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Friday, March 25, 2011

Plato, Nietzsche, Potsherds...(Kevin)

It might be best to state from the outset that I do not think Plato was wrong in banishing poets from his republic. My grounds for making such an astounding claim are founded on my belief that I do not think any reasonable poet would want anything to do with a society that failed to recognize the importance of her discipline. Moreover, I think Plato’s fault lie not in the fact that he chose to banish poets from the civic sphere of societal regulation, but in his conclusion that poets are invidious because they are unfit to assume positions in government. We Pragmatists view the application of such all-nothing value judgments to participants of certain categories or projects of existence as symptomatic of an antiquated tradition in Western Metaphysics that holds truth to be grounded in an absolute foundation from which are derived certain ideals as “ “timeless virtues,” and “the right way.” Throughout the history of Western thought, philosophers have sought to establish such a right way. Nietzsche claimed to go “beyond good and evil,” but all he actually did was turn Plato on his head by asserting that it is the poets who should be the kings of society and the philosophers who should be banished. He was just as rational as Plato in assuming that certain forms of conduct and thought are always better than others; and by asserting that the creator trumps the thinker, he assumes a foundation upon which such a conjecture can be based. In the end, he remains as much an heir to Plato as all of the other philosophers whom Alfred North Whitehead claimed had merely written footnotes to the broad-headed Athenian. I do not think it is until the twentieth century that we have succeeded in jumping over the long shadow Plato cast.
A bold assertion no doubt. To begin backing it up, I would like refer first to some points made in a brilliant essay by Soren Kierkegaard entitled “Of the Difference between a Genius and an Apostle.” In the essay, Kierkegaard argues that it is inappropriate to apply the categories of a genius to those of a religious prophet, as the former is judged on criteria of cleverness, while the latter defies aesthetic criticism altogether. No one is persuaded of the actuality of a religious truth by evaluating it on its aesthetic merits. And if they are, one has to wonder if it is truly appropriate to call the truth religious in this case, just because it deals with the teachings presented in a the form of a sacred text. It seems to me possible that a person might believe in the religious truth of a poem, as she might the aesthetic truth of a sacred text. This is precisely what William James was getting at in “The Will to Believe,” when he asserted that believing in the Mahdi was not a live-option to most of the audience members attending his lecture in that Cambridge lecture hall. Perhaps the teachings of the Mahdi did appeal to some of his audience members more than those of Christianity on an aesthetic level, but it is very unlikely that the poetry of the Koran could move one of them in the same way that a passage from one of the Gospels could on the transcendent level. Not because the latter is intrinsically truer it terms of its authenticity from divine authority; rather, because the habits and society of a typical 19th century New Englander instilled in him sensibilities that prepared him for transcendental truth through Christ rather than the Mahdi. One cannot compare St. Paul to Shakespeare because the writings of Shakespeare belong to the aesthetic sphere of existence and those of St. Paul to the transcendental sphere. A person may say she does not care for Macbeth because it lacks pathos in comparison with Hamlet, but she cannot say she objects to the teachings of St. Paul because they are not as witty as those of John the Baptist. What we are dealing with in these cases is the word of God, not the wisdom of poets. One can choose to accept or deny the teaching in either case, but not for the same reasons. Kierkegaard argues that we commit a great injustice whenever we apply the criteria of one category of existence to judge the work of another. I agree with him, and I think this is where both Nietzsche and Plato went too far. I think Plato was right to say that poets should not be politicians; not because poets are bad influences on the citizens of a society, but because poets are not trained in the laws and customs of societal regulation. I think Nietzsche was right when he said that it is through poetry, adventure, and creation that we will find our personal truths, not philosophy; not because philosophy is useless, but because pre-conceived systems of thought fail to take into account the unique needs and desires of every individual and the irreducible richness of every moment of her lived experience. So while I may want my friends to be Nietzcheans, I want my civic leaders to be Platonists.
Richard Rorty draws this distinction between public and private philosophies in his book Contingency, Irony, and Solidarity. Without having read the book, I still find the distinction useful, as I feel it is not until we reach Rorty that we truly break with the whole tradition of the “metaphysics of presence,” not because Rorty presents the best critique, but because he goes beyond criticism by showing his readers how, pragmatically, are ideas may be used as instruments for achieving the goals of our specific, temporal and finite projects. In this respect, we do not shelf Platonism, we merely recognize Plato’s ideas and categories as another instrument in our intellectual toolbox that maybe utilized when a certain problem presents itself to be solved through irony, recollection, allegories, or the theories of cosmology. What does get shelved from Plato for good is the notion that the reason why we are successful in achieving our projects--or campaigns as Rorty liked to refer to them—results from our operational theories and truths corresponding to eternal archetypes. Pragmatists agree with Karl Popper’s claim that absolute truths result in authorities who interpret, dictate and guard their sacred powers. Truths only become corrupt or immoral in comparison with absolute values that are unconditionally just and good. Pragmatists think that much of the non-sensical violence and arbitrary scorn that exists in the world today might be diminished if people stopped looking to justify their truths through the value judgments prescribed by their absolute authorities, and acknowledged the validity of all truths as being just in so far as they provide each person with the tools to live a life rich with meaning, love, and happiness. That is why Pragmatists are in favor of secularization of religion and the separation of church and state. We feel applying divine law to the civic sphere is another instance of misapplying the categories of existence which can only result in the unhappy consequences of prejudice and violence. It is true, we Pragmatists betray ourselves; we do believe in one absolute truth--the right of every human to live a dignified life—but we do not think we need to appeal to any authority to justify its veracity.

