Waggish

Page 15 of 148

Am I a Redundant Human Being?

The Austrian writer and painter Mela Hartwig wrote Am I a Redundant Human Being circa 1931. It was not published until 2001 in German, and in English in 2010.

Our narrator, Luise, suffers from two afflictions of personality: first, a near-total lack of inspiration in how to live her life; and second, a painful awareness that leads her to self-immolating criticism. Neither of those alone would make for such a sad story, but Luise is also socially offputting, and she inspires little in others beyond bemusement and irritation. I think that one of the reasons this book hasn’t received much notice is that the novel will alienate someone not in sympathy with Luise’s peculiar afflictions. Hartwig does not make it easy to have sympathy for her; she doesn’t want to make it easy. That’s the point of the novel.

A Mela Hartwig painting from 1964.

The opening is explanation enough:

I’m a secretary. I have nearly twelve years of experience. My shorthand is first rate and I’m an excellent typist. I don’t mention it to brag. I just want to show that I amount to something. I’m ambitious.
I repeat: I’m ambitious. I’m hopelessly ambitious. Even though I certainly have reason to be humble. Reason enough to use modesty to avoid making the deficit between my talent and my ambition too obvious.

Luise is hard on herself, but not morally. Her wish is not to be a good person. She is not measuring herself against an ethical ideal or a societal model of what a woman should be (she confidently asserts that she is not unattractive, just nondescript), but against an aggressive inner conception she has for herself, whose origin is unclear. She wants to be something. It’s a very vague idea, and that’s her problem: she finds herself unable to fill it in, to flesh it out. She wants to be more passionate, more absorbed, more adventurous, but she has no preference for how these traits should express themselves.

Hartwig’s real achievement in this book is to keep the language at once abstract yet piercingly clear. It’s done quietly enough that it’s only by comparison with other mediocre novels of this sort that Am I a Redundant Human Being? appears superior. Hartwig is very sharp in expressing half-formed emotions and generalized frustrations in vivid language. (And credit to translator Kerri A. Pierce for rendering it well in English.) Hartwig sets up small loops of thought like these:

I didn’t use my ambition to demand more of myself than I was capable of giving–I simply used it to expect more of myself than I was capable of giving. (48)
My lack of diligence is even more inexplicable since I actually had a good example in my colleague that it would have been worth emulating. Of course, I had the desire to perform at her level, to become as capable as she was, to learn the art of standing out, of making myself indispensable–but at the same time, I was convinced that it was futile for me to want anything. (49)

Such thoughts are difficult to phrase so well.

So Luise looks to others for models, even while half-realizing that she is being stupid in doing so. She is “pathetically attracted” to her supremely confident schoolmate Johanna, then later experiences the rush of being in a political rally, melting into “The Mob,” and feeling passionate about something, only to lose all interest when she is once more alone.

She falls in with a couple men. There is Emil, whose love she pathologically doubts (for who could love her?) until he leaves her. But she is detached about the end of the relationship:

It hurt me to have lost him, but it hurt me even more to have lost his love…Dismayed, I realized that what I missed most about Emil K. was seeing myself through his eyes. Therefore, I reached an appalling conclusion: I could trust my pride, but not my heart. (61)

There’s Anton, whose love she doesn’t doubt, but whose love signifies his worthlessness:

However, I couldn’t overlook the fact that he was impressed by what I wanted to be, and couldn’t see me for what I really was. He respected me for my struggling to make something of myself without realizing that this struggle was futile. As they say, the proof was in the pudding: I came to see that my low opinion of him was perfectly justified. (67)

The ruthless logic of Luise’s self-criticism provides something of a shield for her against the world. After being seduced by a lying lothario, she feels tremendously betrayed, but also strangely liberated, for now she doubts others as well: “turning my doubt outward made it far easier to bear.” She doesn’t act like a victim should act–this makes her offputting.

This is not to say that Luise’s self-assessment is justified. That’s really beside the point. Several reviews complained that there was no seeming reason for her level of self-loathing, as though the lack of a clear cause makes her unconvincing. The point is that for every Johanna, there is a Luise, and we should understand that regardless of causes. Citing causes would excuse Luise as well as us from responsibility, and neither Hartwig nor Luise want that. The reader doesn’t get to be on the side of the angels while reading this novel.

The latter half of the book concerns her relationships with lovers Elizabeth and Egon. She first idolizes Elizabeth, who is described in terms eerily similar to that evoked by the description of Borderline Personality Disorder:

She was whoever she wanted to be at a given moment: the heroine of the novel she was reading, the protagonist of the tragedy or comedy she was rehearsing. Simply being herself wasn’t enough for her…Her will was strong. But it seems to me that she primarily used her will to deceive herself, to enable herself to believe wholeheartedly in the woman she was pretending to be, to feel completely at home in whatever character she’d just slipped into. (81)

Luise looks up to Elizabeth but because she wants to mimic Elizabeth and not enable her, Elizabeth doesn’t take to her too strongly. Luise has nothing to offer the borderline. No folie a deux results: Luise sees Elizabeth too clearly, envying her while exposing her. But after Elizabeth commits suicide as a result of her lover Egon leaving her, Luise sees her real chance, to take Elizabeth’s place. She pursues Egon.

It obviously doesn’t work out. While Egon is contemptuous and indifferent, unwilling to deign even to take advantage of Luise, Luise herself can’t commit fully to playing the role of Elizabeth. She makes a good go of it, but she can’t convince herself, nor can she convince Egon.

The book is not quite a tragedy. There’s something to Luise’s self-awareness that, if not liberating, possesses survival value. Luise does figure out what she’s doing, and she reconfigures her life so that she does not end up a passionate suicide like her erstwhile idol Elizabeth. It is an unsatisfying, limited life, especially relative to her insistent ambition. Perhaps part of her would actually prefer to be a passionate suicide, but there is also a stubborn pride to Luise’s attitude, an arrogance that makes her certain that she has seen the world aright. Perhaps if she had questioned that certainty….

The character of Luise reminds me most of Melanie in Maren Ade’s amazing film Forest for the Trees. Melanie absolutely fails to fit into her a new village as a schoolteacher, socializing with such clumsiness that her neediness is far too apparent. The lack of sympathy given her is at once understandable yet devastating. Eva Löbau gives a performance that apparently irritated a lot of reviewers, but which I found both astonishingly focused and painful. (The movies of Lodge Kerrigan have this quality as well.)

I imagine that Luise too projected this air, at once desperate yet harshly insistent.

There’s little in the book that pins it to its era. The austere narrative doesn’t seem representative of typical German-language writers at the time, male or female, though I’m just not familiar with enough of the latter to be certain. Hartwig was Jewish, but that also does not make itself explicitly felt in the novel. Hartwig has very little in common with her contemporary Anna Seghers and pretty much nothing in common with Margarete Böhme. If anything, her style is more reminiscent of postwar writers who adopted more stripped-down tactics, such as Max Frisch and Adelheid Duvanel.

But this only underscores the immense absence of women’s voices throughout the history of literature, and how difficult it is to assess to what extent Hartwig portrays a female voice versus an unheard voice, for the two categories overlap but do not coincide. Certainly the early modern lineage of German woman writers like Elsbeth von Oye, Rachel Akerman, Margarethe von Kuntsch, Sophie von La Roche, Karoline von Günderrode, and Bettina von Arnim charts out a very different path than the corresponding pathways in English. I’m unsure of where on the line Hartwig falls, but if I had to guess, it’s rather far off the middle. All the better.

Two other reviews that capture the distinctive nature of the novel and of Luise herself are those of Daniela Hurezanu and Matthew Jakubowski.

Portnoy’s Obsolete Complaint

13 March 2013 / David Auerbach / 5 Comments

Balaustion has said that Portnoy’s Complaint is the most famous Jewish novel of the last 50 years. Is it? I think its fame may have fled. Here’s my guess as to why.

