in this passage of his John
Locke Lectures, a passage describing Plato’s Realm of Being:

Imagine…a museum—a museum, deep in calm, fixed in breath-
lessness, done in silence, clothed in invisibility, awful, laid away
in heaven. And the walls thereof are purest essence, some quint-
essence, some tri-essence, but none semi-essence. If senescence is
no wall, for neither is oldness nor youngerness any ness at all, all
is evermore and never the less. And of what essence and what
essences are those walls? Of all heavenlinessences are they and of
brightlinessence of the beaminest. Essences participating in one
another, they ring-round this conjugation of hyper-supers…This
is the museum of quiddities, of whatnesses in their highest nest,
tucked away, ensconced, waiting for the refiners defining, so fine
are they. The museum of none-such such-and suches.

Line up alongside that this from Ebersole’s (anticipatory-posthumous au-
tobiographical) poem, “Conversation with a Dead Philosopher” (a crow is
speaking):

The clock can’t tell you what it says
the way a human tells you.
Maybe I am just a mess of gears and wheels,
and everything I say
is just like half past two—
where I can’t tell you
what I say at all.
People stopped and puzzled when I talked,
wondered what to make of
anything I said.
And if I made them ask themselves
What of heads or tails to make
of a philosopher’s talking,
that was a good thing I did,
I would say.
Yes, I would say that.
Then he flew away,
calling “caw-caw.”

Here is another, related deep difference: it makes sense to say that Eber-
sole and Bouwsma each aims at a kind of simplicity, a philosophical sim-
plicity. But the simplicities aimed at are not the same. We can borrow
a pair of terms from French criticism in the nineteenth century: simplicité
and simplesse. The first we might call naive simplicity, the second
sophisticated simplicity.  The first is simplicity as a native endowment,
an unspoiled innocence or uncorruptedness.  The second is simplicity
as a complicated disposition, an achievement of disciplined responsiveness.
Ebersole presents himself as the simple man.  Bouwsma presents
himself as the simple wise man.  Ebersole’s mulishness, his strictness of linguistic
conscience, his simplicité mean that he is prone to be charged with failing to be a
philosopher by being a plain man. Ebersole can seem Xenophonic. Bouwsma’s
sprightliness, his spontaneity of linguistic consciousness, his simplesse mean
that he is prone to be charged with failing to be a philosopher by being a sophist.
Bouwsma can seem Protagorean.

Eliot’s (Religious) Struggle with Words: Leavis

It is a mark of Eliot’s peculiar importance to us—that is, of his major status as a poet of our time—that he should have had his distinctive preoccupation with language.  I am thinking of the preoccupation that, with the pressure behind it, is expressed here, in the opening section V of ‘East Coker;:

So here I am in the middle way, having had twenty
years—
Twenty years largely wasted, the years of l’entre
deux guerres—
Trying to learn to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in
which
One is no longer disposed to say it

The poet of ‘The Hollow Men’ was clearly a man driven by a desperate need; a need to apprehend with sureness a reality that could compel belief, claim allegiance and create a centre of significance.  The association, or identification, of the quest driven by such a need with the unendingly resourceful struggle to ‘get the better of words’ determines the way and the sense in which Eliot’s later poetry is religious.

Now the mode of Ash-Wednesday differs very obviously from that of Four Quartets.  Nowhere in it is that anything that challenges the full attention of the waking mind in the blunt, prose-like way of the opening of ‘Burnt Norton’, where we seem to be starting on a metaphysical essay.  You might be inclined to say that the insistently liturgical element and the accompanying character of the rhythm—isn’t it incantory?—make a thinking attention to the sense impossible; at any rate, that they don’t demand it; rather, they discourage it.  If you said that, you would be showing that, though you might sincerely say that you enjoyed the poetry, you hadn’t really read it.  There would be no reason why you should quarrel with Anglo-Catholic expositors who make the poetry something utterly different from what it is, which is something utterly different as religious poetry from (say) Herbert’s.  For it is in answering the question, ‘In what sense is this religious poetry?’, that one has to take account of its insistent challenge to the thinking–the pondering, distinguishing, relating–mind.

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