Rosalind Murray (1890 – 1967) was the daughter of the Oxford classicist Gilbert Murray, who sensing early his daughter’s talent encouraged her to write. She published a first novel, The Leading Note, in 1910. In 1913 Murray became the wife of Arnold Toynbee, bearing him three sons. She divorced Toynbee in 1946, thirteen years after her conversion to Catholicism. No one today knows Murray’s name but in her lifetime she wrote steadily, sustained an audience, and garnered the attention of literary critics. In her later career she sidelined herself as a fiction-writer and devoted her productivity to religious non-fiction. She produced the first fruit of this authorial metamorphosis in 1939 under the heavily laden title The Good Pagan’s Failure. No doubt but that the coinage of “the Good Pagan” implies close personal relations, touching on both her father and her husband, but the book never mentions either. In it, rather, the formula denotes generically the modern, upper-class humanist whose sincere good intentions center on building up a global regime of justice and equality, but who, at the same time, rejects any concept of God and assumes a stance, sometimes dissimulated, that is hostile to religion. Such people appear as early as the Eighteenth Century. They refer to their advent as Enlightenment, which materializes in 1793 as the iconic Guillotine. Their heirs in later centuries have adopted, variously, such labels as Liberal, Progressive, Socialist, or Communist. Their failure consists in the irony that acquiring total control over the institutions and using them to carry out their policies they have by no means improved the human situation. They have largely torn down civilization and immiserated millions. When The Good Pagan’s Failure first appeared, Murray could point to the Great War as evidence for her thesis; revising the text in the early 1960s, she could point to another global conflict, the subsequent and dire Cold War, and many signs of degeneration in Western society.
The poet and fantasist Clark Ashton Smith (1893 – 1961) wrote in a sonnet of “enormous gongs of stone,” of “griffins whose angry gold, and fervid / store of sapphires [were] wrenched from mountain-plungèd mines,” and of other exotic artifacts that exist in a long-lost provenance, inaccessible except in dreams or by ecstatic witness. Contemplating the vision, and beseeching the reader in his opening line, the monologist of Smith’s verses asks the portentous question, “Rememberest thou?” Ah, remembrance! Plato’s “unforgetting”! Smith called his poem “Lemuria,” after the fabled counterpart in the Pacific Ocean of Plato’s Atlantis, the far-famed and foredoomed continent, home to a high but wayward civilization, which vanished beneath the waves in a great and world-implicating catastrophe some twelve thousand years ago and more. According to the claim, Atlantis leaves its traces in such geographical entities as the Canary Islands, the Azores, and the submerged Mid-Atlantic Range. Lemuria’s fragments, as enthusiasts purport, consist of the scattered atolls of the South Pacific, their enigmatic monuments, as at Ponape or Easter Island, and a tissue of myth that the poetic sensibility might cherish, but that stern rationality dogmatically and erroneously dismisses. Rational or not, plausible or not, the Legend of Lost Lemuria, like the Legend of Lost Atlantis, speaks to a need – or rather to a gnawing hunger – that afflicts certain rare souls who find themselves stuck against their will in the modern world: To believe in the fabled, in the scientifically unsanctioned, and in the remoteness-cum-greatness of a past age, very nearly lost to memory, that mocks the modern pretension of omniscience. The allure of Lemuria, like the fascination of Atlantis, responds to the vapid parochialism of the so-called rational world’s ultra-conceited self-perception.
The story supposes Lemuria to be as old as Atlantis (although the precise measure of its age varies from author to author), but, as a story, Lemuria post-dates Atlantis by two and a half millennia. The notion of Atlantis – the island-continent beyond the Pillars of Hercules whose people, grown decadent and greedy, attempted world-conquest only to suffer heavenly chastisement in a cataclysm that obliterated them and their homeland – goes back to the previously mentioned Plato (428 – 347 BC), the greatest of Greek philosophers, a metaphysician, and a visionary. In Plato’s linked dialogues Timaeus and Critias, the tale of the Sunken Continent figures centrally. Plato offers the Atlantis narrative as a “likely story,” whose meaning remains within the realm of symbols and whose imagery the reader should take care not to interpret literally. Nevertheless, the tendency since Plato, especially in the late Nineteenth Century and again in the early Twentieth Century, has been to take it literally. As for Lemuria, it only becomes a topic in the Nineteenth Century in a proposal, indeed in a scientific one, put forward by zoologists and ethnographers to explain otherwise inexplicable uniformities in the zoology of the Pacific archipelagos and in the myths and legends of their people.
