Tuesday, June 12, 2012

The Trees are Loud

The Rainy Summer
by Alice Meynell


There’s much afoot in heaven and earth this year;
The winds hunt up the sun, hunt up the moon,
Trouble the dubious dawn, hasten the drear
Height of a threatening noon.

No breath of boughs, no breath of leaves, of fronds,
May linger or grow warm; the trees are loud;
The forest, rooted, tosses in her bonds,
And strains against the cloud.

No scents may pause within the garden-fold;
The rifled flowers are cold as ocean-shells;
Bees, humming in the storm, carry their cold
Wild honey to cold cells.

I wish it were a rainy summer around here. It's looking much less bad than last year, but it still seems to be shaping up to a terribly dry summer. We might get some rain this week, though.

Beattie on Truth IV: Inquiry

Beattie is arguing for the following basic conclusion in his Essay on Truth:

In a word, the dictates of common sense are, in respect to human knowledge in general, what the axioms of geometry are in respect to mathematics: on the supposition that those axioms are false or dubious, all mathematical reasoning falls to the ground; and on the supposition that the dictates of common sense are erroneous and deceitful, all science, truth, and virtue, are vain. (p. 122)

To the end of Part I he has argued mostly for the first part, that the dictates of common sense provide the first principles for human knowledge. Part II will be mostly concerned with the second: that a proper view of common sense, and the first principles it provides, is absolutely essential for "science, truth, and virtue" and that serious consideration of common sense itself shows where the skeptics go wrong. Again, it is always worth keeping in mind that Beattie's aims throughout the Essay are pro-science and pro-ethics: he opposes skeptics like Hume because he thinks they are a disaster on both points.

In Part I he argued generally that each field of inquiry had its own first principles, recognized by common sense. He begins Part II by arguing that when we look at the work of actual mathematicians and scientists, we find that they too recognize in some way the distinction between common sense and reason, giving the priority to common sense, and that this in fact structures their investigations; and that skepticism would lead to the destruction of all such healthy inquiry. For instance, geometry was able to advance by taking certain things as axiomatic and obvious. At this point he engages in an elaborate parody of Hume, pulling sentences from several different parts of Hume's Treatise, in which he has the skeptic argue that anything obvious is just prejudice, that philosophers must always be doubting, even about their doubts, that practice is irrelevant to the question, that believing anything with certainty is foolish, that he is certain that human beings are not certain of anything. (This provides the occasion for one of Beattie's incomparable insults of Hume. In a footnote he concedes that it is not entirely fair to build a parody using sentences from such widely dispersed passages, and says that he would gladly attribute Hume's expressions to inadvertence. But, he says, "then I must impute the whole system to the same cause" (p. 146). The point is that the skeptic is out to guarantee that the actual operation of mathematical inquiry, in which one traces things back to things that seem obvious and build on them, never gets started, by taking out anything that's obvious. And while not every science has the certainty of mathematics, it is unreasonable in any science to reject out of hand whatever is obvious, or to treat obviousness as a mere prejudice. We inquire by taking as certain those things that seem intrinsically obvious and whose apparent obviousness cannot be affected by reasoning.

As with mathematics, so with natural philosophy, i.e., the natural sciences, which draw on two sources, the evident principles of mathematics and the evident principles of sense. All natural philosophy traces itself back either to the evidence of mathematical principles or to the evidence of sensation; at some fundamental level these must be trusted or we cannot say that natural philosophy in its investigations is really uncovering anything at all. This is true, even given the fact that we recognize our senses to be sometimes misleading; for most of these cases boil down either to jumping to conclusions in our interpretation of sense, which can be discovered by closer analysis, or to effects of particular conditions, which are discovered by sense. The last is rather important, since optical illusions and the like are regularly brought forward as reasons why we can't trust our senses. But how do we know that they are illusions at all? Because we judge our senses under tricky conditions by the standard of our senses under more certain conditions, and because we trust our senses at a more basic level. This is the way inquiry works. In inquiry there will always be tricky cases, unusual circumstances, etc., but we get through these by trusting more fundamental issues. We recognize downstream sensory illusions as illusions by trusting our senses to give us information upstream from those illusions, by having the confidence that the sensory context in which they are recognized to be illusions is itself trustworthy. What we are often really pointing to is simply the fact that our senses don't cover everything with equal certainty; we are showing that our senses aren't complete and perfect, not that they are fundamentally deceptive, or that they cannot be trusted. And it is important to note that Beattie includes internal senses as well as external senses. There may be situations where introspection can be fooled, but it's only possible to recognize this by trusting some kinds of introspection as certain and obvious (just as one very obvious example, our introspection-based certainty that we are capable of introspection). Likewise, there may be situations where our sense of beauty or moral sense has difficulty finding purchase, but this does not show that there are no circumstances in which they provide full certainty. The thing of it is, too, that in all these fields, taking some things as obvious and certain is not detrimental to the inquiry in any way: you can still investigate whatever you please. It's just that you can't get anywhere in an investigation without taking some things as obvious, so no matter what kind of investigation you may have, it will presuppose some evident first principles somewhere.

