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It may be true to claim that attention to both Aristotelian and Kantian Philosophy is necessary if one is to succeed in capturing the full sense or meaning of the philosophical component of Eliot’s poetry. There may, however, be, an aspect of Eliot’s poetry that remains untouched by the above philosophical interpretations(Aristotle, Kant, Freud) and that aspect is also important for our understanding and reasoning about aesthetic and religious problems.
We argued in an earlier work entitled “A Philosophical History of Psychology, Cognition, Emotion, Consciousness and Action”(Lambert Academic Press, 4 volumes2019-2022) that Wittgenstein conducts investigations into the use of language in order to reveal the important role of words in the understanding of their “meaning”. Wittgenstein believes that grammatical investigations can reveal the essence of things, thus distancing himself from various modern forms of relativism, and he also insists on the objectivity of the linguistic practices that are an essential part of our communal life-world. These investigations are conducted in Greek and Kantian spirit, and seek to connect essence-specifying characterisations with both the notion of “forms of life”, and our mental capacities. Wittgenstein attempts to assemble his album of sketches into a landscape that we find our way about in. He also, we know, compared Kant’s project favourably with what he was attempting to do, but there is no acknowledgement of the Aristotelian hylomorphic idea of “forms of life”.
One of the major “revolutions” of Wittgenstein’s later philosophy involved referring to the differing philosophical significance of the different “forms of language”, e.g. descriptive, interrogative, imperative and “countless other kinds”(Philosophical Investigations, 23). These forms are viewed in terms of the way in which we master the use of these forms as a consequence of learning the language. Wittgenstein, in the context of this discussion, uses the term “technique”, and this invokes the image of “tools”: words and sentences are “tools of language” he claims. Using these tools correctly then becomes an important part of the training process, and this process connects to areté( saying the right thing at the right time in the right way in the right circumstances). Imperatives, it is argued, have both conditions of understanding and performance. For example, the imperative “We ought to keep promises”, requires both understanding of the meaning of the words, and an understanding involving the importance of doing what one has said one is going to do. These elements are part of the language game we play with imperatives which is also founded on the praise or blame of fellow language users who believe the practice of keeping promises is important for the community. Imperatives of the above kind, then can be seen as “universal maxims” or principles, related to the moral law(the categorical imperative). The logic of the language game governing individual promising consists of a set of premises that begin with a universal”necessary “ought-statement”, and continues with a premise or premises stating the facts of the matter(that Jack promised Jill he would pay the money back that he was borrowing), and a concluding premise expressing what the individual ought to (Pay the money back).
Wittgenstein also analysed the language of religious belief. He points out, for example, that a religious belief cannot be characterised as a momentary state of mind(Lectures on Religious Belief). Neither can it be characterised as the kind of belief that can be proved via the production of evidence or the giving of reasons. The “reasons” given for a religious belief differ significantly from the reasons we give for a belief such as “Jean-Paul will be grading his students at the end of this academic year.” The faith that a religious person places in the future occurrence of a Judgement Day can be defended, but the “reasons” will not “prove” the veracity of the belief. There are, however, similarities. In both cases we will expect certain kinds of behaviour/activity on the part of the believer. Without some kind of public criterion, we would not know whether we understood the meaning of what has been said. If, for example someone believes that they will not cease to exist after their death, it might be a challenge to understand exactly what they mean, even if they engage in various forms of preparatory activity for a life after death, e.g. an author who writes an autobiography, or a ruler who arranges to have certain objects placed in their grave. This draws attention to an important condition for the existence of language-games, namely, that they require a form of life constituted of a constellation of actions which are embedded in the practice of learning the use of words. The telos of this learning process is the actualisation of this linguistic knowledge in the community. Wittgenstein, in relation to the life after death question expresses the same kind of scepticism that Socrates expressed in his cell whilst awaiting the implementation of his death sentence. Socrates, we know, claimed that he did not know whether a dreamless sleep or communion with other souls in a heavenly medium, lay in the future. What he was certain of, however, was that whatever it was that was going to happen it would be something Good. Wittgenstein has this to say about “The Good”:
“What is good is divine too. That ,strangely enough, sums up my ethics”(Culture and Value 5e)
This of course is a Kantian position. Wittgenstein goes on to say:
“You cannot lead people to the good: you can only lead them to some place or other: the good lies outside the space of facts.”(5e)
This is, of course a primary strategy of Eliot’s poetry which also strives to integrate the religious belief system with our moral belief system. Eliot leads us to the places of the beginning, exile in the waste land, and finally to the end where we “know” the beginning for the first time. These places, for Eliot are the “objective correlative” that he claims is a necessary instrument for the poet to use, when it comes to the evocation of the appropriate emotions and passions connected to fundamental themes of the poem. The Garden of Eden and the Waste land are, of course, in a sense “virtual”, and not actual places, but we understand that they are creations of the productive imagination. We understand this by the way in which Eliot uses his these ideas.
