From The New York Times Book Review,
May 26, 1968, 4, 5, 35. The original title was simply,
“A Lady
Seeking Answers.”
Posted November 23, 2008
Photo by James Lord. The poor quality is the result of a scan of a
print-out of microfilm. If there is a reader who has a physical
copy of the magazine and therefore can provide a
better digital reproduction, I
would appreciate hearing from him or her. -- Anthony Flood
Susanne Langer: A Lady Seeking Answers
James Lord
Susanne K. Langer lives
in an old New England farmhouse. Barn red, facing the afternoon sun, it
stands close to the roadside but well above it, unassuming and
inconspicuous. The interior, like all places where a person has lived
alone for a long time, is intimately expressive of its inhabitant.
Writing occupies one axis of the large L-shaped living room, music the
other. Where the two join stand several chairs, a table and a couch;
the walls are lined with bookshelves from the floor almost to the low
ceiling. At the end of the music area, beyond the grand piano, a glass-doored
cabinet holds a cello and two violins. The writing area is all but
filled by two desks and a card table pushed together to afford maximum
space for a row of large card files, piles of manuscript and the books
and journals which are the tools of current research.
Throughout the room are
paintings, drawings, sculptures and other artifacts which reflect Mrs.
Langer’s tastes not only in art but in nature as well. And there are
the many books in English, French and German, languages that she uses
with equal fluency, books mostly of logic, philosophy and esthetics,
fields which occupied many years of her teaching career, but also works
touching on the various forms of art as well as the areas of biology,
physiology and psychology, which have assumed increasing importance in
her more recent works. On shelves, tables and window ledges stand jars
and aquariums that contain fish, spring peepers, tadpoles and turtles.
Nothing in the room is contrived for the regard or impression of the
visitor. It serves purely to provide comfort and utility to its
inhabitant—a room uninfluenced by the fashions.
Susanne Langer is slight
but not frail, and as in her habitat so in her appearance little seems
to have been calculated for the eye of the visitor. Her dress is
informal and she uses no cosmetics. Her fine, gray hair is trimmed
close. For one who frequently spends 10 hours a day writing and reading
and who is now past 70 she holds herself alert and erect with notable
vitality. As she speaks she calmly and continually folds and unfolds her
fingers, which have the tensile, slender finesse of seasoned
self-discipline. Her tone itself is disciplined even when humorous.
“What I am trying to
do,” she said, seated between the window and the piano, “is to break
through current forms of thought in biology to form a framework for
biological theory which will naturally result in a theory of the human
mind.”
To challenge the
existing boundaries of scientific thought! Not by chance, not by the
single intuitive tour de force that is occasionally the happy experience
of the laboratory scientist, but by the deliberate and rigorous,
exercise of intellect. Not for immediate utility, not for pure
intellectual enjoyment alone, but for the practice and profession of
understanding. It is a purpose clothed in the beauty of natural
self-evidence. Finding the coherent structure which threads through an
almost infinite complexity of interdisciplinary data and thought is a
challenge to the passive fatalism of those who accept the world as it
appears and feel that life unexamined and uncriticized is well worth
living.
Such sovereign
participation in the future of human awareness is not what one expects
to find along a Connecticut roadside. But Mrs. Langer herself is among
those surprises of experience that dispose one to contemplate
contingency with pleasure. She is the world-famous author of
Philosophy in a New Key, Feeling and Form and, most recently,
Mind: An Essay on Human Feeling, of which the first of three volumes
was published last year and which she regards as her magnum opus. She
has vitally influenced not only other philosophers but artists and
scientists as well in their concepts of function, and her theories are
discussed with vivid concern in both studios and studies. Her works as
well as her aspirations have remained serious and life-enhancing, and
reflect a lively awareness of the “state of the art” of the various
disciplines from which she draws. This awareness and seriousness of
purpose naturally dominate one’s impression of her as a person.
Born in New York City of
well-to-do German-born parents, Mrs. Langer as a child spoke German
exclusively at home. Her early education was at a French school in New
York, and it was not until she entered Radcliffe that English became the
completely integrated means by which she communicated with the world.
It is interesting to conjecture that this multiplicity of communicative
means early in her life may in some measure account for the universality
of Mrs. Langer’s present response to living phenomena.
