I would be the first to admit that this blog is a loose,
baggy monster. Sometimes I use it to promote my own theory of narrative,
sometimes to present interpretations of written fictions and of films, and
sometimes as a vehicle for my own short stories. I hope that those who stumble
over this blog by accident forgive me for so often digressing. It is the prerogative of all bloggers to write about whatever they want. In today’s post
I thought I would follow up the previous one by talking a little more about truth and
logical propositions. I concede that this post is quite abstract and difficult
- I feel that people generally prefer to read my short stories rather than my
philosophical musings. But perhaps someone might find this post at least a
little interesting.
The current post concerns logical statements. Consider the
proposition “All unicorns each have a single horn.” This is a universal
proposition that would be falsified by the existential proposition “At least
one unicorn exists that does not have a single horn.” One of these two statements must be true and the other
false. Empirically, it must be the second proposition that is false – we say this
because no unicorns exist at all. Consequently, by the law of
non-contradiction, the first proposition must be true.
Now consider the proposition “All unicorns each don’t have a
single horn.” The counterpart to this statement is “At least one unicorn exists
that has a single horn.” Once again, the existential proposition is false and
so, consequently, the universal proposition must be true. We seem to have hit
on a paradox! It seems that, logically, the proposition “All unicorns each have
a single horn” and the proposition “All unicorns each don’t have a single horn”
are both true - and yet they can’t both be true at the same time because they
contradict each other. The problem we have here is that unicorns are imaginary and so one can’t truly attribute properties to them. One route out of this
impasse is to decree that all propositions about imaginary entities are
necessarily false. Another is to define all such propositions as
meaningless. I believe (although I am not sure) that the later solution was the
one adopted by Bertrand Russel.
There is a third approach. We could say that the proposition
“All unicorns each have a single horn” must be true because it follows quite simply from the
definition of the word ‘unicorn’. (The second universal proposition mentioned above would then be
false.) The proposition "All unicorns each have a single horn" would be what Kant calls an ‘analytic truth’.
Analytic truths are true by virtue of how we define the words we use. A famous
example of another analytic truth is the proposition “All bachelors are
unmarried.” This statement is true by virtue of the definition of the word
‘bachelor’ and (according to Kantian logic) would be true even in universes
that do not have bachelors. If you were to ask the average man in the street
which universal proposition concerning unicorns he believed to be true he would
probably pick the one above; he would do so because it follows directly from the generally accepted definition of the word
‘unicorn’. Analytic propositions are true or false not by virtue of empirical
evidence that verifies, supports or refutes them but rather by virtue of what
people believe concerning the meaning of words.
So we must accept two types of truth, empirical truths and
presumptive truths, truths based on fact and truths based on belief
(presumptive is not quite the right word but I am unsure of a better word to
use). In the real world there is, in fact, no clear-cut distinction between
these two types of truth. Statements concerning ‘God’ or ‘love’ or ‘morality’
do not easily fall into either category. In antiquity, people believed that
unicorns actually existed - reality is to some extent what we make it.
This discussion has enormous importance to the
interpretation of literature. Literary criticism is entirely concerned with
fictional entities – and yet we would like to think that some interpretations
are true and others false, or, at least, that some interpretations are better
than others. Consider the statement “Hamlet is a Dane” or the statement “Darth
Vader is Luke Skywalker’s father”. Neither proposition is empirically
verifiable and yet we would like to think that neither is meaningless, that
both are actually true. The film “The Empire Strikes Back” defines Darth Vader as Luke’s father and consequently all future statements concerning Darth Vader must fall back on this definition. The better solution to the paradox concerning imaginary entities it is to say that statements about fictional characters are analytic rather
than empirical truths, that they are based on definition rather than on fact. In
literary criticism and in many other discourses, it seems, truth does not depend upon factual evidence but rather upon an established consensus among the relevant community.
Obviously this discussion hinges on the notion of ‘definition’
and this opens up a whole other can of worms. I may have to talk about it in a later post. For those
interested I recommend an earlier post “On Metaphor and Interpretation”, a somewhat less dense and more readable essay. Those interested in the philosophical underpinnings of the literary
theory I am proposing might want to have a look at it.
There is a different way of looking at what you are talking about.
ReplyDeleteThe propositions about unicorns are propositions which are unconnected to reality and are therefore without cognitive content. They are neither true nor false — they are simply arbitrary. An arbitrary statement must be treated as though nothing had been said. It is like the squawking of a parrot who repeats what it has been taught.
Compare them with the syllogism which is usually used in examples and *is* connected to reality.