I first heard about Philip Roth when Patrimony came out, and I wasn’t interested. Then I read Woody Allen’s “The Kugelmass Episode” in high school, where a Jewish schlub enters Madame Bovary and replaces Rodolphe. He then tells the inventor that he wants to enter Portnoy’s Complaint so he can sleep with The Monkey. I asked my English teacher who or what The Monkey was. He didn’t know, but the next day he came back with the answer. He said that he didn’t think it was right that he’d left us high and dry on that question, so he’d looked it up in the library (this is pre-internet) and found the answer, which he wrote on the board: “a voracious, libidinous individual with poor cognitive function in Philip Roth’s novel Portnoy’s Complaint.” He explained that Portnoy’s Complaint was about “a very neurotic Jewish young man and his powerful right hand.”

I read the book later in high school and left it with a shrug. The Catcher in the Rye and The Fall had struck me very powerfully, while I had hated Siddhartha (to name three of those evergreen teenage books), but Portnoy was neither shocking nor obscene, just oblique. I didn’t especially enjoy it, or even grasp the nature of Portnoy’s relationship with his mother. The novel’s concerns were just too distant from mine. Here is Portnoy:

She was so deeply embedded in my consciousness that for the first year of school I seem to have believed that each of my teachers was my mother in disguise. As soon as the last bell had sounded, I would rush off for home, wondering as I ran if I could possibly make it to our apartment before she had succeeded in transforming herself. Invariably she was already in the kitchen by the time I arrived, and setting out my milk and cookies. Instead of causing me to give up my delusions, however, the feat merely intensified my respect for her powers. And then it was always a relief not to have caught her between incarnations anyway – even if I never stopped thinking; I knew that my father and sister were innocent of my mother’s real nature, and the burden of betrayal that I imagined would fall to me if I ever came upon the unawares was more than I wanted to bear at the age of five. I think I even feared that I might have to be done away with were I to catch sight of her flying in from school through the bedroom window, or making herself emerge, limb y limb, out of an invisible state and into her apron.

Yes, I can see it, but it is too overwrought! Not that such mother’s are not incredibly real, but looming over this passage and the whole book are the spectres of HaShem and the fifth commandment. A mother’s tyranny is not sufficient for this level of oppression: a whole cultural-religious apparatus must back it up. And without that force being made explicit, Portnoy’s Complaint loses its reference point in reality.

I think this must indicate a generation gap between those who read Portnoy in the 60s and 70s and those of us who read it today. Not that many people do. As far as Jewish novels go, Herzog is better known among my contemporaries (Malamud has fallen off the map completely).

So while it’s a bit further back, I consider the most important Jewish novel of recent decades to be The Catcher in the Rye. Immediate objection: “It’s not about Judaism! It’s not even about a Jew!” Yes, and I think that’s what makes it so lasting and significant. I pick it with intentional irony because its Judaism is not explicit, Salinger having migrated to some cryptic Buddhism years earlier. Outside of strictly devotional circles, I think that this is American Jewish cultural and literary legacy outside of strictly religious circles: a divestment of a very particular religious and ethical baggage.

This, I think, was a product of the efforts of Roth’s generation and the one or two surrounding generations to emancipate the next generation from their neuroses and from their pasts. Many of them (including Salinger’s father) married Gentiles ; many of them raised their kids as atheists. I’m reminded of a story that philosopher Rebecca Kukla told: “My parents explained to me when I was six – when I came home from school asking if it was true that I was Jewish and what that word meant – that being Jewish meant being a Marxist and an atheist.”

There are a lot of complex issues here surrounding assimilation, secularization, and cultural identity. Without getting into their innards, the outside view still seems to point in one direction: a movement away from the mid-century forms of Jewish consciousness that Roth, Bellow, Malamud, Ozick, and others chronicle. Whatever the motivations and whatever the tactics, the end result was to yield younger generations that would not be bound to that consciousness.

From my experience and the experiences of others I’ve known, those generations succeeded in immense measure. Certain stereotypical neuroses remain, but very rarely in the maniacally oppressive guilt-ridden forms that Roth portrays. It seems that my generation was freed to worry only about the Holocaust rather than about the Holocaust and masturbation both. I think that the Coen Brothers’ A Serious Man captures this transition as well as anything. The world is still cruel, frightening, and arbitrary, but it didn’t need to be seen through the prism of the Old Testament. We youths are free to adopt as many unhelpful interpretive frames as we want. (This is precisely the story of The Catcher in the Rye.)

The consequence, however, is that Portnoy’s Complaint has dated poorly and does not mean to my generation what it meant to Roth’s. We were emancipated from its concerns as well as its context. “LET’S PUT THE ID BACK IN YID!” says Portnoy. Well, they did, not for themselves, but for their children. But as a consequence it’s hard for us to feel what all the fuss was about.

Here’s a parallel: the then-edgy humor of Harvey Kurtzman, Stan Freberg, and Allan Sherman–conflicted but basically conservative sorts who liked deflating pompous asses and having a laugh, but didn’t like the looks of those hippies–no longer resonates, while the Marx Brothers, early Woody Allen, and the Honeymooners still do, all based on enduring trends of absurdity and slapstick that were less vulnerable to the shifting degrees of societal acceptability. (It was always bizarre to find out how much acceptance these counterculture court jesters had had even at the time, sort of like finding out Shel Silverstein was a permanent fixture at the Playboy Mansion.) The legacy of Kurtzman and Freberg produced Laugh-In, Mad Magazine, Weird Al Yankovic, and the perennial face of excruciating parodic irrelevance, Saturday Night Live. (As a child, I knew instinctively that SCTV, produced in a hothouse of free association with neither provocation nor egomania, was by far the better show.)

So Portnoy’s Complaint screams out from a psychological place that no longer exists. American Pastoral unfortunately reveals the degree to which the next generation was emancipated: the portrait of Weatherman-cum-Jainist Merry is so shallow and unconvincing as to hollow out the whole book. Roth has no idea what he’s talking about. American Pastoral won the Pulitzer because the judges lacked the expertise to realize that the portrait of Merry was a failure, and so assumed, wrongly, that the character was convincing. On the other hand, I assume that Portnoy’s Complaint is quite authentic, yet I cannot verify its authenticity. The substrate has dissolved.

In turn, Sabbath’s Theater succeeds perhaps better than any other Roth novel because its main character realizes he is an anachronism, a dirty old man unable to confront or escape his cultural baggage. Such self-indicting self-parody could only be written once, and Roth’s subsequent work has left me absolutely cold.

What did get passed on was a secularized version of the Ashkenazi, immigrant culture which no longer served as an ethical and spiritual straitjacket. The concrete specifics of the culture, as chronicled vividly by Malamud, did not survive, but a background of intellectual, cultural, and social sensibilities persisted, and you can still detect them in a lot of American science-fiction, stand-up comedy, and quite a few other genres. Roth’s generation was very much transitional, alienated from both their foreign ancestors and their native children, so trapped by the former that they were unwilling (or unable) to trap the latter. So Portnoy’s Complaint is less a monument than a faded snapshot. The Catcher in the Rye was prophecy.

Father Time: Chronos and Kronos

13 February 2013 / David Auerbach / 5 Comments

Classic Kronos: The Mutilation of Uranus by Saturn (Kronos)

It is easy to confuse the Greek god of time, Chronos (Χρόνος), with Zeus’ Titan father, Kronos (Κρόνος). So easy, in fact, that the conflation has been made for over two thousand years. The Greeks conflated them regularly, at least according to Plutarch. The Romans then coopted Kronos into the form of Saturn, who later became known as Father Time and the god of time.

To make things even more confusing, sometime in the late Roman Empire, Saturn was then conflated with the Greek concept of kairos, which designates a pregnant or opportune “special” time. Kairos is somewhat opposed to chronos, which signifies day-to-day time in general. Chronos is the quotidian, the recurrent, the passing of the years, while kairos is the moment, the event, the suspension of the normal. But both were piled onto Saturn over the centuries.

Time is always a messy concept, in mythology and otherwise. I haven’t found a good overview of the nooks and crannies of these nominal twins; this is my attempt.

The Greek origins are frustratingly fuzzy, as usual. Chronos doesn’t appear in Hesiod’s Theogony, which tells the usual story of Kronos eating his children and then being tricked by his wife Rheia into regurgitating them, then being defeated by them (as well as Zeus, who Rheia hid).