6 comments:

  1. I think Shakespeare's writings belong to the transcendental sphere of existence. What do you mean by aesthetic? only beauty? Whence that beauty?

    Here's an unfair criticism: religious writings have always failed for me because they are revolve around the points they mean to make, and my experiences have always overspilled the boundaries made by those points. As we once spoke of in relation to Joyce's works. Every style, every sort of linguistic representation, fails. Joyce wrote this to Harriet Weaver about his third book: "...each successive episode, dealing with some province of artistic culture (rhetoric or music or dialectic), leaves behind it a burnt up field." As we spoke of in class: literature ought not be imitative but relational.

    I'm not sure what problem I feel in this argument for separation. I have become fairly convinced that the human mind works mostly in synthesis. I'm fairly convinced that everything can be connected to everything else. Literature is more than aesthetics. Pluralism doesn't mean we must separate everything, it means fairness of comparison, it means the attempt to see something from many points of view and to avoid getting violent over the view that you hold the highest. I guess that fairness of comparison is what you are arguing for. Never mind.

    What sort of a belief do you have in this post-Philosophical culture? It feels impossible, a long long way off. We've come a long way in our thought-culture toward a kind of pluralism. There is too much of a tendency in us to think that we are right. A post-Philosophical culture won't happen because of that tendency. If it did, it would have to happen the same way that this movement toward racial pluralism did- we began to teach it in schools, and kids swallowed it and kept it. I am not arguing against racial pluralism. But most people think it without thinking about it. A post-Philosophical culture would come about because of the pills that a collection of people taught children.

    What am I saying? Nothing really. And I'm sorry if this is sort of useless and I'm just sort of talking to myself. All I can do really.

    I don't want to talk about culture. I want to talk about John and Joe and Sarah and Mary. I cannot handle culture. There's too much and it's all too ridiculous. In the particular is found the universal. Focus on the particular. To love one thing is enough.

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  2. Firth, you’ll keep me on my toes,
    To understand Kierkegaard’s argument, it is important to keep in mind the perspective he is writing from-- that of a radically orthodox protestant Christian. His view of religious truth cannot be reconciled with the Pragmatists. For Pragmatists, transcendental truth (as far as I am aware) is inspired by the work of the Romantics who believed such truths were manifested immanently, and conceived transcendence as an experience in the increase and extension of consciousness beyond the confines of the ego through a sublime stimulus. For Kierkegaard, the transcendent corresponds to the revelation of the Christian mysteries through divine authority. It is an altogether different dynamic that locates truth in an external power. In the essay I mentioned in my first post, Kierkegaard takes a few lines to discuss the nature of authority. He offers the example of a King giving orders to his subjects or army. When the King gives his directives, the people either obey or do not on the grounds of whether they recognize his authority over them, not in relation to how eloquently he issued the order. This is why the truths of St. Paul and Shakespeare are irreconcilable. St. Paul speaks on behalf of the Son of Man. If you approve of his testimony, it is because you have faith in Jesus Christ and the divine mysteries of Christianity. Shakespeare may help us to transcend ourselves in the Romantic sense of the experience, but he will not provide us with wisdom that will help us better understand the paradoxical relationship that exists between humankind and the God-Man. Romantic and Religious transcendence are fundamentally different in nature. I had thought at one time it might be possible to reconcile the two, but now I do not think so. Although both may provide their adherent with life-affirming truths and experiences to live by, Romantic truths are attained individually-- relying upon creativity, imagination, and daring-- independent of the guidance of any outside authority, while religious truths are revealed by acknowledging an “Other” that exercises some sort form of external influence over our lives that is encountered through prayer, worship, and faith. I am not saying one form of truth can not draw on aspects of the other to attain meaning or fulfillment, but I do think provide essentially different forms of transcendent experience for their adherents.