Wittgenstein, in his later work, moved away from the logical positivist view of Science and toward a more humanistic position. In Culture and Value he specifically claims that Science sends us back to sleep, and he reiterates here what he has said elsewhere, namely, that the solution to scientific problems no longer interest him(cf Socrates). What is needed, Wittgenstein claims, (in Socratic and Aristotelian spirit) is that we wake up and view the world with awe and wonder. Reminding us too of the Kantian claim that :
“We may apply….to an organised being, all the laws of mechanical generation known or yet to be discovered, we may even hope to make good progress in such researches, but we can never get rid of the appeal to a completely different source of generation for the possibility of a product of this kind, namely that of a causality by ends. It is utterly impossible for human reason, or for any finite reason qualitatively resembling ours, however much it may surpass it in degree, to hope to understand the generation of even a blade of grass from mere mechanical causes.”(Critique of Judgement, Dialectic of Teleological Judgement, P.66)
The implication of the Aristotelian, Kantian and Wittgensteinian view, is that science, (with its “book of nature” commitment in which observation of the facts and the mechanical causes of phenomena is the primary concern), will not provide us with answers to the aporetic questions that arise when we attempt to understand nature. Similarly, if we view past culture with the same commitment we may reduce it to rubble and ash, but, given the complex nature of our mental capacities and the way in which they relate to the human psuche, a spirit will hover over the ashes. Eliot captures this scenario in his image of the ashes of burned roses on the sleeve of winter. Aristotle Kant and Wittgenstein all agree on the complex integration of our human capacities and powers. Wittgenstein expresses this in the following fashion:
“The treatment of all these phenomena of mental life is not of importance to me because I am keen on completeness. Rater because each one casts light on the correct treatment of all”(Zettel, 465)
It is in this spiritual space that we find “The Good” and the awe and wonder we feel in the face of the beauty and sublimity of the natural world. Kant noticed the tendency to attempt to reduce the “architectural” work that occurs in this spiritual space to rubble, and objected to this attempt in all three of his major works, but most specifically in the Critique of Judgement, where the emphasis is upon the relations of the “faculties” of imagination, understanding and reason. Wittgenstein shares many of Kant’s concerns:
“Even if it is clear to me that the disappearance of a culture does not signify the disappearance of human value but simply of certain means of expressing this value, still the fact remains that I contemplate the current of European civilisation without sympathy, without understanding its aims, if any.”(CV 9e)
Whether what Wittgenstein means here is the European penchant for viewing the world scientifically, or whether he also has in mind the “transformation” of European Philosophy since the times of Aristotle and Kant, is unclear. This view, however, fits in well with the thesis that Kantian and Aristotelian Philosophy have been, in the modern industrial world, marginalised as part of the technical and financial “march” of “progress”. A march to the drum of techné rather than the symphony orchestra of arete, areté, epistemé, diké, logos and phronesis. Music was a primary concern for Wittgenstein and we find reflections on Beethovem, Mozart, Brahms, Mendelssohn, Bruckner, Wagner and Hadyn in the writings on Culture and Value.
Wittgenstein speaks quite often about a “landscape” in relation to his philosophy, and the difficulty his pupils have in finding their way about in this philosophical terrain. He also speaks about his own work in terms of an attempt to produce an album of sketches of this landscape, regretting the fact that these sketches do not form a whole. Perhaps both Aristotle and Kant felt this way about their work too. Wittgenstein’s modernity, however, manifests itself in the following remark:
“The truly apocalyptic view of the world is that things do not repeat themselves. It is not, e.g., absurd to believe that the scientific and technological age is the beginning of the end for humanity, that the idea of Great Progress is a bedazzlement, along with the idea that the truth will ultimately be known:that there is nothing good or desirable about scientific knowledge and that humanity, in seeking it is falling into a trap.It is by no means clear that this is not how things are.”(CV 64e)
Yet at the same time Wittgenstein is uncertain of this position, and speculates hopefully that perhaps one day our civilisation will evolve into a Culture. He focuses on a major modern concern orbiting around our modern educational systems, and claims that the education of his time was merely designed for the purpose of the pupils having a good time in the name of the Popper’s principle : “minimise suffering”. Suffering of the kind experienced by souls exiled in the waste-land (referred to by Eliot) is, Wittgenstein argues, out of date. This exemplifies for Wittgenstein, the decline of civilisation but it also connects with Kantian reflections on the importance of leading a moral life that has nothing to do with what Kant referred to as the principle of self-love in disguise, namely happiness. The Kantian moral agent, instead accepts the suffering involved in the effort to protect ones freedom and do ones duty, and they do this by, amongst other things ,bearing responsibility in relation to other peoples freedom. The saint, for Eliot obviously embodies this Kantian ideal in the way in which suffering is borne and in the way in which life is appreciated: a life lived , Eliot argues, at the intersection of time and the timeless.