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 Kierkegaard

What makes reading Kierkegaard so difficult?  Here’s one thing:  his words are often pseudonyms of themselves.

The Christian’s Metaphysics?

Continuing my reading in Haecker:

Looking with a certain contempt upon Christianity, you observe that it has no philosophy, no metaphysics.  But is that not an error?  The Christian’s metaphysics is—that he eats God.

 

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.

From The Spiritual Letters of Fenelon

Excerpted from a letter to the Countess of Gramont, March 21, 1692:

Take up again the readings that have touched you.  They will touch you again, and you will get more out of them than the first time.  Bear yourself without flattering yourself or becoming discouraged.  This happy medium is rarely found.  We promise ourselves great things of ourselves and of our good intentions, or else we despair of all.  Hope for nothing from yourself.  Look for everything to God.  Despair of our own weakness, which is incorrigible, and unlimited confidence in the power of God, are the true foundations of every spiritual edifice.  When you will not have much time to yourself, do not miss making use of the least moments which do remain yours.  It does not take much time to love God, to renew yourself in his presence, to lift your heart to him, or to adore him from the depths of your heart, to offer to him what you are doing and what you are suffering.  This is the true Kingdom of God within us, which nothing can trouble.

Writing Without Authority–Kierkegaard and Wittgenstein

Kierkegaard understands himself to be, wants to be understood as, writing without authority.  I’ve lately been mulling over whether it means anything, and if means anything whether it means anything sufficiently interesting, to say that Wittgenstein understands himself to be, wants to be understood as, writing PI without authority.  The answer of course hinges on what it is to write without authority.  For Kierkegaard we might say that writing without authority is, first and foremost, to abjure the role of preacher.  But that is not all that it is for him:  he clearly means not only to reject one form of relationship to his reader, but a panoply of forms–any form that would make it the case that the reader’s attention finds it easier, more natural, to perch on Kierkegaard than on the reader himself, any form that deflects self-attention.  So Kierkegaard is always and forever side-stepping, ducking out, disappearing.  He wants his reader to read as if the reader is reading what the reader has written.  Reading as self-confrontation.

But how is that to work?  Is the experience of such reading supposed to be like the experience of finding something you’ve written previously but forgotten, so that now its content seems news, as does the fact that you are its author?  That seems too distanced a relationship to what is written.  Is the experience supposed to be like the experience of re-writing something that you have written, editing, poking, patting and scraping?  That seems a not-distanced-enough relationship to what is written.  (Partly because there is, in an important sense, nothing written yet.  You are still writing.  Everything remains in the flux of composition.)  So what is the experience supposed to be like?

Wittgenstein writes:

Nearly all my writings are private conversations with myself. Things that I say to myself tete-a-tete.

And Kierkegaard prefaces For Self-Examination with this:

My dear reader!  Read, if possible, aloud!  If you do this, allow me to thank you.  If you not only do it yourself, if you induce others to do it also, allow me to thank them severally, and you again and again!  By reading aloud you will most powerfully receive the impression that you have only yourself to consider, not me, who am without authority, or others, the consideration of whom would be a distraction.

I reckon that what Kierkegaard wants from his reader is for the reader to experience the reading as private conversation with himself, as saying things to himself tete-a-tete.  Doing so fastens the reader’s attention on himself, makes any examination the reading requires self-examination.  We read Kierkegaard aright when we read in forgetfulness of him–and only read in remembrance of ourselves.  I believe that this is something Wittgenstein aspires to as well.  That is, I take his remark about conversations with himself as not purely descriptive but as also prescriptive, say as a registration of a realized writerly intention, realized in PI.

In this way, Wittgenstein aims to write without authority.  And I think Wittgenstein signposts this aim:  PI’s self-effacing (as I read it) epigraph leaves it to the reader what sort of advance, if any, and if any, how much, PI represents.  His desire not to spare others the trouble of thinking and his hope that he would stimulate thinking seem not to target thinking about him (Wittgenstein) but rather thinking by the reader and for the reader and about the reader–specifically, about the reader in relationship to philosophical problems.  (As Kierkegaard targets thinking by, for and about the reader–specifically, about the reader in relationship to existential problems.)

Here is what I find myself moved to say:  PI exists as being-for-another.  Wittgenstein writes it as a gift to his readers.  It is a work of testimony, of confession, and Wittgenstein wrote it for those who are troubled as he is troubled.  It is a gage of his friendship, even his love, for them, for his readers.  But for it fully to exist as such, the reader must fully acknowledge it, fully acknowledge it as such.  To fully acknowledge it is to answer its call to self-awakeness.  Wittgenstein wrote a book to be acknowledged, not, if I may put it this way, a book to be known.  (I judge this one of the deep similarities between Wittgenstein and Emerson and Thoreau.  What they write puts the reader in the space of acknowledgement, and their reader answers the call of the writing, or not.  Sometimes gifts are refused.  And sometimes what looks like acceptance is still a form of refusal.)

Wittgenstein toyed seriously with the idea of prefacing his work with Bach’s epigraph to the Little Organ Book:

To the glory of the most high God, and that my neighbour may be benefited thereby.

He hesitated because he thought that in the darkness of our time such a remark would be misunderstood.  And so it probably would.  But why is that?  What has gone wrong in a time when giving and receiving have soured, a time in which we have become so stuffy even while so indigent, a time so graceless as ours?  Job endured the Lord taking back what He had given.  We will never have to endure that.  But only because we have made ourselves unreceptive, and so have never been given anything.  Job got everything back, double; we go on and on with nothing.

Drama of the Soul in Exile: PI, (Yet) Again

Those who have been following the blog will recognize this as a both recapitulation and variation on earlier bits and pieces.  It is from the essay I am working on.

Soul in Exile