One of the things Beattie is angling at in all of this is that if this is true of mathematics and natural philosophy, it will also be true in the philosophy of human nature and the moral sciences: if you want progress on the subject of human nature, you can't go about it in the way Hume does, by taking a skeptical approach, but must take some things as evident first principles, so that those principles can serve as the template for your inquiries and investigations, and so that the certainty of those first principles can be communicated, so to speak, to your conclusions, to make your conclusions knowledge. All inquiry, of whatever kind, is grounded, guided, and evaluated by the standard of common sense. If it turns out that you have some doubt about whether something really is a dictate of common sense, you test it out by (1) thinking it through very carefully and determining whether it seems certain, in such a way that you are naturally forced to trust it; (2) investigating whether it is consistent under different conditions; (3) acting on it to see whether you get good results; (4)
determining whether it is consistent with other dictates of common sense; and (5) seeing whether others seem determined by their nature to accept it. If it meets all these criteria, it is the product of a well-informed sense, and can be taken as such; and, while such dictates can be divided into different kinds of certainty (mathematical, moral, sufficient for most practical purposes) according to the universality of their scope and their force as principles, there's a sense in which evident is evident and certain is certain. That you can't get mathematical certainty from the senses doesn't mean that the senses aren't able to give you anything evidently and obviously true.

Skepticism, of course, is opposed to this whole approach. I will not here go into Beattie's account of the history of modern skepticism; it's a pretty standard kind of history, starting with Descartes and ending with Hume, and he is largely drawing it from Reid. There are some interesting aspects to it, though, such as his comparison of modern skeptics to ancient sophists; one notable feature of which is that he gives the preference to Xenophon's account of Socrates rather than Plato's. After giving this historical run-down he looks at two philosophical topics in particular: skeptical arguments that matter does not exist, which he uses to exhibit the skeptical approach to the external senses, and skeptical arguments that there is no free will, which he uses to exhibit the skeptical approach to the internal senses. In truth, we believe that there is an external world independent of us, regardless of the arguments of Berkeley or anyone else; and why? Because it is a dictate of common sense. A similar course of reasoning arises when discussing free will, although the latter discussion is more interesting in part because Beattie makes two interesting detours (which, however, ultimately contribute to his argument), one to argue that Hume's account of causation is arbitrary and inconsistent with common sense, and another brief one to argue that free will is found implicitly, and sometimes explicitly, in a wide variety of contexts, such as in the works of Homer and Virgil. Beattie's arguments are rather long, but we can simply summarize them here as saying that they are applications of the kinds of arguments we have already seen.

In none of this is he entirely fair to some of the people involved -- Malebranche and Berkeley in particular have more sophisticated and less absurd views than are attributed to them. However, in none of this is Beattie being malicious, either, since he is simply building on standard interpretations of the figures involved. (Indeed, the interpretation of Berkeley, although not quite fair to Berkeley, is still the standard interpretation.) And, it must be pointed out, that Beattie is chiefly concerned with influence: whatever they may have meant (he complains regularly about how skeptics never say something clearly if they can say it obscurely), they are still being used to argue for these skeptical positions that are destruction of "science, truth, and virtue."

And this, of course, is what concerns Beattie here. Beattie acknowledges that his argument is quite roundabout, but he wants to drive home the fact that skeptics like Hume are not benign investigators but advocating arbitrary principles that are destructive of all serious investigation. He then goes on in Part III to wrap up some miscellaneous issues, like freedom of inquiry and the nature of metaphysics. We won't discuss most of these, but one of this miscellaneous issues, arising from his discussion of the degeneration of the moral sciences, is famous in its own right, namely, Beattie's defense of egalitarianism and attack on Hume's racism. So we'll look at that in the next post.

