Is It Good to Be a Detached Observer?

The famous Dutch historian, Pieter Geyl, in his Napoleon, for and against (Dutch, Napoleon: voor en tegen in de Franse geschiedschrijving) teaches us that there are “arguments without end.” One example is the question surrounding the concept of detachment. Aristotle, in his Nicomachean Ethics, proposes “eudaimonia,” a Greek word literally translating to the state or condition of good spirit coming from imperturbability. This sense of things is all over the Western tradition. Think of the line from the British poet, Alexander Pope, “For Fools rush in where Angels fear to tread.” (An Essay on Criticism, 1711). You see from this that fools lack detachment and act on impulse.

We get a confirmation of Geyl’s arguments without end when we remember that almost every love song recommends the opposite. For example, “Fools Rush In (Where Angels Fear to Tread)” originally made famous by Frank Sinatra and later Elvis Presley, offers us the line “But wise men never fall in love / So how are they to know.” From this, we can interpret that wise men can be foolish and foolish people can be wise. You may also have in the back of your mind Tennyson’s “Tis better to have loved and lost / Than never to have loved at all.” It is not wise to be careful always.

We get a twist on this in the Rodgers & Hammerstein musical South Pacific. Think of “Some Enchanted Evening”:

Who can explain it?
Who can tell you why?
Fools give you reasons—
Wise men never try.

Fools give you reasons because they think everything can be explained, where wise men realize this is not always true. The larger point, from existential thinker Gabriel Marcel, is that all the phenomena of life that are explainable are themselves wrapped up in a larger mystery. He discusses the question of detachment in Being and Having: An Existentialist Diary, which we covered in “Existence and the Problem of Separability” and “Is the World Broken?”.

Marcel says:

March 8th [1929]

I am more and more struck by the difference between the two modes of detachment: the one is that of the spectator, the other of the saint. The detachment of the saint springs, as one might say, from the very core of reality; it completely excludes curiosity about the universe. This detachment is the highest form of participation. The detachment of the spectator is just the opposite, it is desertion, not only in thought but in act. Herein, I think, lies the kind of fatality which seems to weigh on all ancient philosophy—it is essentially the philosophy of the spectator.

But one thing must be noted: the belief that one can escape pure spectatorship by devotion to a practical science, which cannot quite clearly formulate it as yet. I should express it by saying that the modifications which such a science imposes on reality have no other result (metaphysically of course than of making that science in some sense a stranger to reality. The word ‘alienation’ exactly expresses what I mean. ‘I am not watching a show’—I will repeat these words to myself every day. A fundamental spiritual fact.

The interdependence of spiritual destinies, the plan of salvation; for me, that is the sublime and unique feature of Catholicism.

I was just thinking a moment ago that the spectator-attitude corresponds to a form of lust; and more than that, it corresponds to the act by which the subject appropriates the world for himself. And I now perceive the deep truth of Bérulle’s theocentrism. We are here to serve; yes, the idea of service, in every sense, must be thoroughly examined.

Also perceived this morning, but still in a confused way, that there is profane knowledge and sacred knowledge (whereas previously I have wrongly tended to assert that all knowledge was pro-fane. It isn’t true, profane is a supremely informative word). Inquire on what conditions knowledge ceases to be profane.

Incredible how thronged these days are spiritually! My life is being illuminated right into the depths of the past, and not my life only.

Every time we give way to ourselves we may unawares be laying an additional limitation on ourselves, forging our own chain. That is the metaphysical justification for asceticism. I never understood that till now.

Reality as mystery, intelligible solely as mystery. This also applies to myself.

Gabriel MarcelBeing and Having: An Existentialist Diary, Harper Torchbooks, 1965, pages 20-21.

Notice this discussion starts by analyzing modes of detachment and concludes with Marcel talking about reality and himself as mystery. This brings us full circle to Geyl and his concept of arguments without end because trying to define pros and cons of detachment and what is a mystery is ultimately undecidable. This may remind you of Gödel’s incompleteness theorems, that finding a complete and consistent set of axioms for all mathematics is impossible.

Songs as an Informal University

We have already seen in “Songs as Another Kind of Parallel University” that trying to revive or rescue enchantment in a “disenchanted world” (Max Weber, “Entzauberung”) is a kind of philosophical “move” in love songs which has much to do with the impact on the West of the medieval troubadours.

Take this masterpiece song from the fifties musical My Fair Lady. Notice the explicit introduction of “enchantment” into the lyrics:

“On the Street Where You Live”

I have often walked
Down the street before,
But the pavement always stayed
Beneath my feet before
All at once am I
Several stories high,
Knowing I’m on the street where you live

Are there lilac trees
In the heart of town?
Can you hear a lark in any other part of town?
Does enchantment pour
Out of every door?
No, it’s just on the street where you live

And oh, the towering feeling
Just to know somehow you are near
The overpowering feeling
That any second you may suddenly appear

People stop and stare
They don’t bother me,
For there’s no where else on earth
That I would rather be

Let the time go by,
I won’t care if I
Can be here on the street where you live

People stop and stare
They don’t bother me,
For there’s no where else on earth
That I would rather be
Let the time go by
I won’t care if I
Can be here on the street where you live,
Can be here on the street where you live,
Can be here on the street where you live

The enchantment of love is also at the center of the song by Seals & Crofts, “We May Never Pass This Way (Again)” from decades ago. In the same way that Jim Morrison and the Doors capture life’s basic randomized “thrownness” (Heidegger, “Geworfenheit”), Seals & Crofts capture life’s one-time ephemerality, as the title signals immediately:

“We May Never Pass This Way (Again)”

Life
So they say
Is but a game and they’d let it slip away
Love
Like the autumn sun
Should be dyin’
But it’s only just begun

Like the twilight in the road up ahead
They don’t see just where we’re goin’
And all the secrets in the universe
Whisper in our ears
All the years will come and go
Take us up
Always up

We may never pass this way again
We may never pass this way again
We may never pass this way again

Dreams
So they say
Are for the fools and they let ’em drift away
Peace
Like the silent dove
Should be flyin’
But it’s only just begun

Like Columbus in the olden days
We must gather all our courage
Sail our ships out on the open seas
Cast away our fears
And all the years will come and go
Take us up
Always up

We may never pass this way again
We may never pass this way again
We may never pass this way again

So
I wanna laugh while the laughin’ is easy
I wanna cry if makes it worthwhile
I may never pass this way again
That’s why I want it with you

’Cause
You make me feel like I’m more than a friend
Like I’m the journey and you’re the journey’s end
I may never pass this way again
That’s why I want it with you
Baby

We may never pass this way again
We may never pass this way again
We may never pass this way again
We may never pass this way again

After deeply drinking in this and other songs, you could become more “attuned” to academic philosophy which would become less of an abstract and insipid blur. Pre-awareness and pre-understanding give you the receptivity you need and you get these from movies and songs and private life. The trick is to use meta-intelligence to straddle the campus and the off-campus worlds.