All men are mortal
Socrates is a man
Therefore Socrates is mortal
The major premise connects to facts of reality — men and a characteristic of man, namely his mortality. If this proposition were to be falsified it would not be by another proposition but by the fact(s) of reality. If an immortal man were to be found, it cannot be true that all men are mortal. But there is another possibility — namely that what appears to be an immortal man is not in fact a man.
In the whole history of mankind there has never been a man who has not died. In the context of what is known today, we know that all men have the characteristic of mortality so we can be certain of the truth of the major premise. Indeed the major premise is probably not one which can ever be disproved. For even if there were a man who had been living for a very long time and showed no signs to indicate he would die at some time in the future, he could still die tomorrow, next week, next month, next year, next century, or next millennium.
Turning to the minor premise, if Socrates had been the man referred to in the previous paragraph who just kept on living, doubts might start creeping in about the correctness of the major premise. Why has he not died? Is it because he is not a man or is the major premise wrong when it says that *all* men are mortal.
Kant is the main source of the nonsense about analytic propositions. What he advanced is the so-called analytic-synthetic dichotomy — that a “necessarily” true proposition cannot be factual, and a factual proposition cannot be “necessarily” true. This stupid idea proceeds from a rejection of man’s ability to perceive reality. Man’s ability to perceive reality is what gives rise to the possibility of art. On the Kantian approach, there couldn’t be any art, including literature, because man can’t perceive reality.
The only object in reality which a work of fiction could replicate would be another work of fiction — in other words, a copy. Otherwise it is impossible for a work of fiction to replicate reality because the media are different. What is in reality is given to us by our senses — sight, hearing, smelling, tasting, feeling. A literary work draws on what is given to the author through his senses which produce percepts and concepts by the operation of his mind in relation to percepts. But it is neither the percepts nor the concepts which are to be found on the pages of the story.
The story is something different and new. It is a new entity created by the author by drawing on what he has seen, et cetera. It is not a proposition and it is neither true nor false. It just is. It may be evaluated for the qualities of its plot and the other ingredients which go to make a literary work.
The author may be trying to make a particular point. For example, he may wish his story to illustrate the heroic nature of man or that man is despicable. The reader may agree or disagree with the point the author is trying to make but that is irrelevant to its quality as a literary work.
One of the qualities for evaluation is the characterisation of the protagonists. The author doesn’t make statements about fictional characters. He creates the fictional characters who are the protagonists within his story. He may do it in different ways. He may have the characters doing and saying things to build up a picture. Or he may describe the characteristics of his character. But the character is neither true nor false. Like the story itself, the character just is.
I disagree with your argument that propositions concerning imaginary entities lack content. If I say "All blargs are blue" the statement lacks semantic content because the word "blarg", at least my linguistic community, lacks definition. By contrast, the word "unicorn" does have semantic content- when I use it, I imagine a white horse with a single ebony horn protruding from its forehead.
ReplyDeleteThe syllogism you cite in your argument is one often used in logic to show that if the premises are true then the conclusion follows. No one, when discussing this syllogism, feels the need to prove that "All men are mortal" is true or that "Socrates is a man" is true. Such questions do not belong to logic but rather to science and history.
As for fiction... A story is true or false to the extent that it is asserting or critiquing some part of our shared 'reality'. In most respects, however, I concede that it falls outside our normal parameters of veracity. Exceptions are those stories based on real people and situations (such as "A Beautiful Mind"); these can be legitimately criticized for how faithful they are to the truth. There is a difference however, between works of fiction and the works that interpret works of fiction. Some interpretations are better, truer, than others and it is the truth or not of interpretations that I am interested in.
Consider the statement "All bachelors are unmarried". At some point in history, someone would have had to invent this word and then define it: this first invention and definition of the word can be neither true nor false, it just is (to use your expression). This first statement defining the word "Bachelor" would be what John Searle calls a speech-act, similar to the statement "I now pronounce you man and wife." It is an utterance that does not represent something in the world but rather causes a change to the world.
I think literary works are constructed from speech-acts and that these speech-acts concern imaginary characters. Shakespeare could have chosen to have Iago change his mind about his plot to destroy Othello but he didn't. We can't say that Shakespeare's representation of Iago is true or false but all commentary on Iago since (and there has been screeds) can be assessed as true or false with respect to way Shakespeare presented him. This is, I admit, a somewhat complicated idea which I may have to write about it in more depth later.
One last point... You view of reality is based on a form of extreme empiricism. I believe that the vast bulk of our understanding of reality is based on hearsay rather than direct observation. I have never seen a unicorn but I would recognize one if I saw one. I have never seen an armadillo either but I have it on good authority that they exist.