Monday, June 11, 2012

Links and Notes

* An interesting rabbinical sicha on the service of Aaron

* New Books in Philosophy podcast

* The Danes have passed a law on same-sex marriage; the Telegraph claims it is requiring all churches to perform same-sex marriages, but from what I've seen this is actually just applicable to the Church of Denmark. This is not as big a matter as some people are making. To put it in other words, the government agency that goes by the name 'Evangelical Lutheran Church in Denmark' or 'The Danish People's Church' is now being required to perform same-sex marriages; although individual officials in that government agency can refuse as a matter of conscience, their supervisors, called 'bishops', have to find a replacement. Quite sensible, in some ways; the Danes were obviously heading this way, anyway, and legalizing same-sex marriage doesn't make sense if you don't require the government's primary marriage agency to comply (Danes are only somewhat more religious than other Scandinavians, in terms of regular church-going -- I've seen the number at about 5% -- but even very un-religious Danes tend to marry and bury using church services -- I think that number is well over 70%). And they've even taken the trouble to guarantee conscience protections under the law, which is both more than anyone usually gets in Europe in these matters and rather generous given that they could almost certainly have rammed it through without the concession (although it would have been a high-attrition political battle, since the opposition, while undeniably outnumbered, was still sizeable). It's not really as surprising as Brits and Americans commenting on it have made it sound.

* How to Fake Your Way Through Hegel

* David Congdon has an excellent series on functional subordination and the Trinity at "The Fire and the Rose".

* D. G. Myers on satire. The linking of satire to reductio seems right, and explains why, for instance, Boethius chose the satire conventions of his day when writing the Consolation of Philosophy.

* Megan Garber on the historical connection between the drive-in theater and the megachurch.

* The newest Poet Laureate Consultant in Poetry to the Library of Congress is the Natasha Trethewey. Like pretty much all 'U.S. Poet Laureates', Trethewey is in the Prose School of poetry; you can usually take her poems and just write them as paragraphs that meditate or reflect on something or other. But it is genuinely good work, and certainly much better work than much of the work of some of the U.S. Poet Laureates of recent years -- probably the best since Billie Collins. The test of quality in the Prose School, of course, is to put the poem in paragraph form and determine whether the paragraph is very well written or else sounds like something out of a very bad, very scribbled, bit of fan fiction or a disaster of a self-published romance novel. Threthewey's paragraphs in general read beautifully, in part because she avoids bombast and maintains a reflective attitude. And she usually avoids the insidious danger of the Prose School: with the Prose School, you are generally writing short paragraphs in some kind of pseudo-verse form, and trying to capture some kind of mood. The problem is that the kinds of moods that you can adequately capture in paragraphs with no context make up a very limited selection. Of these, nostalgia and regret are the easiest, and so whenever one reads poetry of this kind you always end up drowning in a mind-numbing succession of episodes of nostalgia and regret, with occasional weak jokes, until one is completely bored. Trethewey usually avoids this, by hinting at a story, and letting the story do the work; even merely hinted-at stories, or rather, merely hinted-at stories especially, allow for more varied moods than plain descriptions. (Trethewey and Collins aren't in other ways much alike at all, but that was also a strength of Collins, and why a wider variety of people found his poems interesting than usually makes up the audience for this kind of poetry.)

Denham's Dentifrice

Tim Kreider on Ray Bradbury:

I think of Ray Bradbury’s work often these days. I remember “The Murderer” whenever I ask for directions or make a joke to someone who can’t hear me because of her ear buds, when I see two friends standing back-to-back in a crowd yelling “Where are you?” into their phones, or I’m forced to eavesdrop on somebody prattling on Bluetooth in that sanctum sanctorum, the library. I think of “Fahrenheit 451” every time I see a TV screen in an elevator or a taxi or a gas pump or over a urinal. When the entire hellish engine of the media seemed geared toward the concerted goal of forcing me to know, against my will, about a product called “Lady Gaga,” I thought: Denham’s Dentifrice.

It is thanks to Ray Bradbury that I understand this world I grew into for what it is: a dystopian future. And it is thanks to him that we know how to conduct ourselves in such a world: arm yourself with books. Assassinate your television. Go for walks, and talk with your neighbors. Cherish beauty; defend it with your life. Become a Martian.