But Chronos does appear in the cosmogony of the sixth century BCE writer Pherekydes of Syros. Pherekydes posits three primordial deities: Chronos, proto-Zeus figure Zas, and proto-Gaia figure Chthonie. Zas marries Chtonie and gives her the earth and sea as a wedding present, turning Chthonie into her present Ge, the earth. The gifts are partly created, however, by Chronos himself:

Zas always existed, and Chronos and Chthonie, as the three first principles.. .and Chronos made out of his own seed fire and wind [or breath] and water… from which, when they were disposed in five recesses, were composed numerous other offspring of gods, what is called ‘of the five recesses’, which is perhaps the same as saying ‘of five worlds’.
Fragment 52, Kirk, Raven, Schofield, The Presocratic Philosophers

Then there is a big gap in our knowledge, and the next thing we have from Pherekydes is Kronos (not Chronos) fighting with Ophioneus over who should hold the heavens. Kronos wins. Apart from the oddness of Kronos allying with Zas, there are all sorts of other questions:

Scholars have generally assumed that at some point Chronos becomes Kronos, and Zas Zeus, and perhaps Ge Rheia. Such an assumption seems likely to be right, but poses some problems for our understanding of the relationship between Zeus and Kronos: do they clash as in Hesiod after the fall of Ophioeus, or are they allies in that battle and subsequently, with Zeus simply assuming a more prominent role toward the end of the poem? … There still remains the fact that Zeus (as Zas) and Kronos (as Chronos) have both existed forever, in contrast to Ophioneus, and there seems no good reason why either of them should suddenly engage in conflict with the other….
On the whole, then, I think it best to assume that Zas and Chronos work together in harmony from beginning (of which there is none) to end, and that the battle with Ophioneus (from his name clearly a Typhoeus counterpart) and his brood is the only conflict which Pherekydes envisioned.
Timothy Gantz, Early Greek Myth

Kirk and Raven say that Pherekydes was clearly “addicted to etymologies,” and so perhaps did the joining of similarly named gods, turning Time into a creator and Zeus and Kronos into allies.

Onto the post-classical Hellenistic world. In his book on the Orphic poems, M.L. West tells of Clement quoting from a hymn to a god that is both father and son to Zeus: “The god is probably Kronos (Chronos), called Zeus’ son because of the story in the Rhapsodic Theogony that Zeus swallowed the older gods and brought them forth again. Cf. Hymn 8.13” This leaves us with the perplexing loop of Kronos killing both his father and children, only to have his surviving son become his father.

And the ourobourus is doubly appropriate because one of Chronos’ early forms was a winged serpent, which developed into a three-headed serpent in Orphic cosmogony:

The serpent form of Chronos may have its origins in Egyptian fantasy, but in Orphic poetry it took on a symbolic significance which justified its retention and elaboration. Chronos was represented, we are told, as a winged serpent with additional heads of a bull and a lion, and between them the face of a god. How is this to be imagined? The detail that the wings were `on his shoulders’ suggests that the whole upper part of his body was of human shape apart from the wings and extra heads. This is also indicated by the fact that his consort, who was `of the same nature’, had arms. If the couple are mainly anthropomorphic above the waist and snakelike below, they are reminiscent of Echidna (Hes. Th. 298-9, Hdt. 4.9.1), and even more of her consort Typhoeus as he is represented on a well-known Chalcidian hydria in Munich.
M.L. West, The Orphic Poems

Zeus and Typhoeus (akin to the Orphic Chronos–minus two heads)

West sees a common Indo-European origin to these myths shared by Indian, Egyptian, and Greek sources. He speculates:

The snake was an ancient and natural symbol of eternity because of its habit of sloughing its skin off and so renewing its youth. It may also be relevant that the serpent with human head and arms is the regular shape of river-gods. The idea of Time as a river is present in at least one passage of tragedy (Critias 43 F 3.1-3 `Tireless Time with his ever-flowing stream runs full, reborn from himself’); and it would be assisted by the fact that Oceanus is usually the father of rivers, if in the Orphic poem Chronos was represented as born to Oceanus. River-gods are not usually fitted with wings, of course, and would have no use for them. But they are a natural adjunct for a cosmic serpent with no earth to glide upon. We may compare the wings of Pherecydes’ world tree, and in art the wings of the sun’s horses. In a wider context, wings are freely bestowed by archaic artists upon all manner of divine beings, and fabulous monsters such as sphinxes and griffins are also winged; the type of the winged Typhoeus has its place with them. That Time should be winged is something in which it is easy to find symbolic meaning.
M.L. West, The Orphic Poems

As an anthropomorphic god, however, Chronos fades out while Kronos retains his standard position as Zeus’ father, parricide, and filicide in classical Greek sources.

Plutarch, though, continues to speak of a more figurative allegory known in the Orphic cults and to the Greeks in general:

And they are those that tell us that, as the Greeks are used to allegorize Kronos (or Saturn) into chronos (time), and Hera (or Juno) into aer (air) and also to resolve the generation of Vulcan into the change of air into fire, so also among the Egyptians, Osiris is the river Nile, who accompanies with Isis, which is the earth; and Typhon is the sea, into which the Nile falling is thereby destroyed and scattered, excepting only that part of it which the earth receives and drinks up, by means whereof she becomes prolific.
Plutarch, “Of Isis and Osiris”

Kronos was not the only one to be allegorized into chronos, however. There are bits of evidence of hero-demigod Herakles/Hercules also being equated with the winged serpent.

Athenagoras and Damascius both record that the winged serpent Chronos was also called Heracles. Why? What was there about Heracles that enabled him to be identified with a creature of such physical monstrosity and such cosmic importance? Only one plausible answer has so far been suggested. In the legendary cycle of twelve labours, in the course of which Heracles overcame a lion, a bull, and various other dangerous fauna, some allegorical interpreters saw the victorious march of the sun through the twelve signs of the zodiac. Time is measured by the sun and the solar year. It is thus that Heracles-Helios can be addressed by the author of the Orphic Hymns as `father of Time’ (12.3), and by Nonnus as `thou who revolvest the son of Time, the twelve-month year’ (D. 40.372). By the same token, it may be argued, the Orphic Chronos, Time himself, might be identified with Heracles, the indomitable animal-tamer of the zodiac.
However, there is another possibility. For Plato, time is defined by the complex movements of the sun, moon, and planets; and when they have played through all their permutations and returned to the same relative positions, the `perfect year’ and the `perfect number of time’ are complete. The early Stoics derived from this their doctrine of the Great Year, at the end of which the cosmos is totally dissolved into fire. They defined time as the dimension of cosmic movement. Time was therefore coextensive with the Great Year, and could be considered to pause in the ecpyrosis. Now we find in Seneca, after a thoroughly Stoic exposition of the identity of God, the author of the world, with Nature and Fate, the argument that he may be equated with (among other divinities) Hercules, `because his force is invincible, and when it is wearied by the promulgation of works, it will retire into fire’. The allusion is on the one hand to the Stoic ecpyrosis, on the other to the pyre on the summit of Mount Oeta in which Heracles was cremated and achieved apotheosis after completing his labours. In this Stoic allegorization of the Heracles myth, then, the cycle of labours corresponds to the totality of divine activity in the course of the Great Year. Since divine activity is coextensive with the cosmos, that means that Heracles’ labours represent everything that happens in cosmic time.
M.L. West, The Orphic Poems

This is admittedly rather speculative. It is noteworthy, however, because it links Chronos to one of two Greek cults that thrived heavily under Rome, those of Herakles and Dionysus.

The movement from the literal to the figurative is not the only direction. The process works in reverse as well. What subsequently happens is a combining and recombining in which incompatible features are freely merged and tossed away. Here the best single guide is Ernst Panofsky’s article “Father Time.”

