Remembering the Dead

9d1af61698cd834326cd38729144efaa--mourning-jewelry-opalineI’m on sabbatical now. My plan had been to use this time to finish Fear and Dissembling, the book I have been working on for many years. I’d conceived that plan, however, before my father died, and since his death I’ve found it hard to get back to that project. I’ve actually found it hard to do anything constructive. I need to do something, though, to occupy my time until my powers of concentration have returned, something worthwhile, so I have hit upon a project that I have so far found very therapeutic. I am translating the chapter from Works of Love entitled “The Work of Love of Remembering the Dead.” My plan is to find a publisher for this little book so that it can be available as a comfort to people who have recently lost someone they love. It will be a very slim volume because the chapter is only ten pages or so long, so even with the original Danish text on facing pages, a translator’s introduction, a preface, and very wide margins, it should come in well under a hundred pages.

I think it should have very wide margins because wide margins make for a more attractive page. The volume I am envisioning will be small and thin and beautiful, something that the bereaved can carry around with them, like a breast-pocket New Testament; something they can find comfort in, not merely because of the words, but because of the beauty of the object itself. There is something comforting about beauty. People realize this at an instinctive level. That’s the reason, or at least part of the reason, for mourning jewelry. That’s also part of the reason, I believe, why there is so much work on the relation between aesthetics and religion.

I have pasted the first two pages of my translation below. As I have mentioned elsewhere, I favor what is known in translation theory as “semantic translation,” or translation that endeavors to preserve the sense of the original, or “source,” text but which tends to be freer than “literal” or “faithful” translation (see Peter Newmark, A Textbook of Translation). Hence I have taken a few liberties in the text below. The term “graveyard” (i.e., Kirkegaard) does not appear in the original. Where I have “go out to a graveyard,” in the second paragraph, the text actually reads “gaae ud til de Døde” ––i.e., “go out to the dead.” My husband thought, however, when I gave him the text to read, that this might be a little disorienting to the reader, so he suggested that for at least this first reference to “de Døde,” I substitute “graveyard” for “the dead.” That seemed to me a good suggestion, so I have taken it.

I have also added, at my husband’s suggestion, more paragraph divisions than exist in the original. The entire text below is only two long paragraphs in the original, and that is also, I fear, a little disorienting.

I used both the Swensons’ translation from 1946 and the older Hongs’ translation from 1962 as guides. The Swensons’ translation is, unsurprisingly, generally superior to the Hongs’, but even it is not without problems as I will explain in detail in the eventual “Translator’s Introduction.” For now, the only translation issue I want to draw your attention to, in addition to the aforementioned one, is my choice of “reduced circumstances” for Kierkegaard’s “indskrænke sig.” That, I hope you will agree, is a clear improvement on both the Hongs’ “cut back,” and even the Swensons’ “restrict itself.”

But read the text and judge for yourself.

When, for some reason or other, a person fears he will be unable to maintain a general grasp of something complicated and complex, he tries to make, or to acquire, a brief summarizing concept of the whole –– to help him maintain his grasp. Death, in this way, is the shortest summary of life, or life reduced to its shortest form. That’s why it has always been so important to those who reflect on the meaning of life, frequently to test what they have understood about it by means of this short summary. For no thinker has such a command of life as death has, that powerful thinker, who is able not merely to think through every illusion, but to grasp it in its parts and as a whole, to think it to nothingness.

If then, you become confused when you consider the many and various paths life can take, go out to a graveyard, there “where all paths meet” –– then the grasp becomes easy. If your head swims from constantly observing and hearing about life’s diversities, then go out to the dead; there you have control of the differences; there in “Muldets Frænder,” “the fellowship of mold,” there are no differences, only close kinship. That all human beings are blood relations, that is, of one blood, this consanguinity is often denied in life, but that they are of one mold, are related through mortality, cannot be denied.

