Max Weber against Tolstoy – “Science as Vocation”

Max Weber was a German sociologist who is best known for his work The Protestant Ethic and the Spirit of Capitalism, which argued that it was the influence of Protestantism which made the great victors of capitalism and industrialism – the US, Great Britain, and Germany – succeed in a way that the major Catholic powers, such as Spain, the Austrian Empire and later Italy, did not. Many of us also read his two lectures, “Science as Vocation” (“Wissenschaft als Beruf”) and “Politics as Vocation”, which are often published together. I first read the former, which is our subject today, at Cambridge as part of a paper on German thought, and must have read it several times since then. In fact, this is not even my first attempt at writing on it here. It is a work that has become more exciting as I have grown.

The translations for quotes come from the NYRB version of the Vocation Lectures, where this essay is translated by Damion Searls as “The Scholar’s Work”. I prefer “Science as Vocation” because of the more religious connotations of “vocation” compared to work, something which is even discussed in the introduction (!); however, I admit that “scholar’s” is more suitable than “science”, given that Weber is talking about all systematic pursuits of knowledge, not just beakers and test tubes. Either way, this is the only complaint I have about the translation.

Context

Weber was invited to give the first of his lectures on November 7th, 1917, by a group of students. By this point Germany’s war effort was beginning to flag. A food shortage was ongoing, and victory already appeared an unlikely outcome. Wars – especially the great wars of the 19th and 20th centuries – traditionally offered the warring populations a huge amount of meaning at their outset, as feelings of patriotism swelled. But in defeat the opposite happened, as all meaning was torn away. We might see something of this as an explanation for why Weber deals with meaning, because that is as much the topic of “Science as Vocation” as are the practicalities of being an academic.

An Unexpectedly Practical Introduction

We modern readers mostly read “Science as Vocation” because of the idea of “disenchantment” that Weber first speaks of here, but like Weber’s student audience we will be disappointed by what we hear when we begin to read. The essay starts with a very practical, earthy discussion of the differences between American and German academic systems. In the German system at the time for most academics there was no salary; instead, they received money from the students attending their lectures. At the same time, they had no free choice of lecture topic, because the most popular topics were granted to the more senior staff members – which naturally dampened still further their income.

In the US, meanwhile, one receives a very small salary as an assistant, and is swamped with work while more senior academics spend their time researching or reclining in their armchairs. The American can be fired for failing to secure sufficient attendance, while his German equivalent cannot be – though the latter can starve to death, which is its own problem. Promotion is often through connections, rather than skill, which means that the whole academic world is fairly disheartening to its inhabitants. Weber further reminds us that the skills needed “to be both a good scholar and a good teacher” are often quite discrete and unevenly distributed. As lectures were how universities decided whether an academic was worth keeping, this was not ideal.

Innovation, also, is not a thing that necessarily fills a lecture hall. If anything, it turns people away. Instead, “superficial qualities: the teacher’s personality, even his tone of voice” are what bring people to the lecture halls. Today, perhaps, we have an opposite situation, where the only thing that matters is the number of citations an academic has. This too brings its own problems, and is not necessarily a good metric for judging an academic’s value. Weber finalises his unencouraging tour of academic life by noting the constant and growing specialisation of academia, which is also often unattractive to those in search of knowledge and who wish to compass all knowledge with a spectacular breakthrough.

So, Who Should Be a Scholar?

Weber’s introduction lets him move on to answer the question of who should be a scholar, and who not. Certainly nobody bothered by the above should enter academia. Instead, one must have passion – “this strange intoxication, mocked by all who do not share it”. This is because “nothing is humanly worth doing except what someone can do with passion.” But beyond passion, one needs to work hard, and one needs inspiration too. Without passion, one cannot do the task; without the others, one cannot succeed at it. Weber is keen to emphasise that the importance of passion goes beyond just academic work. “A real personality is nothing other than a capacity to experience life authentically.” In other words, having a personality means being passionate about life.

