Sunday, September 13, 2015

Reflexion about the Sickness unto Death

Reflexion about the Sickness unto Death and the role that other “selves” play in it

Reading Kierkegaard’s reflexions on Despair, its different ways of expression and of course its meaning for the self, I was focusing more and more on an idea, a question. If Despair, or what Kierkegaard calls Despair, is the impossibility to be a self, or more precisely itself/oneself, could it really happens alone? I agree that this formulation is a bit confused. But what I mean is : if we are alone, we don’t need to become ourselves, we don’t need this dynamic relationship between a body, a soul and other bodies and souls (and God apparently even if I don’t agree this argument’s relevance). We just “are”, in the moment, like animals. It is really what I found out reading Kafka’s Metamorphosis : Gregor Samsa is absolutely not afraid of his new bug’s condition the moment he wakes up until he opens the door and everybody sees it/him. It’s like the Schroedinger cat’s experience : while he hasn’t open the door, he can be still himself. But when he opens and meets everybody’s reaction, there’s no doubt anymore.

He is now in Despair but still wants to be oneself, and obviously itself as he was before. And that is what makes him survive. In opposite, this all ends by death because Gregor abandon his/its only mark left, when he thinks he doesn’t belong to his/its family anymore (and probably because he has a rotting apple perforating his back too but that’s not the metaphoric point here). And that is what illustrates the most the “Sickness UNTO Death” to me.
But that doesn’t happen fast or directly, it’s a long negation of what made Gregor’s self by his family. For an example just take the moment Gregor’s sister and mother are taking his/its furniture out of the room. The Samsa family negates Gregor’s self by taking away his attributes. Because they don’t think it will use it anymore. His attributes as Gregor Samsa are replaced by its attributes as “the giant bug”, that means trashes. It’s a long negation but we see that Gregor tries to resist and proof that “he” exists (that play-on-word with France Gall’s song wasn’t purposeful). He tries to keep that picture of a model because that proves that he is still Gregor.
That’s what makes me say, or write right now, that the key to built a self (or to destroy it in Kafka’s case) is THE OTHER ONE.

The other “selves” roles
Kierkegaard makes fun in the beginning of the Sickness unto Death saying : “The self is a relation that relates itself to itself or is the relation’s relating itself to itself in the relation (…)”. He meant it as an intrinsic relation but I think it would be more interesting to consider it as a relation between two selves in power.
I know that I’m completely in an Hegelian perspective and that Kierkegaard reacted vigorously against his conclusions. But let’s give it a try. If a self is the balance between the infinite (a soul) and the finite (a body), there is a tension, a paradox : the infinite of the soul wants to exceed the body, and as an infinite it can do it easily, just with the doubt the body exists. And the possibilities are many. The “vertigo of possibilities” happens just here and “Despair” follows quickly because we can’t be sure of what we are, we can’t meet our “selves” anymore. It’s impossible to recognize ourselves as a self because something is missing. And that’s the other one. Because we need the other to recognize us the way we recognize ourselves.
Others can recognize us a different way as we recognize ourselves but I’m not going to focus on it here.
We depend on the look everybody else put on us. After all, if we follow the mind of Sartre, we can only reach the “me”, the identity we have through the look of another people. This other self confirms that we are a self. And against the infinitude of the soul, someone’s look shows finitude : when another tries to define our “self”, he can’t define the infinitude. So we meet a reassuring finitude.
And when we miss it, when we miss the other, we are confronted with “loneliness”. What I call “loneliness” is a condition of a mind where it can only interact with itself. That is to say if it doesn’t go mad all of a sudden, it divide in two or more and each part interact with the other parts, that is itself. And that is not good for the mental health. Moreover, there is nothing to discover in such interactions because the mind is a unique thing and every asking part knows the answers already.
To explain this in a better way, let’s use the example of the film Cast Away, by Robert Zemeckis. Tom Hanks plays the role of Chuck Noland, a FedEx employee whose plane crashes in the Pacific Ocean. He only survives and land on a desert island. So he must do the human technical evolution all over again but he can’t build another human. So he creates Wilson, a volley ball with a face (drawn in Noland’s blood by the way). And that’s the only way he can’t go mad, because he creates a real relationship with this ball, that doesn’t answer though! But it’s for him another human, another self.
That’s why Chuck is confronted to a cruel dilemma during this scene :


Or he leaves his raft and hopes to join the civilisation again. Or he leaves Wilson, his “Friday” we could say, the only other person he ever met on its island. So he’s sincerely sorry.