In none of these ancient representations do we find the hourglass, the scythe or sickle, the crutches, or any signs of a particularly advanced age. In other words, the ancient images of Time are either characterized by symbols of fleeting speed and precarious balance, or by symbols of universal power and infinite fertility, but not by symbols of decay and destruction. How, then, did these most specific attributes of Father Time come to be introduced?
The answer lies in the fact that the Greek expression for time, Chronos, was very similar to the name of Kronos (the Roman Saturn), oldest and most formidable of the gods. A patron of agriculture, he generally carried a sickle. As the senior member of the Greek and Roman Pantheon he was professionally old, and later, when the great classical divinities came to be identified with the planets, Saturn was associated with the highest and slowest of these. When religious worship gradually disintegrated and was finally supplanted by philosophical speculation, the fortuitous similarity between the words Chronos and Kronos was adduced as proof of the actual identity of the two concepts which really had some features in common. According to Plutarch, who happens to be the earliest author to state this identity in writing, Kronos means Time in the same way as Hera means Air and Hephaistos, Fire.
The Neoplatonics accepted the identification on metaphysical rather than physical grounds. They interpreted Kronos, the father of gods and men, as nous, the Cosmic Mind (while his son Zeus or Jupiter was likened to its ’emanation,’ the psyche, or Cosmic Soul) and could easily merge this concept with that of Chronos, the ‘father of all things,’ the ‘wise old builder,’ as he had been called. The learned writers of the fourth and fifth centuries A.D. began to provide Kronos-Saturn with new attributes like the snake or dragon biting its tail, which were meant to emphasize his temporal significance. Also, they re-interpreted the original features of his image as symbols of time, His sickle, traditionally explained eithcr as an agricultural implement or as the instrument of castration, came to be interpreted as a symbol of tempora quae sicut falx in se recurrunt; and the mythical tale that he had devoured his own children was said to signify that Time, who had already been termed ‘sharp-toothed’ by Simonides and edax rerum by Ovid, devours whatever he has created.
Ernst Panofsky, “Father Time”

Note that pace Panofsky, the snake/dragon imagery of time was not new to the 4th/5th centuries CE. Neoplatonics like Proclus were aware of the Orphic cosmogonies and were resuscitating an existing, though latent, symbolism.

Nonetheless, we have some ex post facto justification here. New explanations are created that invoke anachronistic features of the deities. If Kronos devouring his children originally had nothing to do with time, now it does. Time now becomes gloomy because Saturn is gloomy. In place of Orphic “unaging” Time, we now get aged, cranky, hungry Time.

Far from being an abstraction limited to philosophy, Time seems better thought of as one of those absolute metaphors darting between concept, symbol, and personification. Time latches onto Kronos because of a lexical similarity, but it latches onto Herakles through arcane associations mostly lost to us. It infects myths like a virus.

By the age of Petrarch (1304-1374), Renaissance humanism makes for a new recombination. Petrarch’s Triumphs portrays a menacing, conquering time. Saturn was readymade for the job. Saturn’s castrating scythe now signifies the ravages of time. (Destruction is always an easily-reappropriated metaphor.) The scythe also links time easily to his compatriot Death, who is associated with the scythe as early as the 11th century.

Small wonder that the illustrators decided to fuse the harmless personification of ‘Temps’ with the sinister image of Saturn. From the former they took over the wings, from the latter the grim, decrepit appearance, the crutches, and, finally, such strictly Saturnian features as the scythe and the devouring motif. That this new image personified Time was frequently emphasized by an hourglass, which seems to make its first appearance in this new cycle of illustrations, and sometimes by the zodiac, or the dragon biting its tail.
Ernst Panofsky, “Father Time”

Petrarch’s Triumph of Time

And with this new conception of time, the menacing portions stick while the innocuous features–like the wings–do not, even though it was the wings that were associated with time in the first place! The serpent imagery is long-gone, overwritten by Christianity.

By this point, the idea of time devouring his children (not Zeus, but us) has taken on real metaphysical weight, and time the destroyer proceeds into the present day. It’s not Goya’s Saturn but Rubens’ Saturn that captures this new Saturn-as-Time, white beard, decrepit body, and staff/scythe.

Petrarch, Triumph of Time

Rubens’ Saturn (1638)

Your grandeur passes, and your pageantry,
Your lordships pass, your kingdoms pass; and Time
Disposes wilfully of mortal things,

And treats all men, worthy or no, alike;
And Time dissolves not only visible things,
But eloquence, and what the mind hath wrought.

And fleeing thus, it turns the world around.
Nor ever rests nor stays nor turns again
Till it has made you nought but a little dust.

…

Time in his avarice steals so much away:
Men call it Fame; ’tis but a second death,
And both alike are strong beyond defense.
Thus doth Time triumph over the world and Fame.

The World as Metaphor in Musil’s The Man Without Qualities

30 January 2013 / David Auerbach / 4 Comments

Robert Musil published two large volumes of his unfinished The Man Without Qualities in his lifetime. Pseudoreality Prevails (as well as a short introduction) was published in 1930, and Into the Millennium (The Criminals) was published in 1933. He died in 1942 with nothing further published. Musil expected to live until 80 in order to finish the book, but died at age 59: the work was nowhere near completion, and since the book was a process without a foreordained end, Musil did not leave any clear plan for the book’s ending.

Genese Grill‘s new study, The World as Metaphor in Robert Musil’s The Man Without Qualities: Possibility as Reality, provides an invaluable structure–the best I’ve encountered–for assessing the later sections and unfinished draft material of The Man Without Qualities. Grill wrote a superb chapter in the Camden House Companion to the Works of Robert Musil on The ‘Other’ Musil: Robert Musil and Mysticism, on which this book builds.

Anyone reading The Man Without Qualities is confronted with a perplexing shift as Into the Millennium progresses. After the surgical examination of European pre-war ideologies and populations in Pseudoreality Prevails, the autopsy gradually fades after Ulrich’s sister Agathe shows up in Into the Millennium. The socio-political commentary continues, but it is broader, more comical, more inane–best represented by the increasing dominance of the crackpot Meingast (based on Ludwig Klages, a Weininger-esque self-hating Jew with anti-semitic theories). Without such formidable intellectual content to critique, Ulrich (and Musil) seek a more mystical solution to the fragmenting and dissolution of modernity.

Ulrich pursues a mysterious “Other Condition” with his sister Agathe, some kind of intellectual-erotic union (consummated in the draft material) that puts the everyday world into suspension, at least briefly. It is left open whether this Other Condition is achieved or is even achievable, and its exact nature remains elusive. It’s easier to define it as what it is not: everyday reality, the political situation, bad expressionism, superficiality, irrationality, etc. This diagram from Musil’s notebooks (as translated by David Luft in Robert Musil and the Crisis of European Culture, 1880-1942) does not narrow the field:

Musil’s Diagram of the “Other Condition”

Musil’s simultaneous training in science and the humanities drove him to accept nothing less than exactitude in even the most spiritual dimensions, hence his twin ideals of “precision and soul.” He was suspicious of both the scientific technician and the bad expressionist that reaches too easily for transcendence. He demeaned Heideggerian pseudo-Romantic attempts to proclaim spiritual superiority as Schleudermystik (“cut-rate mysticism,” more literally “centrifugal mysticism”), “whose constant preoccupation with God is at bottom exceedingly immoral” (III.46).

Grill’s major achievement is in bringing together the disparate, unpublished material of Musil’s last years into a structure that clarifies, at least somewhat, Musil’s ambitions. Because Musil dealt in abstractions and stretched them by taking little for granted, the intent still remains very open to interpretation. My disagreements below are not based on what I think Musil intended, because I don’t have a clear idea of that. Instead, they’re attempts to contextualize the material in a different way. The passages below are almost wholly those used in her book, and I’m grateful to her for highlighting them.

In essence, Grill argues that the Other Condition was a primary force behind both the book and the writing of the book, a suspension of assumptions and embrace of contingency that opened up realms of possibility not available in daily life. Grill spends a fair bit of time drawing a striking comparison between Musil’s ambition and Proust’s. Musil’s focus on introspection and subjectivity was as great as Proust’s, even though the socio-political material makes this less obvious. (Two other close peers are James Joyce and Alfred Döblin.)

But Grill also points out the strong contrast between them: while Proust left a closed structure behind to serve as a working memory palace for understanding life through art, Musil’s attitude and the state of the Other Condition mandated that no such closure occur. (Hence Musil’s one-time plan to have the novel break off in the middle of a sentence.) Hence the novel’s fragmentation into possibility and ambivalence need not be seen as a failure on any level. Such a closure would have been a betrayal of the very principles behind the novel.