Yes, go again out among the dead, so that you can, from there, get a view of life. This is what a sharpshooter does. He seeks a place where the enemy can’t hit him but from which he can hit the enemy, and where he can have the requisite calm for taking aim. Don’t choose the evening for your visit because the stillness of the evening, of an evening spent among the dead, is often not far from a certain exaltation of mood which strains and “fills one with restlessness,” creating new mysteries instead of solving the old ones.

No, go there early in the morning when the sun peeps between the branches, alternating light with shadow, when the beauty and friendliness of the sea, when the singing of the birds and the multitudinous life everywhere almost allows you to forget that you are among the dead. It will seem to you as if you have arrived in a foreign country, a place unfamiliar with the distinctions and confusion of life, a childlike place, consisting entirely of small families. Here is attained what is sought vainly in life: equality. Each family has a little plot of land for itself, of approximately equal size. Each has more or less the same “view.” The sun can easily shine equally over them all; no building rises so high that it cuts off the sun’s rays, or the nourishment of the rain, or the wind’s fresh breezes, or the songs of the birds, from a neighbor. No, here everyone is equal.

It happens sometimes in life that a family that has enjoyed wealth and abundance must accept reduced circumstances, but in death, everyone must accept reduced circumstances. There may be minor differences, perhaps six inches in the size of a plot, or that one family has a tree, which another inhabitant does not, on its plot. Why do you think there are these small differences? It is to remind you, by means of a profound jest, of how great the difference was. How loving death is! For it is certainly loving of death to use these small differences to remind us, through edifying humor, of just how great the difference was. Death does not say “there is absolutely no difference”; it says “you see there how great the difference was: six inches.”

If there were not these small differences, neither would death’s grasp be completely reliable. Life returns, in this way, in death, to childishness. Whether one owned a tree, a flower, a rock, made a great deal of difference in childhood. And the difference hinted at what later in life would appear on a very different scale. Now life is over and this little hint of a difference among the dead remains to soften, through humor, the memory of how things were.

Kierkegaard on Nature and Miracles: A Reply to Hampson

I promised in the post entitled “Scholarly Protocol” which addressed the form of UK theologian Daphne Hampson’s extended comment on my earlier post “Getting Kierkegaard Wrong” that I would address the substance of her comment as well. As I said, I addressed that substance in the first of this series of posts in that Hampson’s comment merely summarizes an argument she makes in more extended form in her book Kierkegaard: Exposition and Critique. It is clear, however, that Hampson still hasn’t understood where her interpretation of Kierkegaard goes wrong, so I feel obliged to address that issue in more detail.

Hampson argues that Kierkegaard rejects “causality,” and more specifically, that he rejects the idea that there are laws of nature. It is this rejection, she asserts, that conveniently allows him to believe in miracles. Her argument makes sense. That is, it’s coherent. It’s just that it’s wrong. First, Kierkegaard clearly accepts both causality and the idea that there are laws of nature. Second, it is far from clear that Kierkegaard believed in miracles in the supernatural sense that sees them as a violation of those laws.

The first charge, that Kierkegaard rejects causality and the idea that there are laws of nature, can be swiftly and easily refuted. I already addressed the issue of Kierkegaard’s acceptance of causality in my remarks on Hampson’s misinterpretation of Kierkegaard’s treatment of the two distinct Aristotelian senses of change in my original post “Getting Kierkegaard Wrong,” so I won’t revisit that argument here, but will look more specifically now at the issue of whether Kierkegaard rejects the idea that there are laws of nature.

Kierkegaard writes in one of his notebooks sometime between 1841-42 that “[i]n nature everything is bound by law and hence governed by necessity” (SKS 19, 263). One might be tempted to argue that this reference comes very early, before Kierkegaard published his most famous works, and that it is thus possible that he changed his mind later. There is no evidence, however, to support such a view.

What’s worse for Hampson, is that an equally unequivocal reference to the reality of laws of nature occurs in the very work Hampson cites in support of her claim that Kierkegaard didn’t believe in the reality of laws of nature. This reference appears on the last page of the second volume of Either-Or, at the end of a discourse entitled “The Upbuilding That Lies in the Thought That in Relation to God We are Always in the Wrong.” Kierkegaard refers there to “the law which carries the stars on their paths across the arch of heaven” and observes that it would be a “terrible catastrophe” if “the law of nature lost its power and everything disintegrated into dreadful chaos.”