Book a Week, June 10

Reading a review or something like a review about the recent movie Prometheus, I came across the name of the ship, which is Nostromo, and it sounded very familiar. And indeed it was familiar; it is the name of a book by Joseph Conrad. I have a nice Heritage Press edition (New York era) sitting on my shelf that I've never had the chance to crack open, so meet the next book of the week.

Joseph Conrad was, of course, Polish; he was born with the name Józef Teodor Konrad Korzeniowski. English was not his first language -- in fact, it wasn't even his second language, since he spoke French fluently and with a decent French accent by the time he was sixteen, but didn't speak English fluently until well into his twenties, and never managed to get the accent quite right. He left Poland at sixteen and went to England, but very soon signed up for the merchant navy and sailed all over the world. This would end up being important to his career as a novelist; most of Conrad's works are based on episodes in his very eventful life. He eventually had to give up the sea due to health problems, at which point he settled down in England and devoted himself to writing.

Nostromo, subtitled 'A Tale of the Seaboard', was written during a very difficult period of Conrad's life. He was deep in debt with an uncertain income, his wife became crippled, and he seems to have suffered from depression. He desperately needed the book to be written and sent off to the publisher, but it grew and grew -- telling the story he intended kept requiring a little more and a little more until the book was more than twice the length he originally had expected it to be.

According to the Author's Note, the basic idea for the story was first seeded when he was in the Gulf of Mexico and heard about a major theft of silver. He forgot it about it, until many years later he was reading a "shabby volume picked up outside a second-hand-book shop" and came across what seemed to be the same story; the writer of the book had actually been on the ship of the man who stole the silver. Out of this rose the fictional Latin American country of Costaguana, with its province of Sulaco, set against a background of mounts that looked down on "the passions of men short-sighted in good and evil." There is actually some dispute about whether this account of the origin of the story is true; some have argued that it may well be part of the fiction.

Sunday, June 10, 2012

Music on My Mind



Tallari, "O Kriste, Kunnian Kuningas". The title means, "O Christ, King of Glory."

Body and Blood

The feast of Corpus Christi, celebrated today on the Ordinary Calendar in the U.S., was established in 1264. The major holy day associated with the Eucharist is Thursday in Holy Week, the day of the Last Supper, but there's a lot that goes in Holy Week, of course, and on Holy Thursday itself, and so this feast was established so that there would be a holy day devoted entirely to the Eucharist. The Pope at the time Urban IV, is said to have asked Thomas Aquinas to write the Mass, and this is very likely the case. It is entirely for this reason that we have several hymns written by Aquinas. Most people wouldn't not have associated poetry with the scholastic saint, but there's general agreement that the hymns for the Corpus Christi mass are extraordinarily good, and they have become some of the most popular Catholic hymns. The hymns in question are "Pange lingua gloriosi," the last part of which, the "Tantum Ergo," is sometimes also used as a stand-alone hymn; "Verbum supernum prodiens," the last part of which is also sometimes used as a stand-alone hymn, "O Salutaris Hostia"; "Sacris solemniis"; and "Lauda Sion Salvatorem". Of these, the "Pange lingua" is most famous; only in the separate "Adoro te devote" does he surpass its quality.

The translation (my own and very rough):

Sing, my tongue, of the glorious
mystery of the Body
and of the precious Blood,
in which the price of the world,
the fruit of generous womb,
the King of Nations, flowed forth.

For us given, for us born
from the untouched Virgin,
He dwelt in the world
after the seed of the Word was sown;
his enclosure ended the wait
with marvelous order.

On the night of the Last Supper,
reclining with His brothers,
having fully observed the Law
with the lawful meal,
He as food to the crowd of the Twelve
gave Himself with His own hands.

Word made flesh the true bread
into flesh makes by His word
and wine becomes the Blood of Christ.
Even if the senses fail,
to establish sincere heart
faith alone suffices.

Such sacrament we therefore
reverence, bowing down,
and the ancient covenant
gives way to a new rite:
Faith stands as a supplement
to the failure of the senses.

To Begetter and Begotten
praise and jubilation be,
strength and honor, might as well,
and also blessing be;
and to the one who proceeds from both
equally be the praise.

The following is a somewhat pop-ish version of "Pange lingua", albeit famous in its own right, by the Spanish group Mocedades. It has the first three stanzas and part of the last stanza. The first guy accidentally slides off into the wrong lines, but they recover, as professionals do; the crowd, if they noticed any difference in the Latin at all, probably thought they were just doing a variation.



You can hear Mocedades' original version here.