At Radcliffe she majored
in philosophy and after her marriage to William L. Langer (then also a
graduate student at Harvard, where he went on to become a distinguished
historian) she remained there to complete her doctoral work, chiefly in
logic, and to teach philosophy. In these early years of her
professional career she also wrote ‘The Practice of Philosophy
and An Introduction to Symbolic Logic. The Professors Langer
were divorced in the early 1940’s; their two sons became neither
historians nor philosophers but rather a banker and a computer
technologist. For many years Mrs. Langer has served on the faculty of
Connecticut College, where she is now professor emeritus, though for
most of the last decade her efforts have been directed entirely to her
writing. This work has been supported by the Kaufmann Charitable Trust,
an organization distinguished by its willingness to wait 10 years for
the first finished product of its generosity.
When conversation about
her background gives way to a discussion of her philosophical concerns,
Mrs. Langer takes on the patient, purposeful authority of a trained
teacher and practiced writer. Yet a certain diffidence prevents her
intellectual authority from intimidating the visitor. She knows that
the fields of her activity are abstruse and tries to make it easy for
others to ask questions. Facing her blue-eyed, contemplative gaze, the
visitor asks: “Would you say that your purpose is to think rationally
beyond the previous limits of human knowledge?”
“Perhaps that would be a
rather presumptuous or grandiose statement of objectives. Let’s say
instead that I am trying to tie together a number of disciplines into a
structure that these disciplines—the arts, biology, neurology,
psychology, language, anthropology and others—won’t themselves singly
support. I am trying to develop basic concepts which underlie all
these sciences or fields of study and which can rule all such thought.”
“But how does one go
about such work?”
“You must have the means
to develop coherent concepts that are sufficient to build up a
conceptual structure which will be adequate to the experiential facts
you want to describe, and which will not only allow you to characterize
but also to manipulate possible relationships in such a way as to
discover relationships you had not previously seen.”
“Some very particular
talent must be required to do that, mustn’t it? Some innate capacity or
aptitude?”
“A great freedom with
abstractions, for one thing. I have always had that. I find logic and
mathematics easy—but not visual mathematics. For instance, I always
have to translate in my mind all geometry or visual constructions into
algebra. What really was decisive for me, though, was 10 years’ study
of symbolic logic. That taught me how to hold many ideas simultaneously
in my mind. I can entertain a proposition without having to say that I
do or don’t believe it. One plays with many possible forms at once.
It’s the gestalt principle, as for example, when one looks at a
wallpaper that has a particular geometric pattern and sees alternative
configurations, triangles, that is, jumping suddenly to form larger
triangles, stars or parallelograms. The ideas with which I work are
analogous to such an ambiguous pattern. To be able to deal in this
manner with abstract ideas is essential when one is trying to break
through the historical limitations of theory.”
“It must be necessary to
have an exceptionally retentive memory.”
“It would certainly be
helpful. My verbal memory is like fly paper. Everything sticks to it.
That is both good and bad, because one’s mind becomes filled with
irrelevant as well as useful things. For instance, I still remember any
number of rhymes from advertisements that I saw in my childhood, and
these pop into my head at the most unexpected and ridiculous moments.
At the same time, however, I remember reams of the fine poetry I’ve
read over the years, and that is a delight to recall. Though my verbal
memory may be exceptional, my visual memory is unfortunately far from
good. I have trouble recognizing faces I have seen even more than once.
A poor visual memory is a particular handicap in handling source
material in research. That’s why I have to keep the elaborately
cross-indexed system of file cards which you see in those boxes on my
desk. Those 12 boxes and six more like them in storage upstairs, each
one holding about a thousand cards, contain notes on every professional
book and journal that I’ve read since my junior year in college. It’s
the only way that I can put my hands immediately on my source material.
Had I been blessed with a better visual memory, this filing would not
have to be so involved and time-consuming.”
“Although you have
written a great deal about the arts, your current work is not
specifically concerned with the arts, is it?”
“No. It is not simply
an extension of what I said in Feeling and Form. Many of the
people who have written about the new book, including
some eminent critics, have made
that mistaken assumption. What I am trying to do here is to arrive at a
conceptual framework for literal thought about organic nature without
losing sight of the actual phenomena which those concepts are supposed
to describe. The image of life is in art. An image is not a model, and
it can’t be used for scientific investigation. An image shows how a
thing looks, while a model shows how it works.”