Kierkegaard is no friend of chaos. He falls squarely on the Apollonian side of the Apollonian/Dionysian divide. Not only does Kierkegaard believe in the reality of laws of nature, he believes that these laws are essential to giving order to our experience and hence provide the conditions under which it is possible for that experience to have meaning.

But if Kierkegaard accepts that there are laws of nature, what are we to make of his apparent rejection of “naturalism” that Hampson cites in her comment? The answer is that “naturalism” is synonymous for Kierkegaard with an all-encompassing physical determinism. It isn’t the idea that there are laws of nature that Kierkegaard rejects, but the idea that these laws necessarily determine human behavior.

Kierkegaard clearly holds something like a Kantian view of the relation between the phenomenal and noumenal view of a person. This view can be found, for example, in the section of Either-Or Part II entitled “The Aesthetic Validity of Marriage.” It may be challenging to make sense of how the phenomenal and noumenal aspects of a person can be brought together in such a way as to preserve human freedom, but Kant asserts they can be, and Kierkegaard appears to follow Kant in this respect. In fact, Kierkegaard distinguishes between “rationalism” and “naturalism” in a journal entry that examines this aspect of Kant’s thought (SKS 19, 159).

So much for Kierkegaard’s purported rejection of the idea that there are laws of nature. What about his position on miracles? The journal entry Hampson cites where Kierkegaard indicates that he rejects “naturalism” also includes a somewhat ambiguous reference to miracles. “Unfortunately,” it reads, “we know far too well what people in our day think of miracles” (SKS 24, 72). Those words are not Kierkegaard’s, however, but Bishop Mynster’s. Kierkegaard is quoting Mynster. But even if Kierkegaard is in agreement with Mynster’s words, it’s not clear exactly what those words mean. Do they refer to a pervasive rejection of the idea that are such things as miracles, or to the view that once there were miracles, but that miracles don’t happen any longer? Or could they be a disparaging reference to a propensity to focus on the purportedly supernatural aspect of miracles?

What is clear about Kierkegaard’s interest in miracles is that it is not their purportedly supernatural aspect that interests him. Kierkegaard is, in fact, openly contemptuous of people who focus on the supernatural rather than the edifying aspects of the accounts of miracles in the New Testatment. He asks, for example, in a discourse on Matthew 11:30 “My Yoke is Beneficial and My Burden Is Light” “is it really a greater miracle [Under] to change water into wine than for the heavy burden to continue to be heavy and yet be light!” (UDVS, 233).

What makes a burden that remains (one might be tempted to argue, according to natural law) heavy, nevertheless light, is not some violation of natural law. The “miracle” here is psychological, not physical.

The same emphasis on the miraculous as a psychological phenomenon rather than a physical one can be seen in Kierkegaard’s observation that

[a]t times, the circumstances determine that a penny signifies little more than it usually signifies, but if someone wants to perform a miracle [gjør et Vidunder], he makes the one penny signify just as much as all the world’s gold put together if he gives it out of compassion and the penny is the only one he has” (EUD, 362.)

That kind of generosity, or compassion, is certainly extremely rare but it doesn’t violate any natural law.

Kierkegaard’s interest in the miracle stories in the New Testament relates not to their purportedly supernatural aspect, but to the sense in which they can be subjectively meaningful, or more particularly, edifying. This can be seen yet again in his observation in his journal on the story of the feeding of the five thousand in John 6:1-15.

Since it was through a miracle [Mirakel] that enough food was procured [skaffet] to feed five thousand men, one would [be inclined to] believe that no thought would be given to the leavings [der blev ødslet med Levningerne]. But no, God is never like that. Everything was carefully gathered up according to the Gospel. The human is to be unable to perform miracles [Mirakler] and yet to waste the leavings [at ødsle med Levninger]. The divine is to perform the miracle [Miraklet] of abundance and yet to collect the crumbs [samle Smulerne op] (SKS, 20, 110.)

