Negative
Capability
It
can sometimes be hard to understand how someone can ‘know’ something through
emotion. In our society the word ‘know’ is so strongly associated with the
words reason, rationality and logic that is hard to imagine being able to know
something in any other way. Sure, we can know things through language and
through perception, but those are basically just two different kinds of input –
in the end it’s our reason working on what we perceive or what is communicated
to us through language that makes us know something.
Indeed,
from a typically Western atheistic-scientific perspective, emotion and faith
are actually often dismissed as ‘ways of knowing’ and are perhaps
more often thought of as ‘ways of believing’ or better still,
ways of coming to a belief.
However,
this way of thinking does not have to be the case and, throughout history,
there have been examples of people who have tried to downplay the importance of
reason and emphasise how important emotion is in really knowing something, in really
coming to the truth. Keats, one of the English Romantic poets of the 19th
Century, believed this and, although this is a bit of a simplification, he
called direct, non-rational, emotional access to the truth ‘Negative
Capability’.
Negative
Capability is complex, but essentially Keats means that he wants his
consciousness to become at one with the universe/nature - a bit like when
people try to connect with God or become enlightened through prayer, spirituality
or meditation. In this state of direct contact between his soul or mind and the
rest of the world Keats will appreciate immediately and directly, (without the
need to think about it, without the need for reason) the truths of the universe.
Some
people try to achieve this direct contact with the truth, this oneness with the
universe, by experimenting with mind altering drugs (Aldous
Huxley, for example, took mescalin so that he could
see the truth more clearly and wrote a book called ‘The Doors of Perception’
about his experience) but for Keats, the main way of becoming at one with
nature is through poetic experience. In his odes, the beauty of the song of the
nightingale or the beauty of Autumn are a powerful
enough emotional experience to transport the imagination into direct
contact with the truth and this is Negative Capability. For Keats, the ultimate
truth is the beauty of intense experience and this can only be an emotional experienc, not a rational one. The moment you begin to
dissect something rationally, the moment you start to think about things, you
lose that sense of direct contact and you lose your grip on the truth.
Think
about how you go through your life being you. Because you are who you are and that
person is separate from the rest of the world there will always be a gap between
the world as it really is and what is going on inside your head. Sure, you can
bridge that gap by using your senses to perceive the world, by using language
to learn about it from others or by using reason to think about it … but nonetheless
that gap is always there and still needs to be bridged, in Keats’ own words we
spend our lives ‘grasping after facts’. And
that creates a problem: what if the stuff on one side of the bridge (the stuff
in your head) doesn’t match up with the stuff on the other side of the bridge
(the stuff in the real world)? This problem will always exist when there is a
gap between you and the world although there have been many attempts to prove
that it doesn’t.
Keats’
solution to the problem then, although he wasn’t really a philosopher
considering this as a problem, is that negative capability does away with the
gap and the bridge altogether. Negative capability allows you to jump directly
over the gap, to do away with the bridge and to hurl yourself (through the
power of your emotional experiences) directly into the heart of the world as it
really is. In a sense Keats didn’t want to think about what love was or what
music meant, he didn’t want to have to interpret these things because that
would let the gap back in and allow the possibility of error. Instead he wanted
to be love or to be music. When you are the thing
you want to know about, there is no possibility of making a mistake. In essence
Descartes, one of the earliest modern philosophers who was also worried about
the gap between us and the world, tried a similar trick, only he called these
moments of oneness ‘clear and distinct perceptions’, perceptions so obviously
true that they carry you along with the emotional force of their certainty.
Nice
though this sounds, there is, however, a problem. Even if negative capability
or this sense of oneness is possible (and many Buddhists might believe that it
is) it is only ever something that you can experience for yourself. Any attempt
to communicate the truths you have found out would have to be made using reason
and using language and would thus lose the power of the direct emotional
experience. As such, if negative capability can provide us with an emotional
way of reaching the truth, the truth that it provides us with is one that we
can never share with other people … and part of the whole point of the truth,
is that it is something that we can all have in common.
This
is perhaps why Keats wrote poetry. He was attempting to evoke that emotional
sense of oneness within his readers, to capture that sense of emotional
intensity so that they could experience their own truths, because he couldn’t explain
to them directly the truths that he perceived through negative capability.
We
may be skeptical about Keats’ success and the possibility of trying to actually
be music, or be a beautiful sunset, but, if nothing else, this
example illustrates one possible account of how emotions can help you know
about the world.