Grill’s argument proceeds roughly as follows through the four chapters:

Musil’s emphasis on circle-patterns in the later sections model the book’s rejection of linear everyday reality, embrace of contradiction and self-refutation, and a suspension of one’s attitudes to allow for a Nietzschean liberation from thoughtless conventions.
Transgression and “crime” constitute a means of veering out of repetitive patterns of life, thought, and metaphor. Agathe and Ulrich’s union is an attempt to escape those patterns, and is representative of the Other Condition, an attempt to find a supra-moral ethics.
Life is structured by our words and metaphors. They become ossified and stifling, and Musil saw the role of his writing as offering as much freedom from the confining strictures of our shared metaphorical life as possible.
The idea of the “still life” is paradoxical and central, offering on the one hand a deceased frozen moment, on the other a suspension from the regular flow of life that opens up all nonextant possibilities and a aesthetically disinterested revivification of metaphor.

The intersection of metaphor and life is a theme that I have been rather preoccupied with, but I had not given much thought to Musil’s treatment of it until reading Grill’s book.

I would argue that when Grill says that “Abstraction, insofar as it is connected to universal forms, is always closer to timelessness and further from utility than representation, which is drawn from and comments upon particularities of place and moment” (32), she has muddled the issue a bit. Abstraction remains present to a far greater degree in particularities than we realize. It is obscured by the sheer reinforcement of the metaphorical structures that come to seem purely representative. Seemingly “abstract” thinking can be more liberating than the desiccated imagery of poetry precisely because it is not more abstract, but only more free:

In our poems there is too much rigid reason; the words are burned-out notions, the syntax holds out sticks and ropes as if for the blind, the meaning never gets off the ground everyone has trampled; the awakened soul cannot walk in such iron garments. (1564)
Leaving the precise, measurable, and definable sensory data out of account; all the other concepts on which we base our lives are no more than congealed metaphors [erstarren gelassene Gleichnisse]. (626)

Here Musil unites an attack on the surface beauty of most poetry with his brilliant, earlier critique of empiricism, suggesting that they both come out of an adherence to an underlying conceptual structure that is taken for granted (selbstverständlich):

The relationship between youth and empiricism seemed to him profoundly natural, and youth’s inclination to want to experience everything itself, and to expect the most surprising discoveries, moved him to see this as the philosophy appropriate to youth. But from the assertion that awaiting the rising of the sun in the east every day merely has the security of a habit, it is only a step to asserting that all human knowledge is felt only subjectively and at a particular time, or is indeed the presumption of a class or race, all of which has gradually become evident in European intellectual history. Apparently one should also add that approximately since the days of our great-grandfather’s, a new kind of individuality has made its appearance: this is the type of the empirical man or empiricist, of the person of experience who has become such a familiar open question, the person who knows how to make from a hundred of his own experiences a thousand new ones, which, however, always remain within the same circle of experience, and who has by this means created the gigantic, profitable-in-appearance monotony of the technical age. Empiricism as a philosophy might be taken as the philosophical children’s disease of this type of person. (1351)

In particulars lie generalities. As Grill puts it, “Newly experienced sensations are often all too quickly congealed into an all-too-limited circle of established beliefs” (Grill 84). This applies equally to the empiricist philosopher and the expressionist poet. Musil and Proust may speak of typologies explicitly, but they openly question them, while poets of specificity sneak the archetypes in under the guise of “representing” particulars.

Consequently, I think Grill is absolutely correct when she argues that Musil’s circular structures “suggest that all experience is metaphorical,” and that this is crucial to understanding Musil’s project. She has convinced me that Musil was as keen an observer of the contingent metaphorical structure of life as Ernst Cassirer or Hans Blumenberg.

Musil, however, also possessed a lyricism to attempt to bring out his themes in a literary fashion. For example, this passage from the “Valerie” section:

Ulrich had stumbled into the heart of the world. From there it was as far to his beloved as to the blade of grass beside his feet or to the distant tree on the sky-bare heights across the valley. Strange thought: space, the nibbling in little bites, distance distanced, replaces the warm husk and leaves behind a cadaver; but here in the heart they were no longer themselves, everything was connected with him the way the foot is no farther from the heart than the breast is. Ulrich also no longer felt that the landscape in which he was lying was outside him; nor was it within; that had dissolved or permeated everything. The sudden idea that something might happen to him while he was lying there—a wild animal, a robber, some brute—was almost impossible of accomplishment, as far away as being frightened by one’s own thoughts. / Later: Nature itself is hostile. The observer need only go into the water. / And the beloved, the person for whose sake he was experiencing all this, was no closer than some unknown traveler would have been. Sometimes his thoughts strained like eyes to imagine what they might do now, but then he gave it up again, for when he tried to approach her this way it was as if through alien territory that he imagined her in her surroundings, while he was linked to her in subterranean fashion in a quite different way. (1443)

Life is nur ein Gleichnis, except that the nur is inaccurate: Gleichnis is all we have and is far more malleable than it appears day to day. The Other Condition suspends the seeming necessity and allows for greater play (in the sense of Kant’s Third Critique) with the nominal components of existence.

Yet because the construction of the world-as-metaphor is a communal one, this is not something that can be accomplished alone. Hence the need for the union that Ulrich seeks with Agathe. I think that Grill understates the necessity for intersubjectivity in the Other Condition as conceived by Musil, the need for it to exist between people in a fundamentally communal way. I think that that is the problem that Musil is addressing in this passage, where Ulrich, writing in his diary, seems to be losing track of himself:

But I also fear that there’s a vicious circle lurking in everything that I think I have understood up to now. For I don’t want—if I now go back to my original motif—to leave the state of “significance,” and if I try to tell myself what significance is, all I come back to again and again is the state I’m in, which is that I don’t want to leave a specific state! So I don’t believe I’m looking at the truth, but what I experience is certainly not simply subjective, either; it reaches out for the truth with a thousand arms.

The Romantic posture died because the sole Romantic dreamer had nothing binding him or her to “our” world, nor even a way to pick himself or herself out once other minds were absent. For Musil, it seems, one other person might be enough. Agathe provides the needed reference point.

What of, then, the admissions of failure, such as this heartbreaking passage?

The experiment they had undertaken to shape their relationship had failed irrevocably. Vast regions of emotions and fancies that had endowed many things with a perennial splendor of unknown origin, like an opalizing sky, were now desolate. Ulrich’s mind had dried out like soil beneath which the layers that conduct the moisture that nourishes all green things had disappeared. If what he had been forced to wish for was folly—and the exhaustion with which he thought of it admitted of no doubts about that!—then what had been best in his life had always been folly: the shimmer of thinking, the breath of presumption, those tender messengers of a better home that flutter among the things of the world. Nothing remained but to become reasonable; he had to do violence to his nature and apparently submit it to a school that was not only hard but also by definition boring. He did not want to think himself born to be an idler, but would now be one if he did not soon begin to make order out of the consequences of this failure. But when he checked them over, his whole being rebelled against them, and when his being rebelled against them, he longed for Agathe; that happened without exuberance, but still as one yearns for a fellow sufferer when he is the only one with whom one can be intimate.

Grill argues, I think convincingly, that this does not make permanent the failure nor exclude a greater success. If the exploration of possibility does not encompass the imagining and inhabiting of the possibility of total and utter failure, and the accompanying despair, then the project will become complacent and rigid.

This does make for a somewhat politically and socially restricted attitude, however, and Grill explicitly states her belief that Musil’s position was one of a guardian of possibility and liberality, not as an activist or polemicist. I think this is generally true, though with slight restrictions. I do believe that Musil held fast to the worth of his method, and that while he was open to revision and modification of that method, he did not doubt the fundamental correctness of the application of reason and aesthetic disinterest to every aspect of life. That is to say, the Other Condition was to be malleable to the point of imagining total failure, but not to the point of utter self-annihilation.