Kierkegaard’s point here is not to emphasize that Christ had supernatural powers, but to communicate something about God’s nature that would have an edifying effect on the reader, as is clear from his retelling this same story in one of his published “Discourses on the Communion on Fridays.”

God is and can be just as scrupulous as he is great and can be great in showing mercy. For example, God’s nature always joins opposites, just as in the miracle [Mirakel] of the five small loaves. The people had nothing to eat–through a miracle a superabundance was procured [skaffes], but see, then Christ commands that everything left over be carefully collected. How divine! One person can be wasteful, another thrifty,; but if there were a human being who through a miracle [Mirakel] could at any moment divinely procure [skaffe] a superabundance, do you not think that he humanly would have disdained the crumbs [Smulerne], do you think that he–divinely would have collected the crumbs [Smulerne]! So also with God’s greatness in showing mercy. (CD, 295-96).

Don’t be misled by the fact that the term that is translated as “miracle” in the first passage is “Under,” the term that is translated as “miracle” in the second is ”Vidunder,” and the term that is translated as “miracle” in the third passage is “Mirakel.” Kierkegaard uses the terms “Under,” “Vidunder,” and “Mirakel” interchangeably, and indeed, they are synonyms according to both Ferrall-Repp and the venerable Ordbog Over det Danske Sprog. Kierkegaard’s references, for example, to “the miracle of faith” are sometimes “Troens Mirakel” (cf., e.g., WOL, 295; CD, 115) and other times “Troens Vidunder” (cf., e.g., FT, 18 and SLW, 163).

The Hongs appear to have had a misguided ambition to consistently translate “Vidunder” as “wonder” rather than “miracle.” Yet even the Hongs couldn’t help but realize that “Under,” “Vidunder,” and “Mirakel” are synonyms for Kierkegaard and hence translated Kierkegaard’s “Dette er Christendommens Undergjerning, vidunderligere end det at forvandle Vand til Viin” as “This is the miracle of Christianity, even more miraculous than turning water into wine.”

It actually makes sense that Kierkegaard chooses to focus not on the objective aspect of miracles but on the sense in which they can be subjectively meaningful in that there are no references to “miracles” in the authorized Danish New Testament of Kierkegaard’s day. Every single reference to a “miracle” in the King James Version of the New Testament appears not as “Mirakel” in the Frederik VI’s New Testament, but as “Tegn,” i.e., “sign.” This, in turn, makes sense because every single reference to a “miracle” in the King James Version of the New Testament appears as σεμεἰον, i.e., “sign” in the original Greek. Signs require what the philosopher Charles Sanders Peirce called an “interpretant.” That is, they are meaningful only subjectively. There is no such thing as an objective sign.

The question remains, of course, as to whether Kierkegaard believed miracles were supernatural events, but simply chose not to focus on that aspect of them. That’s a difficult question to answer. I argue in my book on his epistemology that Kierkegaard viewed all of empirical science as merely probabilistic and that suggests there is room for him to view miracles as merely exceptionally unusual, or highly improbable, events rather than events that violated laws of nature.

Support for this view can be found in the fact that Kierkegaard refers repeatedly to “the paradox” of Christianity as “improbable” rather than “impossible” (cf., e.g., Crumbs, 123, 159 and CUP, 195, 196). Support can also be found in the fact that when Kierkegaard refers to the feeding of the five thousand, he writes that food was miraculously “procured” (skaffet, see Ferrall-Repp) not “created” (skabt) that was sufficient to feed five thousand people. Who knows how it was procured. The implication of the word choice, however, is that the means used to secure it were not necessarily supernatural.