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  3. I’ve always wondered if Joyce got around to reading Kierkegaard. He may have had no such interest being a lapsed Catholic, but I feel your criticism of the restrictive nature of religious texts, influenced by the protagonist’s musings from Portrait, may not be appropriate when applied to Kierkegaard for whom the Logos is very much alive option. Words and Truths have as much meaning as we are able to invest in them. For Joyce, the dogma of the Catholic Church had outlived its usefulness and no longer functioned as adequate categories by which he could live his life. Kierkegaard on the other hand, was a Protestant, and as such was able to radically redefine Christianity from an existential point of view that emphasized the primacy of “the individual.” I am not suggesting that if Joyce was Protestant rather than Catholic he would have become an heir to Kierkegaard, I am only pointing out the difference between the two religious temperaments. Because Kierkegaard did not have to answer to the authority of the Catholic Church he was able to redefine the Christian lexicon to fit his own, modern, individualistic personal needs. Joyce obviously went to much different lengths in his attempts to revitalize what he perceived the ossified language of the West, but his motivation was much different than that of Kierkegaard. I’ll defer to you on this point. Critics such as Eliot, Kenner, and Barrett have suggested that deep-down Joyce always remained Catholic in his sensibilities despite his schism with the Church. I’d be interested to hear what you have to say on this point. If this is the case then might we draw the conclusion that religious motivations have played a substantial role in inspiring writers to continually rework their languages vocabularies throughout history. Perhaps this is the influence of the hermeneutic dynamic introduced into the interpretation of our texts by practices within the Judeo-Christian tradition. In whatever case, the exercise is not restricted to religious writers but all artists as Shelley argued in his Defense.
    It is funny, one could not picture odder bedfellows than Kierkegaard and Joyce; especially in relation in a conversation about Pragmatism, these are the last two names one might expect to pop up, but perhaps that just goes to show how eclectic Pragmatism is in its interests. One can relate Joyce and Kierkegaard to Pragmatism by demonstrating how each of their projects arose out of their own personal circumstances that influenced each of their quests for meaning. I’m out of my element in any discussion about Joyce, and have perhaps said some pretty ridiculous things above in my ignorance of his work, but if nothing else, I hope my reply will help continue a discussion on the important role language plays in our truths. I wish I had elaborated further or more clearly, but I am pretty exhausted at this point, so this will have to do for now.

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  4. Hm. I'm not sure what I was saying the other day. Bit fuzzy obviously. I knew that was an unfair criticism, the one of religious texts. Live options and dead options, I know. Your distinction between Shakespeare and St. Paul is much clearer now, and sounds much more sound.

    I think you just think more clearly than I. I am lazy in my logic and my mind sprawls. That's not selfdeprecation, just an observation.

    There's a part in Portrait (sorry, can't get this to italicise) in which Cranly asks Stephen if he intends to convert to protestantism, and Stephen replies, "I said that I had lost the faith but not that I had lost selfrespect. What kind of liberation would that be to forsake an absurdity which is logical and coherent and to embrace one which is illogical and incoherent?" I don't mean to say that's my view, just that I love it when Joyce bites, he's quite good at it.

    As for what pieces of catholicism Joyce held on to, I know not enough. Kenner, Eliot and Barrett most certainly have more knowledge than I, and I would defer to them. I know the bare particulars of the question: Joyce was pretty ambiguous about the whole thing (there's some story about how, when asked when he left the Church, he answered, "That's for the Church to say"); he kept catholic sensibilities, of course; his mind was saturated with the stuff, as Cranly says of Stephen in Portrait; when Joyce was young he was always figuring his art and his life in the terms of the Roman catholic rituals (he as the priest bringing the divine to the people); but as to what sort of faith he had and what sort of motivations he had to write, I do not know enough. He makes it sound like he replaced catholicism with art, that art became his faith, and that his motivation to write came from the same desire as his youthful faith did. As to what that desire was, I know little of the particulars.

    You've said fine things here. No need to selfdeprecate with such force, no need to use words like "ridiculous" and "ignorance."

    The important role language plays in our truths. Let's talk sometime about that, I'd like to know what you think. I'm of the camp that language is all that there is to our truth. I have had wordless feelings of something akin to truth (that would be an interesting conversation too) but I think those feelings are of something different than this word, "truth." Does that make sense? I am also a little tired.

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  5. Oh I meant to say that bit about how you think more clearly than I do in the context of your discussion of separating things.

    And I would like to ask what exactly you mean by transcendence. That would clear a lot more up.

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  6. Oh and please don't defer to me like I'm some sort of expert on Joyce. I appreciate your kindness and civility in doing so (you're a true gentleman, old man), but I know pitifully little, really.

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