And the method is more pragmatic than it is Romantic, depending on an alternating (or circular) pattern of engaging and disengaging, accepting and questioning. In a key section, Grill discusses Musil’s depiction of the two types of metaphors, “Nebel” (mist) and “Erstarren” (petrifact), and concludes:

Neither stone nor mist, therefore, is alone the true element, but rather, they work together to satisfy our shifting human instincts and desires for oscillation–oscillation between freedom and necessity, or perhaps freedom and an artificially imposed set of limitations. (Grill 69)

This is because even in the freedom of constructing new misty metaphors, the process is necessarily selective, as Grill stresses. A metaphor’s value lies not only in its highlighting connections between disparate concepts, but in leaving the possibility open for difference. It is this balance that makes a metaphor irreducible (and here the connection with Blumenberg’s metaphorology is strongest).

Now, as he realized that this failure to achieve integration had lately been apparent to him in what he called the strained relationship between.literature and reality, metaphor and truth, it flashed on Ulrich how much more all this signified than any random insight that turned up in one of those meandering conversations he had recently engaged in with the most inappropriate people. These two basic strategies, the figurative and the unequivocal, have been distinguishable ever since the beginnings of humanity. Single-mindedness is the law of all waking thought and action, as much present in a compelling logical conclusion as in the mind of the blackmailer who enforces his will on his victim step by step, and it arises from the exigencies of life where only the single-minded control of circumstances can avert disaster. Metaphor, by contrast, is like the image that fuses several meanings in a dream; it is the gliding logic of the soul, corresponding to the way things relate to each other in the intuitions of art and religion. But even what there is in life of common likes and dislikes, accord and rejection, admiration, subordination, leadership, imitation, and their opposites, the many ways man relates to himself and to nature, which are not yet and perhaps never will be purely objective, cannot be understood in other than metaphoric or figurative terms, No doubt what is called the higher humanism is only the effort to fuse together these two great halves of life, metaphor and truth, once they have been carefully distinguished from each other. But once one has distinguished everything in a metaphor that might be true from what is mere froth, one usually has gained a little truth, but at the cost of destroying the whole value of the metaphor. The extraction of the truth may have been an inescapable part of our intellectual evolution, but it has had the same·effect of boiling down a liquid to thicken it, while the really vital juices and elements escape in a cloud of steam. It is often hard, nowadays, to avoid the impression that the concepts and the rules of the moral life are only metaphors that have been boiled to death, with the revolting greasy kitchen vapors of humanism billowing around the corpses, and if a digression is permissible at this point, it can only be this, that one consequence of this impression that vaguely hovers over everything is what our era should frankly call its reverence for all that is common. For when we lie nowadays it is not so much out of weakness as out of a conviction that a man cannot prevail in life unless he is able to lie. We resort to violence because, after much long and futile talk, the simplicity of violence is an immense relief. People band together in organizations because obedience to orders enables them to do things they have long been incapable of doing out of personal conviction, and the hostility between organizations allows them to engage in the unending reciprocity of blood feuds, while love would all too soon put everyone to sleep. This has much less to do with the question of whether men are good or evil than with the fact that they have lost their sense of high and low. Another paradoxical result of this disorientation is the vulgar profusion of intellectual jewelry with which our mistrust of the intellect decks itself out. The coupling of a “philosophy” with activities that can absorb only a very small part of it, such as politics; the general obsession with turning every viewpoint into a standpoint and regarding every standpoint as a viewpoint; the need. of every kind of fanatic to keep reiterating the one idea that has ever come his way, like an image multiplied to infinity in a hall of mirrors: all these wide- spread phenomena, far from signifying a movement toward humanism, as they wish to do, in fact represent its failure, All in all, it seems that what needs to be excised from human relations is the soul that finds itself misplaced in them. The moment Ulrich realized this he felt that his life, if it had any meaning at all, demonstrated the presence of the two fundamental spheres of human existence in their separateness and in their way of working against each other. Clearly, people like himself were already being born, but they were isolated, and in his isolation he was incapable of bringing together again what had fallen apart. He had no illusions about the value of his philosophical experimentation; even if he observed the strictest logical consistency in linking thought to thought, the effect was still one of piling one ladder upon another, so that the topmost rungs teetered far above the level of natural life. He contemplated this with revulsion. (647)

This passage, Grill points out, provides a key piece of anticipatory groundwork for what Ulrich and Agathe will embark upon many hundreds of pages later. The greater emphasis on concrete political reality obscures the greater significance that Musil is juggling these concepts metaphorically in increasing degree, and that the motion toward the Other Condition is already proceeding. For illuminating the join between the earlier and latter sections of The Man Without Qualities in a way that gives real shape to the whole, Grill’s book is tremendous.

Wilfrid Sellars and Edmund Husserl on Science and Life

11 January 2013 / David Auerbach / 4 Comments

I recently presented a brief and rough comparison of philosophers Wilfrid Sellars and Edmund Husserl on the subject of science, its place in the world, and the social crises of modernity. Specifically, I drew a few lines between Husserl’s concept of the “life-world” in The Crisis of the European Sciences (1938, excerpts available at link) and Sellars’ idea of the “manifest image,” as described in Philosophy and the Scientific Image of Man (1962, complete text at link). Both tackle one of the central problems of the modern age: how to square scientific knowledge with the “unscientific” parts of the world, be they social, ethical, mental, or metaphysical.

While the post-war American Sellars and the intrawar German Husserl use vastly different vocabularies and start from vastly different perspectives, there are some notable points of agreement. Their hopes for a nonreductive unification of science and society hold great appeal. It is an abstracted and generalized picture of my personal experiences with truth and muddlement.

I only quote Sellars below, because I found I got whiplash from alternating between Sellars’ and Husserl’s equally tortuous but wholly opposing styles. To orient, some excerpts from Husserl’s Vienna lecture:

I, too, am quite sure that the European crisis has its roots in a mistaken rationalism. That, however, must not be interpreted as meaning that rationality as such is an evil or that in the totality of human existence it is of minor importance. The rationality of which alone we are speaking is rationality in that noble and genuine sense, the original Greek sense, that became an ideal in the classical period of Greek philosophy – though of course it still needed considerable clarification through self-examination. It is its vocation, however, to serve as a guide to mature development.
The philosophy that at any particular time is historically actual is the more or less successful attempt to realize the guiding idea of the infinity, and thereby the totality, of truths. Practical ideals, viewed as external poles from the line of which one cannot stray during the whole of life without regret, without being untrue to oneself and thus unhappy, are in this view by no means yet clear and determined; they are anticipated in an equivocal generality. Determination comes only with concrete pursuit and with at least relatively successful action. Here the constant danger is that of falling into one-sidedness and premature satisfaction, which are punished in subsequent contradictions. Thence the contrast between the grand claims of philosophical systems, that are all the while incompatible with each other. Added to this are the necessity and yet the danger of specialization.
In this way, of course, one-sided rationality can become an evil. It can also be said that it belongs to the very essence of reason that philosophers can at first understand and accomplish their infinite task only on the basis of an absolutely necessary onesidedness. In itself there is no absurdity here, no error. Rather, as has been remarked, the direct and necessary path for reason allows it initially to grasp only one aspect of the task, at first without recognizing that a thorough knowledge of the entire infinite task, the totality of being, involves still other aspects. When inadequacy reveals itself in obscurities and contradiction, then this becomes a motive to engage in a universal reflection. Thus the philosopher must always have as his purpose to master the true and full sense of philosophy, the totality of its infinite horizons. No one line of knowledge, no individual truth must be absolutized. Only in such a supreme consciousness of self, which itself becomes a branch of the infinite task, can philosophy fulfill its function of putting itself, and therewith a genuine humanity, on the right track. To know that this is the case, however, also involves once more entering the field of knowledge proper to philosophy on the highest level of reflection upon itself. Only on the basis of this constant reflectiveness is a philosophy a universal knowledge.
The reason for the downfall of a rational culture does not lie in the essence of rationalism itself but only in its exteriorization, its absorption in ‘naturalism’ and ‘objectivism’.
Edmund Husserl, The Vienna Lecture (tr. David Carr)

Willem deVries’ essay on Sellars at the Stanford Encyclopedia of Philosophy is a superb overview of Sellars’ philosophy. Here are a few of his remarks on Sellars’ concepts of the manifest image and the scientific image:

The manifest image is neither frozen nor unchanging. It can be refined both empirically and categorically…Thus, the manifest image is neither unscientific nor anti-scientific. It is, however, methodologically more promiscuous and often less rigorous than institutionalized science. Traditional philosophy, philosophia perennis, endorses the manifest image as real and attempts to understand its structure.
One kind of categorial change, however, is excluded from the manifest image by stipulation: the addition to the framework of new concepts of basic objects by means of theoretical postulation. This is the move Sellars stipulates to be definitive of the scientific image. Science, by postulating new kinds of basic entities (e.g., subatomic particles, fields, collapsing packets of probability waves), slowly constructs a new framework on this basis that claims to be a complete description and explanation of the world and its processes. The scientific image grows out of and is methodologically posterior to the manifest image, which provides the initial framework in which science is nurtured, but Sellars claims that “the scientific image presents itself as a rival image. From its point of view the manifest image on which it rests is an ‘inadequate’ but pragmatically useful likeness of a reality which first finds its adequate (in principle) likeness in the scientific image” (PSIM, in SPR: 20; in ISR: 388).
Is it possible to reconcile these two images?…The manifest image is, in his view, a phenomenal realm à la Kant, but science, at its Peircean ideal conclusion, reveals things as they are in themselves. However, despite what Sellars calls “the primacy of the scientific image”(PSIM, in SPR: 32, he ultimately argues for a “synoptic vision” in which the descriptive and explanatory resources of the scientific image are united with the “language of community and individual intentions,” which “provide[s] the ambience of principles and standards (above all, those which make meaningful discourse and rationality itself possible) within which we live our own individual lives” (PSIM, in SPR: 40).
Willem deVries, Wilfrid Sellars (in SEP)

And two further remarks (with which not all Sellarsians would agree) on Sellars’ conception of science in a normative social realm:

Science, for Sellars, does not aim to construct an adequate representation of the world given a fixed stock of basic concepts or terms; it aims to change our concepts and terms to enable us to anticipate, explain and plan ever better our interaction with reality. Science is the methodologically rigorous attempt to reform and extend the descriptive resources of language to better equip us in all those tasks that presuppose descriptive language. (148)
Science envisages abandoning the manifest image and its norm-laden objects, but it cannot in fact do so without undercutting itself. The manifest image is transcendentally ideal but empirically and practically real. The world in which we live and have our being is necessarily a world of sensible objects that we constantly evaluate with regard to their aiding or impeding our intentions. We are simply built that way. This manifest world is grounded in, but not identical to, the world science reveals to us. (161)
Willem deVries, Wilfrid Sellars (Acumen)

So thus, on the vision and immense challenges of a truly universal, non-parochial science carried out in a rational and tolerant society–the “infinite task.”

Edmund Husserl and Wilfrid Sellars

(All quotes below are from Philosophy and the Scientific Image of Man unless otherwise stated.)

Marvin Farber led me through my first careful reading of the Critique of Pure Reason and introduced me to Husserl. His combination of utter respect for the structure of Husserl’s thought with the equally firm conviction that this structure could be given a naturalistic interpretation was undoubtedly a key influence on my own subsequent philosophical strategy.
WS, Autobiographical Reflections
One seems forced to choose between the picture of an elephant which rests on a tortoise (What supports the tortoise?) and the picture of a great Hegelian serpent of knowledge with its tail in its mouth (Where does it begin?). Neither will do. For empirical knowledge, like its sophisticated extension, science, is rational, not because it has a foundation but because it is a self-correcting enterprise which can put any claim in jeopardy, though not all at once.
WS, Empiricism and the Philosophy of Mind §38

Sellars and Husserl are both trying to provide a holistic structure for the mind’s universalizing scientific engagement with the world. The difference lies in their methods: where Husserl is transcendental-historical and phenomenological, Sellars is pragmatist and naturalistic. The Lifeworld and the Manifest Image share the same methodological primacy in determining how we look at the world. They are “given” or “pre-given”: we have come to them without being aware of the processes by which they arose—or if we ever were aware of them, we have forgotten them. But for Sellars, the idea of the “image” or model is crucial: the Manifest and Scientific Image both are inexact pictures of reality which undergo repeated refinement.

Let me refer to these two perspectives, respectively, as the manifest and the scientific images of man-in-the-world…By calling them images I do not mean to deny to either or both of them the status of ‘reality’. I am, to use Husserl’s term, ‘bracketing’ them, transforming them from ways of experiencing the world into objects of philosophical reflection and evaluation…While the main outlines of what I shall call the manifest image took shape in the mists of pre-history, the scientific image, promissory notes apart, has taken shape before our very eyes.

The Manifest and Scientific Images both are idealized concepts established communally. Truth and falsity exist in each of them through communal norms of rationality and discourse. While images may be refined or discarded, normative standards of correctness nonetheless exist with regard to any image.

Pragmatism: The point I wish to make now is that since this image has a being which transcends the individual thinker, there is truth and error with respect to it, even though the image itself might have to be rejected, in the last analysis, as false.
From “I” to “We”: Yet the essentially social character of conceptual thinking comes clearly to mind when we recognize that there is no thinking apart from common standards of correctness and relevance, which relate what I do think to what anyone ought to think. The contrast between ‘I’ and ‘anyone’ is essential to rational thought.

Their own methodologies, however, are opposite. Husserl tends toward transcendental idealism; Sellars towards a nominalistic physicalism. For Husserl, the ego is transcendental; for Sellars, it is a theoretical construct that, in its “givenness,” we have come to take for granted. For Sellars, the “given” (in at least one of its forms) is that knowledge which we gain exclusively through pure, raw experience or being-in-the-world. Sellars is very clear: no such knowledge exists. Any such seeming knowledge is acquired against the holistic background of a theoretical structure, even if we are not conscious of that structure. Scientific investigation can reveal that structure. The Manifest Image cannot, because it is unable to get around its own theoretical presuppositions and reliance on subjectivity:

A Point of Difference: The manifest image must, therefore, be construed as containing a conception of itself as a group phenomenon, the group mediating between the individual and the intelligible order. But any attempt to explain this mediation within the framework of the manifest image was bound to fail, for the manifest image contains the resources for such an attempt only in the sense that it provides the foundation on which scientific theory can build an explanatory framework; and while conceptual structures of this framework are built on the manifest image, they are not definable within it. Thus, the Hegelian, like the Platonist of whom he is the heir, was limited to the attempt to understand the relation between intelligible order and individual minds in analogical terms.

I see this possibly as the fundamental difference between Husserl and Sellars: for Sellars, phenomenological investigation alone cannot get around the theoretical structure necessary for it. Any transcendental phenomenology remains a contingent construct. For Sellars, bracketing (the epoche) should include subjectivity and experience itself—they cannot explain themselves.

Nonetheless, for both of them, science is unique in its potential universality, the Manifest Image being too tied to cultural norms and historical caprice and false first principles to withstand substantive debate over its contents, unlike the “self-correcting enterprise” of science.

Science as a Rival Image: Yet, when we turn our attention to ‘the’ scientific image which emerges from the several images proper to the several sciences, we note that although the image is methodologically dependent on the world of sophisticated common sense, and in this sense does not stand on its own feet, yet it purports to be a complete image, i.e. to define a framework which could be the whole truth about that which belongs to the image. Thus although methodologically a development within the manifest image, the scientific image presents itself as a rival image. From its point of view the manifest image on which it rests is an ‘inadequate’ but pragmatically useful likeness of a reality which first finds its adequate (in principle) likeness in the scientific image. I say, ‘in principle’, because the scientific image is still in the process of coming into being.

Yet for both Sellars and Husserl, science has also fallen prey to a certain kind of “givenness,” though their attacks differ. Husserl critiques the sciences as having forgotten the historical circumstances in which they arose, having become “sedimentized” with naturalistic assumptions. Sellars, on the other hand, critiques the sciences’ foundationalism. That is, Sellars also accuses science of having established a false, ahistorical, positivist and empiricist ground on which they build a world image distinct from that of the Manifest Image or Husserl’s Lifeworld. For Sellars it is not so much that science’s foundation has become “sedimentized” as much as that the foundation never existed to begin with. History helps to expose the cracks in the foundation by exploring how it was that this foundation was established, but it is not the case that we have obscured a previous way of being, only that we are taking aspects of our current way of thinking for granted. We have misunderstood the nature of what science is. It does not and cannot provide a new foundation that wipes out the manifest image in one blow.