That said, even if Kierkegaard believes miracles are supernatural events, he does not reject the reality of laws of nature. There clearly are such laws, according to Kierkegaard, as the quotations with which this post began demonstrates even if, as I argue in my book Ways of Knowing, Kierkegaard believes the correspondence to reality of any particular interpretation of these laws cannot be shown to be certain.

Hampson is deluded in thinking that Kierkegaard rejects the idea that there are laws of nature and that he does this to make room for his belief in miracles. There is undoubtedly someone in the history of thought who holds the view Hampson attributes to Kierkegaard. It just isn’t Kierkegaard. Hampson’s Kierkegaard is a fantastical creation of her own imagination, concocted, it would appear out of the ambition to present a grand, over-arching theory about the development of thought after the Enlightentment. And she has been spreading the contagion of this erroneous interpretation of Kierkegaard all over the globe. First in 2013 at the bi-centenary of Kierkegaard’s birth in Copenhagen, Australia, and then in the United States, and then later in Budapest.

That is one of the dangers of what philosophers call “big picture” work: a grand over-arching theory that attempts to explain a particular development in the history of thought almost always requires that its author include thinkers on whose thought he or she is not expert. That’s why philosophers in the Anglo-American tradition tend to avoid it. It’s virtually impossible to do it well. It’s almost inevitably flawed, and sometimes very conspicuously so.

Theologians, on the other hand, appear not to have the same fear of error that generally characterizes philosophers. Hampson, by her own admission is working on a grand, over-arching theory that she plans to present in a book “provisionally entitled ‘Enlightenment and After.’” My guess is that she is going to fit her fantastical Kierkegaard into this development in a manner analogous to that in which Alasdair MacIntyre fit his fantastical Kierkegaard into the picture he presents of the historical development of ethical thought in his book After Virtue, though the distinction Kierkegaard makes in the journal entry cited above between “rationalism” and “naturalism” does not bode well for such a project.

The good side to this is that just as MacIntyre’s distortion of Kierkegaard’s thought provided an occasion for some really first-rate Kierkegaard scholarship, as is exemplified in John Davenport and Anthony Rudd’s excellent book Kierkegaard after MacIntyre, so will Hampson’s distortion of Kierkegaard, both in her book on him and in her forthcoming book, provide an occasion for much excellent Kierkegaard scholarship.

The really pressing question is how a book containing such a conspicuously and spectacularly erroneous interpretation of Kierkegaard could ever be published by a publisher such as Oxford? Something would appear to have gone horribly wrong with the process of peer review.

 

 

“Crazy Capers”!

I promised I would do a post comparing my translation of a particularly tricky passage from Kierkegaard’s Repetition with the Hongs’ translation of the same passage. This comparison will give readers a sense for how difficult translation sometimes is.

The passage in question comes from the part of Repetition where Kierkegaard talks about farce. It begins on page 27 of Repetition and Philosophical Crumbs (Oxford, 2009) with the paragraph that starts “They show farces in the Königstädter Theatre,” and ends just before the middle of page 34. This material on farce is really wonderful and ought to be excerpted and included in collections of writings on theater.

The narrator of Repetition is presented as an older man who has become preoccupied with the question of whether repetition is possible in the face of what would appear to be time’s relentless unfolding of the new and the novel. He undertakes a trip to Berlin as an experiment to test whether he can repeat the joys of an earlier visit. One of his chief pleasures is farce, so he had been a frequent visitor to the Königstädter Theatre which was famous for its farces. Pages 27-34 present his extended analysis of what one could call the logic of farce.

The narrator is particularly interested in two famous performers, Phillipe Grobecker and Friederich Beckmann (both genuine actors associated with Königstädter Theatre) whom he refers to as G. and B. respectively. B.’s dancing,” he asserts in a description of one of B’s performances,

is incomparable. He has sung his couplet and now begins to dance. What B. dares here is back-breaking because he does not presumably venture to affect the audience in the strictest sense through his graceful movements. He is well beyond this. The lunatic laughter that is in him cannot be contained in either physical form or spoken lines. Only a Münchhausen-like grabbing oneself by the neck and repeatedly transcending oneself in a crazy, riotous sort of leapfrog captures this spirit. (p. 32.)