H. P. Lovecraft wrote his famous story, The Call of Cthulhu, in 1926 and saw it published in Weird Tales in the February 1928 number of that pulp periodical. The story pieces itself together through the gimmick of having its narrator, the nephew of a mysteriously deceased scholar of ancient Semitic languages, sort through his uncle’s papers – among which figure prominently a cache of documents under the label of “CTHULHU CULT.” In the last few years of his life Professor Angell had fixed his interest on this esoteric topic. Evidence indicates that the cult, traces of which appear worldwide, dates back to prehistory; it also manifests its existence in the archaeology of historical religions, particularly those that center on human sacrifice. The deceased scholar had concluded that the cult’s reality extends into the present and that, after a dormant period, it had resumed its activity. As the reader makes his way through Lovecraft’s deliberately fragmented story line, he learns that Cthulhu, the entity whom the cultists worship as a deity, belongs not to the category of the supernatural (nothing in Lovecraft does) but rather to that of the superhuman in an implacably materialistic and Darwinian version of the cosmos. In the immensely distant past, Cthulhu, one of the “Great Old Ones,” descended to Earth from a distant star and enslaved the primitive humanity through his faculty of telepathic manipulation. A rival power, indifferent to humanity, checked Cthulhu and condemned him to hibernation in the sunken city of R’lyeh in the South Pacific. In the final paragraphs of the story’s first section, the executor describes a sheaf of newspaper clippings that Professor Angell had collected. These items, the narrator avers, “touched on cases of panic, mania, and eccentricity,” which betoken Cthulhu’s return to potency. As the nephew records: “A fanatic [from South Africa] deduces a dire future from visions he has seen; and “a dispatch from California describes a theosophist colony as donning white robes en masse for some ‘glorious fulfillment’ which never arrives, whilst items from India speak guardedly of serious native unrest toward the end of March.”
In the view of the Russian religious thinker and philosopher Nicolas Berdyaev (1874 – 1948), freedom arises from no causality whatever – for if freedom arose from causality, it would operate under determination, in which case it would be shackled, not free. Freedom belongs to spirit, which is to say that it belongs to the person; and the person, bearing within himself the image of God, exercises his freedom positively by the Imitatio Dei of willing the good in the two closely linked modes of love and creativity. Through love and creativity, moreover, people differentiate themselves from one another. Some people distinguish themselves as more capable of love than others; these people – some of whom number among the saints – reap in higher degree than others both the delights of love and the tragic pathos that attends love in the mortal realm. Likewise some people distinguish themselves as more creative than others, whether in the arts or in business or in scientific endeavor; or, simply, in the ability to socialize and to form friendships and initiate sodalities spontaneously. Those who can create at a high level, like those who can love prodigiously, form a justified, if not an acknowledged, aristocracy, and while indeed they enjoy satisfaction in their creativity, they also experience its annoyances, not least of which is to fall under the resentment of lesser talents of invidious proclivity who cannot measure up to, much less surpass, the standards that emerge from the self-working-out of genius. Because freedom emerges from no causality whatever, it partakes in mystery. To treat freedom as a concept rather than living it, to find an explanation of it, would be to reduce freedom to a mere natural phenomenon and thereby fully to ensconce it in the domain of causality. According to Berdyaev, freedom springs forth from the same Ungrund, or endlessly self-replenishing abyss, as the boundless will-to-goodness of God; and it springs forth as the Will and the Gift of God.
As freedom partakes in mystery, it entwines itself with faith. As freedom produces inequality, it entwines itself with politics. In freedom, then, faith and politics find themselves in conflict. Faith on the one hand corresponds to a spiritual condition, which struggles ever to remove itself from the trammels of the fallen world so as to seek the good, and to create it, freely, beyond causality. Politics, on the other hand, corresponds to an adaptation in respect of that selfsame fallenness. In politics, men experience the temptation to exercise freedom minimally by yielding freedom to an objective – or as Berdyaev would put it, an objectivized – authority or totality. Politics, as the present moment so clearly demonstrates, always tends towards an authoritarian totality. Because politics adapts itself to humanity’s fallen condition, it necessarily adapts itself to envy and resentment, which it attempts to placate. The only way, however, to placate envy and resentment is to limit the scope of genius – and that means to limit the scope of love and creativity in the realm of freedom. Politics thus always declines, not only towards an authoritarian totality, but at the same time towards a leveling, egalitarian totality; politics as an authoritarian-egalitarian totality positions itself as essentially anti-person and anti-freedom. This tendency in politics is magnified by the incomprehensibility to the faithless of the paradox that evil must share the same prerogative as good because otherwise freedom would annihilate itself. The faithless believe that through the imposition of the authoritarian-egalitarian totality they can prevent evil. Berdyaev recurred to these themes and propositions throughout his authorship. His early Philosophy of Inequality (1923) treats of them; so do his middle-period Spirit and Reality (1939) and his late-period Slavery and Freedom (1944).
A proposition that can’t be acted upon must be false, or even meaningless. So its contradiction must be true. Thus you can’t think that you can’t think, e.g.; so you can think, period full stop.
The corollary is that if you cannot avoid acting as if a proposition is true, then it must be true. You must at every moment act, willy nilly; so it is true that you can act. Your agency is real. There is literally no way around this operational presupposition. There is no way for us to be, except by an implicit presupposition of its truth. And the only way for us not to be – namely, suicide – is a way that, again, implicitly presupposes its truth. You can’t kill yourself if you can’t act. You can kill yourself. So you can act. QED.