The necessity of others, according to Kierkegaard
I will take now the example of “the man that needs a certain level of sociability” to show another point of view. This man does not “long for solitude”. That means there is a possibility for everybody, theoretically, to spend time alone and survive. More than that, this man considers it a necessity, like breathing or eating. We can’t be sure that Kierkegaard is defending his point of view but he says a constant social life isn’t a necessity for a self to be sure he is a self. Could we sometimes be alone and not despair then? Why not?


But then we could ask : if it is not always necessary, meeting another self, is it an actual state or just a possibility? I mean : we need another self, but does it have to be constant in our mind or just be like a medication when we get sick, when the vertigo comes back?

2 comments:

  1. The utter destruction of self

    I do agree with your demonstration that we do need others to build a self. Yet, I’d like to take it even further by arguing that Gregor Samsa’s transformation into a bug is nothing less than the utter destruction of its self.

    The fact that he does not seem preoccupied by his new state as a gigantic insect when he wakes up is the first revelation of the destruction of his being. His finite (body) and infinite (soul) do not meet, and they will never more be able to do so, despite his attempts to make them relate to each other. Even though he becomes aware of his new physical appearance just a few seconds after he wakes up, his infinite cannot seem to process it. He goes on about the trouble he’s in for being late for work, without clearly realizing what his transformation truly means : that is, an immediate exclusion from the human world.

    Kafka’s story is then the simple tale of a human stuck in an animal body, who can never see again the finite reflection of his infinite self in the look of others. Therefore, he has lost his identity, and in that your analysis is perfectly right. Despite his efforts to make his bug’s aspect and his human soul relate to and fit each other, theses attempts are reduced to nothing by his family, something the more unbearable that he used to be the breadwinner, the one that assured everybody’s survival.

    Even more than that, his identity, more than not being recognized, is denied by the ones he loves. For his sister, Gregor’s soul cannot lie somewhere under this beast’s body, and the bug cannot possibly understand human language. Gregor, deprived from asserting his human identity, is given the one of a simple « bedbug », something he cannot help becoming, crawling on the walls and even wishing, at some point, that his furnitures be removed from his room.

    Finally, I’d like to point out a scene you omitted in your analysis, that is the ultimate violin drama. Gregor’s last attempt to relate to others is when he hears his sister play. Deeply moved by the music, he succeeds to conciliate his finite and infinite selves. Fully aware of his bug’s aspect, he no longer doubts his humanity. Yet, when he advances towards the lighted room so that his humanity — the proof of which is the emotion that music stirred — is confirmed by his family, they reject him violently, therefore signing his death warrant. According to them, Gregor has completely disappeared and is no more. The beast that has been left in his place cannot have anything to do with him.

    Therefore, Gregor cannot exist any more. His infinite self cannot find its reflection anywhere, and he is left with the despair of its infinity, which is not being recognized by anyone. Kafka’s story is thus a metaphor for our existential vertigo. It deals with the madness of utter loneliness and the anxiety of absolute non-recognition, in which identity cannot be.

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    1. I understand what you mean and you explained very well why you would take it even further. Especially when you talk about losing the identity of the breadwinner.

      Gregor was not only in a sense the center of his own life but he had to play and important role for everybody in his family. So it remains even more horrible to exchange status (breadwinner against dependent) before losing the self.

      But I think it wasn't the most central for me and I have to react to your second paragraph. I understood that according to you, he wasn't preoccupied by his own state because the soul and body doesn't meet. That's not true : they meet and that's what is really weird! He isn't confused at first because he, alone, ignore there's a problem of relation between the two, ACCORDING to others. It self isn't a state he really implies on the moment he wakes up, that's why I think he only focuses on work.

      He keeps on negating this new relation between his soul and body whereas his family does the same, but not in the same order : he considers itself at first the soul and try to behave as a human (by sitting on a chair at the window for example or trying to move, standing on two feet) but his family sees at first the bug and can't help but to consider Gregor isn't in here.

      That's right he can't help becoming this bug, finitely, his body as rules to be respected but the more interesting stays for me his inside's dilemma : being in accordance with what people consider as its self. And so I agree with you about the "ultimate violin drama" = last attempt for humanity, last reject from his family.

      His/its pint of view doesn't matter on its own, but just the way he relates with others point of view.

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