Holism : For each scientific theory is, from the standpoint of methodology, a structure which is built at a different ‘place’ and by different procedures within the intersubjectively accessible world of perceptible things. Thus ‘the’ scientific image is a construct from a number of images, each of which is supported by the manifest world.

While Sellars replace positivism with a broader, more holistic, pragmatic, and fallibilist methodology, he also attempts to expose the “givenness” of the Manifest Image. In the Manifest Image, people participate in discourse that establishes a linguistic idealism through the existence of shared concepts expressed through language. These concepts are internalized by us, often becoming second nature.

Our first-person thoughts are his prime example of an implicit theoretical construct. Elsewhere, in Empiricism and the Philosophy of Mind, Sellars attempts to show that the very existence of “thoughts” depends on a rational discursive linguistic community, what Sellars terms the “space of reasons.” What we take to be “given” in our minds actually depends on a learned communal conceptual structure. And this anti-foundationalism attacks both the givenness of the Manifest Image itself and the positivistic empirical basis of science. In both cases, there is an implicit, complex, historically-established theoretical structure that undergirds even the simplest of thoughts and perceptions.

This attack does not invalidate the Manifest Image, as we still inhabit it and the concepts of personhood and the discursive community are essential to establishing the norms by which we live. But because the Manifest Image is incomplete and insufficient—our “given” ideas not able to form a coherent explanation of reality—the Scientific Image appears as a potentially more satisfactory picture of reality to understanding ourselves and the world—as long as we do not see it as wholly substitutive. We should not be looking to evolutionary psychology to explain the nature of morality.

My primary concern in this essay is with the question, ‘in what sense, and to what extent, does the manifest image of man-in-the-world survive the attempt to unite this image in one field of intellectual vision with man as conceived in terms of the postulated objects of scientific theory?’ The bite to this question lies, we have seen, in the fact that man is that being which conceives of itself in terms of the manifest image. To the extent that the manifest does not survive in the synoptic view, to that extent man himself would not survive.

As with Husserl, we will find ourselves in crisis if we take our contemporary Scientific Image to be real rather than an approximate image or model. The Scientific Image should ideally converge on the real in a way that the Manifest Image has failed to, but it does not and cannot stand independently of the Manifest Image in which we exist. Hence Sellars’ emphasis on the need for a Synoptic Image in which the discursive normativity of the Manifest Image and the fallibilist, revisionary Scientific Image allow us to achieve a satisfactory methodology of philosophical-scientific investigation.

The Merging of the Images: Thus the conceptual framework of persons is the framework in which we think of one another as sharing the community intentions which provide the ambience of principles and standards (above all, those which make meaningful discourse and rationality itself possible) within which we live our own individual lives. A person can almost be defined as a being that has intentions. Thus the conceptual framework of persons is not something that needs to be reconciled with the scientific image, but rather something to be joined to it. Thus, to complete the scientific image we need to enrich it not with more ways of saying what is the case, but with the language of community and individual intentions, so that by construing the actions we intend to do and the circumstances in which we intend to do them in scientific terms, we directly relate the world as conceived by scientific theory to our purposes, and make it our world and no longer an alien appendage to the world in which we do our living.

Appendix: Husserl’s Response

I am closer to Sellars’ stance than Husserl, lacking his transcendental sympathies. But Richard M. Bernstein gave an account of what he thought Husserl’s response to Sellars could be, which I excerpt here:

It is clear even from Husserl’s preliminary characterizations of the Lebenswelt, and what he takes to be its general structures, that he would criticize Sellars’ own account of the manifest image — especially in regard to what Sellars calls empirical and categorial refinement — as being infected by categories rooted in objective science. He would accuse Sellars of not being “philosophically radical” enough in bracketing the manifest image and providing an analysis of its structure.
But how are we to perform such an investigation? What is the ground for such a “new” science? Here we touch upon the most fundamental theme in Husserl, one which he took to be a radical turn — though he also claims it has been the telos of philosophical reflection itself: the transcendental epoché that makes possible a transcendental reduction. When we bracket the ontological claims of the Lebenswelt and perform the epoché, “we are not left with a meaningless, habitual abstention, rather, it is through this abstention that the gaze of the philosopher in truth first becomes fully free: above all, free of the strongest and most universal, and at the same time most hidden, internal bond, namely, of the pregivenness of the world” (p. 151 ). When we have freed ourselves by means of this transcendental epoché, is it possible to recognize the Lebenswelt and mankind itself as “a self-objectification of transcendental subjectivity.”
The transcendental epoché — the philosophical act of pure reflection -which involves a personal and intellectual transformation of the philosopher, is not to be understood as a “turning away” from “natural human life-interests.”
According to Sellars, once we clarify the differences and relationships between the types of scientific activity appropriate to the manifest image and to the scientific image proper, then we grasp the essential unity of science. This unity not only reconciles the two types of scientific endeavor appropriate to the two images, but also indicates the essential unity between the natural and the social sciences. Extrapolating what Sellars says about behavioristics, we can extend his principle to the distinctively social sciences such as economics, political science, and sociology, and claim that these disciplines also involve the techniques of correlational induction appropriate to the manifest image.
But it is precisely here that we find the deepest and the most consequential clash between Sellars and Husserl. Husserl too takes psychology itself as a “decisive field” (p. 203 ). And his judgment about the science of psychology — both behavioristic and nonbehavioristic — is that it has been a failure. And while Husserl also focuses on psychology, it is clear that he is pressing an indictment against all forms of naturalism and objectivism in the sciences of human life. In the attempt to apply the methods of the natural sciences to an understanding of human subjectivity and intersubjectivity, these disciplines have not only failed, but distorted the phenomena studied. This failure is not one that can be overcome by more sophisticated development of the methods and techniques of the natural sciences. “It has already become clear to us that an ‘exact’ psychology, as an analogue to physics…is an absurdity. Accordingly, there can no longer be a descriptive psychology which is the analogue of a descriptive natural science. In no way, not even in the scheme of description vs. explanation, can a science of souls be modeled on natural science or seek methodical counsel from it. It can only model itself on its own subject matter, as soon as it has achieved clarity on this subject matter’s own essence” (p. 223). If it is objected that a “genuine” psychology is not a “science of souls,” but a science of observable behavior, this does not weaken Husserl’s charge, for psychology conceived in this manner will never be able to illuminate the structures of human subjectivity and intersubjectivity.
Richard M. Bernstein, The Restructuring of Social and Political Theory

My gut reaction is that Sellars and Husserl are most at odds over the very distant “end of inquiry,” which is such a distant and hypothesized and never-to-be-reached point that arguments over it are not just irresolvable, but close to meaningless. I think that Sellars’ “synoptic view” could ultimately allow for scientific accounts of what Husserl wants (who’s to say it couldn’t?), while Husserl seems like he might be amenable to an expanded definition of naturalism and objectivism–his problem is with those terms in their current form. So I’m not sure the disagreement Bernstein lays out would necessarily amount to more than a terminological dispute however many thousands of years into the future it would take before science nearly gets reality right.

Husserl and Sellars’ prescriptions for science today, however, still seem rather close. Both admit the broad failings of scientific theory and method, and both want to use the fundamental methodological conceptions of science to reform it. They both ask us all to own up to the failures and idiocies and prejudices that mar scientific practice, and try not to be so arrogant and half-assed in the future.

Waggish

David Auerbach on literature, tech, film, etc.

Page 15 of 148

Am I a Redundant Human Being?

Portnoy’s Obsolete Complaint

Father Time: Chronos and Kronos

Petrarch, Triumph of Time

The World as Metaphor in Musil’s The Man Without Qualities

Wilfrid Sellars and Edmund Husserl on Science and Life

Edmund Husserl and Wilfrid Sellars

Appendix: Husserl’s Response

My Tech-Lit-Philosophy Book

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