The scholar must be passionate – “wholly devoted” – to what he or she studies. Only this passion can grant dignity in the face of the inevitable injustices of the world. And only passion for the work can make the work possible, given the next problem, which is the challenge of its limited meaningfulness.

The Meaning of Scholarship

It is a common human longing to wish to make a mark. Yet scholarship, in Weber’s view, will not reward us if that is what is our only motivation. This is because “scholarship, unlike any other cultural endeavour, is subjected to – dedicated to – its own obsolescence.” Each discovery wants to vanish under weight of each subsequent discovery, and even those of us with a background in the humanities will have noticed we read the more recent critics over the older ones, even if the object of the criticism is a thousand years old. If academic scholarship is merely an infinite sequence of discoveries endlessly replacing each other, then the value of an individual discovery is infinitely small – that is to say, it has no value at all.

Weber extends this idea with respect to progress in general, in what is an uncomfortable truth for those of us who have never stopped to consider progress as we strive for it. “In the context of modern civilization, with its theoretically infinite “progress”, an individual’s life necessarily lacks any ultimate purpose. Here is always another step to take on the path of progress; no one dies at the peak or end of his journey, because the path continues into infinity.” Tolstoy, Weber notes, was afflicted with this realisation around the time he was writing Anna Karenina. The thought gradually destroyed the meaning of his existence, and it was only through religion that Tolstoy was able to save himself. More on this later.

Disenchantment

The problem of meaninglessness is where Weber’s famous disenchantment comes in. Our world is rationalised and intellectualised to the extreme. What this means is that anything that we wish to know, we can know it. I may not know how a plane flies, but I know that I can discover it. The world in such an age has no mysteries, because all “can be mastered through calculation.” This idea of solving these mysteries becomes an obsession with us. But because there are an infinite number of mysteries, this obsession quickly comes to destroy us. We cannot meaningfully change the number of remaining mysteries, so we are left only with a kind of disappointment in our lack of impact and in the lack of magic the world has left for us.

Weber contrasts this view of life with a more ancient, cyclical one. Abraham, “or indeed any farmer from a bygone age”, did not search in the same way as we do. When he died, “his life had given him whatever it had to offer, in terms of meaning too.” He could die satisfied, because he accepted the magic of the world, rather than being disappointed by what remained to be done. Abraham’s death “in a good old age, an old man, and full of years” [Genesis 25:8] can be contrasted with Weber’s description of the death that meets us today, a person who might become “tired of life”, but can never be “fulfilled by it”:

“Not only does he get wind of merely a tiny fraction of all the new ideas that intellectual life continuously produces, but even those ideas are merely provisional, never definitive. As a result, death is simply pointless for him. And so too is life as such in our culture, which in its meaningless “progression” stamps death with its own meaninglessness.”

This is rather depressing stuff. The rest of the lecture is Weber trying to understand the full extent of what this disenchantment means, and what scholarship might have to do with solving the problems that it poses.

How Disenchantment Came About

Science did not always lead to disenchantment; the problem is that it can never now lead to anything but disenchantment, for Weber. The great tools of learning – the concept and the controlled experiment, once were trees that showed little signs of producing fruits that might rot. For Renaissance artists, chief among them Leonardo da Vinci, learning and systematic knowledge were “the path to true art”; later religious thinkers saw science as a way of finding traces of God’s presence – the argument of intelligent design, where the complexity of the universe is evidence of a higher creator.

Systematic and rationalistic thinking, however, have now reached a point where the above arguments do not and cannot work. They cannot bring happiness, for the reasons Tolstoy notes. They cannot prove God, because we now know (more than Weber did) about the extent to which our universe is random. In fact, what Weber finds as being the use of science is much less fun – “if science can do anything, it is precisely to uproot and destroy the belief that the world has any such thing as a “meaning””.