You can’t act as if you can’t act, for example. So, it is not true that you can’t act. Likewise, you can’t think that you can’t think; can’t be aware that you can’t be aware; can’t mean that there is no meaning; can’t yourself suffer the illusion that your self is an illusion; and so forth.
This is the practical aspect of the fundamental epistemological criterion of truth, which is adequacy to quotidian experience.
Extending this notion a bit further: you can’t say that there is no such thing as metaphysical truth other than by asserting a putative metaphysical truth. Ditto for moral truths, and aesthetic truths: you can’t say that morals or aesthetics are relative except by asserting a moral or aesthetic absolute. Indeed, this holds for any sort of truth. You can’t say there is no political truth other than by asserting a putative political truth, for example.
Nominalism and positivism both fall before this scythe. Nominalism can be asserted only by means of the very universals it reprehends. Positivism itself is among the propositional systems that cannot be logically or empirically demonstrated, and insists are therefore meaningless; so that its assertion is its contradiction.
Also, of course, you can’t for very long successfully live as if an important falsehood were true. We’ve all proved this for ourselves a million times.
Thus the very rejection of God is an implicit recognition of him. You can’t rebel against a nonexistent Lord.
This one is so simple, I’m shocked it took me so long to get it. But it eliminates ab initio a whole raft of perplexing conundra; not least, the puzzle of self-reference: of how it is that we can apprehend ourselves.
The basic idea is that we can only apprehend what is, and is therefore definite: definitely itself, and not some other thing. To the extent that a thing has not yet finished becoming, and thus become forever fixed in its character, it is not yet in fact out there for us to apprehend. It is invisible to us, and to all others, because, being as yet indefinite, it has as yet no definite character that we might grasp and evaluate. It just isn’t yet finished becoming. And until it is finished becoming, it isn’t yet anything in particular. It isn’t itself. It isn’t.
Until it is, and is therefore definitely itself and not something different, it cannot act qua itself. It cannot have any effect. We cannot be affected by it. We cannot feel it.
When I was a sophomore in college, lo these many decades ago, I was totally stoked to be learning about psychobiology, cybernetics, and philosophy of mind. It was intoxicating to feel my understanding growing so rapidly. I could begin to see how experience might be translated into neural circuitry, in principle at least. I kept thinking, “Oh! So this is just that! Nifty!” Once that happened in respect to any particular perplexity, I could stop worrying about it, and move on. The process felt as though it gave me terrific intellectual leverage. It was exhilarating, to find that such complex things – such mysterious things – could be explained so simply.
This is I think why improper reduction is so popular. It vastly simplifies the problem of understanding reality. It makes everything easier.
It is alas a philosophical cheap shot. For, unfortunately, it does this by making everything altogether too easy, altogether too simple. It makes reality too simple, too easy. That makes modeling reality much easier, no?
It is by building an intellectual model of how a thing works that we come to feel that we understand it. The easier it is to build an adequate model of something, the easier it is to understand; and the simpler the thing you are trying to model, the simpler the task of modeling, and the cheaper the understanding you gain from the procedure.
As Einstein said in his famous emendation of Ockham’s Razor:
Everything should be made as simple as possible, but not simpler.
The simplest theories are so parsimonious that Ockham’s Razor has sliced away the very sort of entities they were in the first place intended and devised to explain.
Of all the Philosophical Skeleton Keys I have written about, this one is the hardest. Not because it is inherently complicated, but rather because it is so simple, and so powerful; and because the moment I understood it so many perplexities so completely vanished that I have now but little recollection of them. So well did this Key dispose of so many problems, that I cannot now well remember what most of them even were!
I use this Key all the time; so often, that I don’t usually notice having done so.
It opens all sorts of locks, but I suppose that the most important of them is the Hard Problem of Consciousness, as David Chalmers has called it: namely, how do you get awareness out of the coordinate activities of trillions of particles that – on the usual modern construction of “matter” – are not themselves at all aware? The Hard Problem is the difficult and apparently incorrigibly perplexing nub of the Mind/Body Problem; the other aspects of the Mind/Body problem are what Chalmers calls the Easy Problems. Translating the Hard Problem into the terms I shall employ in what follows: how do you get lively acts from dead facts?
I have several times remarked that, on the most popular modern doctrine of matter – that it is dead stuff – eliminative materialism is the only consistent sort. If the universe is nothing but dead stuff, it is impossible for us to be alive, or therefore conscious. You can’t assemble a living conscious mind out of nothing but dead stuff. Thoroughgoing, consistent materialists, who have the courage of their convictions, forge ahead and, on that basis, deny the reality of consciousness.
There are few such.
There are of course some problems with eliminative materialism. In the first place, it insists that there are no conscious minds such as those that confide in eliminative materialism. In the second, because eliminative materialism is not itself composed of dead stuff, on its own terms it has no concrete existence.
On eliminative materialism, there’s no such thing as eliminative materialism, and no one exists to believe or disbelieve it.
So it can’t be true. It can’t even be wrong. It cannot be meaningfully asserted; so it cannot be meaningful.