Mrs. Langer is in
eloquent control of the afternoon. Choosing words with evident concern,
she seems to draw upon a matrix of disciplined perception sufficient to
elucidate the most abstruse phenomena. In answer to the question
whether or not it is possible to say exactly what one thinks, she
replies, “Yes, I believe that we can, because language, while it clearly
has its limitations, is the only instrument through which we can
formulate thought. Remember, though, that the term ‘language’
encompasses not only the written and spoken forms that most people use
in everyday life; but also the less common symbolic forms of the
mathematician, the physical scientist and others. These forms have been
developed just because of the limitations of ‘ordinary’ language and
permit their users far greater precision in expressing thoughts. The
precise relationship between language and thought presents a number of
significant psychological problems which are still largely unexplored.
One comes, upon surprising discoveries.”
“Could you mention one?”
“Yes. I mean, for
example, such a discovery as Freud made when he observed that in dreams
speech has the same function as a visual image.”
A future part of Mrs.
Langer’s work will be devoted to the enigmatic nature of language and
its radical difference from all forms of nonhuman communication. While
animal communication is always emotional or directive, the essence of
language is expression of ideas. In this connection she pointed out
that even if one is engaged in expressing concepts of a very definite
character one cannot account for the origin of the specific words which
present themselves to the mind as uniquely appropriate to the purpose at
hand.
Sometimes a word may
occur but then almost at once vanish, bearing with it the essence of a
particular thought, and no amount of longing or patience can summon it
back. Like many writers, accustomed to these quirks of the mind, Mrs.
Langer has trained herself to dominate, but at the same time to.
Stimulate, that welling of words which is inseparable from the
awareness and expression of thought. This is essential to the juggling
of ideas which she describes as an integral component of philosophical
activity.
Once generated, however,
the verbal stimulus is not always easy to arrest, and it often happens
that fruitful perceptions may take their authors by surprise at
irrelevant or vulnerable moments. Mrs. Langer keeps a stack of filing
cards besides her bed and by guiding the movement of her hand with a
little finger held at the edge of the stack has taught herself to write
four or five lines of legible script per card in the dark. Such
spontaneous experience of those mental processes common to all
imaginative writing may reasonably lead one to wonder whether Mrs.
Langer’s work does not within its own conceptual framework also have an
artistic essence.
“Not really an artistic
essence,” she replied, “but it is full of literary problems which are,
of course, artistic. Philosophy always aims to present actuality, while
for an artist actuality is but raw material. Art creates a semblance
that exists in its own right. My work is about actuality, and insofar
as it may create a semblance the essence of it is that such a semblance
should fit actuality. Even the stylistic devices are to make the
concept easier to grasp.”
Here in this quiet,
bright and rather untidy room, day after day and for years a lone woman
has lived at grips with concepts of basic actuality. One wonders what
sort of a life it may be. Solitary, she acknowledges, indeed solitary.
The community comes and goes about her; she takes no active part in it.
But does nothing serve to leaven this existence of intense intellectual
activity?
Recreation? Mrs. Langer
smiled obliquely. There is the housework, of course, which she does
principally when tired after a long day of reading and writing. And
there is music. Music, in fact, would appear to be her principal
recreation. If it may properly be called that, for Mrs. Langer observed
that effective practice of the cello, which is her instrument, requires
a degree of mental vitality and concentration that she can ill afford to
spare from her philosophical work. Accordingly the music suffers, and
she regrets this primarily for the sake of those friends who come almost
every week for an evening of quartets or trios. But there are other
recreations.
The Creek Mouse, for
instance, a green canoe which in warm weather rides atop Mrs. Langer’s
station wagon. Out driving, if she comes to a pleasing expanse of
water, she will draw her automobile to the roadside, slide the Creek
Mouse down from its rack, take it to the water’s edge and go for a
paddle. Childhood summers spent at Lake George familiarized her with
the niceties of handling a canoe. To laze along the shores of secluded,
ponds and creeks, contemplating with a naturalist’s eye the undisturbed
forms of life about her, is surely a happy pastime. Yet it does seem
strenuous for a slightly built lady in her 70’s, doesn’t it?
“Not at all, really.
The canoe weighs only 48 pounds and I can manage it quite easily. If
you lift it by the center bar and let it ride against your hip as you
walk, it’s rather like carrying a somewhat oversized child.”