Tolstoy’s Questions, Weber’s Answers

“Science is meaningless, because it provides no answer for the only question that matters: “What should we do? How should we live?” Tolstoy could see enough to destroy the false meanings of the world – in money, power, progress. But he longed for something to replace them, and rejected science and such thinking when it could not provide him with this. In the end, he turned to the peasants. He saw in the strength of their religious beliefs a kind of proof of their truthfulness, and used that to help him construct a new vision of Christianity, which worked well enough for him, but which mostly appears a little silly to the rest of us.

Weber does not deny the truth of Tolstoy’s complaint. But he does not consider it important, because it is an attack that is unjust. For Weber, this is because Tolstoy is blind to the assumptions underpinning science and systematic thinking more broadly. Weber notes that without these assumptions, we cannot do science at all. And the assumption that is most important is that science is worthwhile. We cannot be an academic if we do not consider our work meaningful, or certainly not a happy one.

Science does not deal with questions of worth. If we do it, we say that it is worthwhile. If we reject it, it may be because we consider it valueless or wrong. But the questions that natural sciences answer, for example, are “what should we do if we want to use the techniques at our disposal to control life?”, and not “whether we should control life through technology, whether we want to, and whether it’s ultimately meaningful to do so.” The questions of value are out of bounds. This is as true about legal studies or medicine as it is about natural sciences. To question the value of such things is already to do something other than them – it is, if we feel like calling it that, to philosophise.

This distinction is important when we get on to political matters in particular. Studying politics is not the same thing as discussing the value of this or that party or person, in Weber’s view. It is about understanding the structures and realities, without judging them. He takes a harsh view of those professors (and this ties back to the introduction about the practice of teaching) who preach from the lectern. They are abusing their power to talk in an environment where they cannot be talked-back-to, and not sharing their knowledge. They are being – and here is one of Weber’s own values – “irresponsible.”

Questions of Worth

If science cannot tell us how to live, how then are we to live? There are two important answers given by Weber. The first, which we must acknowledge, is that there can be no universal meaning any longer. Once, religion could be that, but no more. It cannot be so again, not after Darwin and the “Death of God.” Weber knew that his listeners, the students, wanted prophets. But “this prophet, so longed for by so many in the younger generation, does not exist and will never come in the full force of his meaning.” The offerings of the National Socialists and the Soviets deserve nothing besides condemnation for trying to delude us into thinking otherwise. They are attractive, because prophets (and ideologues) save us from having to think for ourselves. But to let them lead us is to demonstrate a terrible dereliction of personal duty and awareness.

Where does this leave religion? We might assume that Weber would be as critical towards it as he is towards the nascent ideologies of his age. But for the person of private religious inclination, he is more conciliatory. Everything comes down to a choice. If the religious person chooses to believe in miracles, then this comes from its own assumptions, just as the scientific explanation for things like the parting of the Red Sea rests on its own assumptions. They will contradict each other, but neither can invalidate the other within its own system. Weber’s problem is when such views are designated as universal or exclusively true, when they most manifestly are not. Whether this is done by a religious fundamentalist, a communist, or someone else, all are making a mistake.

Value Pluralism and Choices

With no universal truth, Weber describes the ultimate values of individuals as being “in irresolvable conflict.” The classic example is wanting absolute freedom and absolute security – which we all, in theory, desire. One must compromise, but each person draws their dividing line in a different space. How do we choose? Weber will be no prophet for us. “It is up to the individual to decide which is God and which is the devil for him. And that is how it goes with every other decision about how to conduct one’s life.”

Yet academic knowledge and study absolutely have a role to play in this, even if we do not find our meaning through them. This is because they offer us a toolkit for being responsible with our choices. Logical, rigorous thinking gives us the ability to understand the choices that we make and to follow them properly. If we are rigorous, we know what follows on from a given view. If we do not like it, we cannot lie to ourselves about it, but we can change our view accordingly. Essentially, “we can force, or at least help, an individual to reckon with the ultimate meaning of his own actions.” This ultimate meaning and sense of the consequences of a line of thought forces us to be responsible. It deprives extreme viewpoints of much of the support that they gain by having deliberately vague means and ends.