That reads easily enough, doesn’t it. You’d never know it took me several days to translate those few brief lines. Compare the passage above to the Hongs’ translation of the same passage:

B.’s dance is incomparable. He has sung his couplet, and now the dance begins. What B. ventures here is neck-breaking, for he presumably does not trust himself to create an effect with his dance routines in the narrow sense. He is now completely beside himself. The sheer lunacy of his laughter can no longer be contained either in forms or in lines; the only way to convey the mood is to take himself by the scruff of the neck, as did Münchhausen and cavort in crazy capers. (p 164.)

The Danish is:

B.’s Dandsen [er] uforlignelig. Han har sunget sit Couplet, nu begynder Dandsen. Hvad B. her vover er halsbrækkende; thi han trøster sig formodentlig ikke til i strængere Forstand at virke ved sine Dandse-Stillinger. Han er nu aldeles ovenud. Latterens Vanvid i ham kan ikke mere rummes hverken i Skikkelse eller Replik, kun det, som Münchhausen, at tage sig selv i Nakken og henjuble sig selv i afsindige Bukkespring, er i Stemningens Medfør.

A literal translation would be

B’s dancing is incomparable. He has sung his couplet, now the dance begins. What B dares here is throat-breaking: because he presumably does not trust himself to, in a stricter sense affect [the audience] with his dance positions. He is now altogether out above. The frenzy of laughter in him can no longer be contained in either a figure or a line [as in lines actors recite], only that which like Münchhausen, to take oneself by the neck and cheer oneself in a deranged bucking is in [keeping with] what the mood brings along.

Pretty weird, eh? I’ll admit that I took a lot of liberties with the translation of this passage simply to come up with something that was readable in English while still conveying the essence of what Kierkegaard appeared to be trying to say. “Throat-breaking” is not idiomatic in English, so I changed it to “back-breaking.” “[O]venud” means “out above,” or “over” as in “the water ran over,” but “He is now altogether out above” isn’t even a sentence in English. It seemed to me that the context suggested Kierkegaard meant something like “beyond,” so I rendered “Han er nu aldeles ovenud”as “He is well beyond this.”

The biggest liberty was translating “henjuble sig selv” as “transcending oneself.” “Henjuble” appears to be a word Kierkegaard made up out of “hen,” which according to Ferrall-Repp can mean ”away,” “off,” “on” “to,” “toward,” or ”against,” and “juble,” which means to “call,” or to “shout.” So it would appear to mean something like “cheering oneself forth.” That doesn’t make much sense in English, though, so I came up with “transcending oneself.” I dropped all mention of “cheering” and replaced the literal “bucking” with “leapfrog.”

Again, I took some liberties with this passage, but if you have read my other posts on translation you will know that I am a proponent of what is known in translation theory as “semantic translation” (see Peter Newmark’s A Textbook of Translation) which is an approach to translation that privileges the sense of a passage over a literal word-for-word rendering of the original. Only in this way, I think, can a reader get a reliable sense of how a text reads in the original language. One of the complaints I hear over and over again about the Hongs’ translations is how wooden they are. They definitely do not read at all like Kierkegaard’s texts do in the original Danish. Kierkegaard was a brilliant prose stylist, one of the greatest in the history of Danish literature. The problem with the Hongs’ translations is that they tend to be too literal and literal translations almost never preserve the feeling of the original.

The Hongs aren’t always literal, however. “The sheer lunacy of his laughter,” for example, is simply wrong. The Danish is “Latterens Vanvid i ham” which translates literally as “The lunacy of laughter in him.” That is, the reference isn’t to his laughter, but to laughter as such, with which he, as a comedian, is intimately familiar. That is no small distinction from the perspective of philosophy.

The Hongs have also simply interpolated “sheer” in this passage. There is nothing that corresponds to it in the original Danish text.

There are other instances in which the Hongs deviate even more bizarrely from the original. I look at some of those instances in future posts.