The name? She laughed,
facing light from the window—a light which seemed almost as much to
emanate from her as to illumine the candid wrinkles and mercurial
vividness of her expression. “It has a history, of course: At the
seashore years ago I had a pram bow boat called the Sea Mouse, but a
canoe doesn’t brave the sea. It’s only a Creek Mouse.”
Each summer, if a
logical break in her writing presents an opportunity or if plain
intellectual fatigue sets in, Mrs. Langer and a friend take Creek Mouse
for a week of camping on some lake in the wildest wilderness she can
find. She is an experienced camper and feels no apprehension whatever
about spending days at a time far from civilization. A week’s break in
her work does much toward recharging her mental energies. No longer
period is needed nor could be spared from her demanding ambitions.
And yet one wonders.
When the much-loved cello sits in its cabinet and Creek Mouse is idle
atop the station wagon, when only the domain of ideas prevails in this
place, one wonders what may be the ultimate satisfaction of living in
it.
“I can’t answer that
question,” said Mrs. Langer tersely. “It’s a purely intellectual
matter. Perhaps the ability to meet difficult problems is my ultimate
satisfaction. All of a sudden alight dawns on something which I’ve been
wrestling with for a long time. This happens every few weeks. Then I’m
very excited. I know I should stay and work it out completely, but I
can’t. I get out my canoe or drive to Scarsdale to see my son and his
family. I know I have the idea under control, but my excitement has to
settle down before I can return to my desk. Whenever you know that
you’ve broken through a difficult problem it gives you a great feeling
of security. The greatest security in this tumultuous world is faith in
your own mind.”
Such, then, seems to be
the rationale for this solitary existence, with the living company of
only aquarium pets and the squirrels, birds and occasional other animal
inhabitants of the fields around the house. In this regard Mrs. Langer
observed, “I find it very good to be surrounded by, and reminded of,
forms of life that are not like ours. You grow very provincial if you
think of all life only in terms of your own. One of the things on which
I’m speculating is what animals feel. Somewhere in animal life are the
forerunners of all those modes of feeling that come together in the
human mind and only in the human mind. Some of these modes are highly
specialized. For instance, the feeling which underlies all rational
judgment is the feeling of logical conviction. Remember that by
‘feeling’ I mean everything that can be felt. This includes all mental
acts and perceptions. Consequently, in this context ‘feeling’ is not
something opposed to reason.”
Volumes II and III of
her new book remain to be completed. The former will deal with what
Mrs. Langer calls “The Great Shift”—the shift from animal mentality to
human mind—while the latter will consist of two parts, one treating of
“The Moral Structure” and the other “Of Knowledge and Truth,” that is,
epistemology.
The writing will not
wait. Mrs. Langer’s desk is overloaded with the work in progress, and
the filing boxes with their thousands of meticulously filed, and
annotated cards stand open and ready. One such card chosen at random
reads:
Note—evolution and individuation.
In centipedes each segment has a partly individual life. Kill the
beast with a broom, and segments squirm all over the floor. The
primitive organism is often semi-discrete—e.g., Volvox, essentially
colonial, composite. But I can’t see centipedes as put together out of
cooperative and social-minded segments. They were formed by
differentiation. But it is interesting that this could go so far that
when the parts are severed (as they easily are) each takes its own time
about dying. When is “the centipede” dead?
To realize that even so
seemingly trivial a circumstance as the demise of a centipede must
occupy its own inevitable place in the supreme schema from which human
awareness has issued is no less awe-inspiring than to contemplate any
extraterrestrial exploit of that awareness. Accordingly Mrs. Langer’s
apparently austere and secluded room is transfigured by the associative
richness and humanity of its function.
The jonquil sunshine at
the window, the tadpoles in their aquarium, the specific silences, the
books, pictures and manuscripts, while Mrs. Langer folds and unfolds her
evocative fingers, all seem conditions of her determination, and her
ability, to articulate the means by which their separate being give life
to the to the verifiable entelechy of our own. It is like music which,
having ceased, yet prolongs spontaneously in our senses a rhythm and a
resonance that communicate to the awareness an intimation of its
incommensurable use. This in her slender, winning and indomitable
person Mrs. Langer contrives to do. And much more. It is difficult to
say, because she is difficult to understand. Still, she is
understandable, because in her presence there is a life which lives with
the imperative vitality of our own minds. And it is this living,
all-embracing quality of mind which offers to redeem from ignominy and
squalor the eventuality of human survival.