In this, I am reminded a little of Orwell’s essay on “Politics and the English Language”, which I compared with Simone Weil’s thoughts on the topic a few months ago. Orwell saw clearly that many sympathisers of the Soviet regime were willing to use language to avoid the responsibility of saying that they supported its actions. Weber cannot say, within Science as Vocation, that the Gulag system is universally wrong. But if intellectuals were sufficiently honest about what their beliefs meant – locking political opponents away is justified because it serves the great good of the movement – then their ideologies would have fewer supporters in practice, and hence much less power.

Conclusion: Decisions, Decisions

Ultimately, we might say that “Science as Vocation” is quite simple in its argument. We have to decide what is meaningful for us, and the value of scholarship and learning in this context is that it teaches us to clarity and method so that we can make responsible, albeit necessarily conflicting choices, about what to value in our lives. It is a painful work because it denies the possibility of a unifying, general meaning of the sort that prophets and ideologues offer. But it is not so pessimistic as it seems, for it leaves open religious belief and the valuing of enquiry in and of itself, should we choose such paths.

Tolstoy was unable to accept the lack of a universal value. He tried to convince himself that the peasants were the bearers of it and that mere snobbery had kept the philosophers from discovering this truth. Alas, this was just his truth, his choice, which he desperately clung to, but which kept him alive, as all those truths we truly let ourselves believe in do. As for us, we have to live, and live with our choices and our own beliefs. Where Weber shines in this piece, for me, is in three things – the clarity of his destruction of progress or science as sources of meaning, his insistence upon integrity, and in his arguments for the value of rational thinking in making responsibility and responsible choices possible.

It may not be what we want to hear. But it has to be enough.

Alfred Döblin’s The Murder of a Buttercup and Other Stories – a Review

Alfred Döblin’s The Murder of a Buttercup is a collection of short stories written by the German writer during his early career, from 1904-11, and published in English in the book Bright Magic. I read them largely because they all fall within the time period of the German paper I’m taking next year – is there any other reason to read anything? – and because unlike, say, Robert Musil’s stories of this period, the stories collected in The Murder of a Buttercup are rather more straightforward and approachable. They are, that is, stories as well as experiments, however full they are of modernist flourishes. Döblin himself is one of the better-known German modernists, albeit one whose lifetime’s work has been reduced down to a single book – Berlin Alexanderplatz – just as Ivan Goncharov in Russia or William Makepeace Thackery in Britain have been reduced to Oblomov and Vanity Fair for the casual reader.

A photo of Alfred Döblin, the author of The Murder of a Buttercup
Alfred Döblin, a German writer whose work has more or less been reduced down to his novel Berlin Alexanderplatz, was born in 1878 and worked as a doctor before becoming a full-time writer. The Murder of a Buttercup was his first collection of stories.

Whether or not that seems fair in Döblin’s case I hope to venture an early answer to at the end of this review. Before then I’ll go over a few of the stories themselves, alongside their general themes. For, whether good or not, they are certainly interesting for their modernist impulses. All translations are by Damion Searls.

The Rejection of the World – “The Sailboat Ride”

The first story in The Murder of a Buttercup is the plainly titled “The Sailboat Ride” and it is itself one of the most straightforward tales here. It details a relationship between a Brazilian man, Copetta, and a woman he meets at the beach at Ostend in Belgium. Copetta is, at forty-eight, already conscious of his age. In Paris, before the story begins, he’s spent weeks in hospital, expecting to die only to ultimately recover. Far away from home, he hopes to sample European culture. But his attention is taken by a woman he meets. After seeing her three times in one day he begins to question the assumptions underlying his life. He sends her a note before destroying both his wedding ring and his pictures of his children.

When they meet, they go for a ride into the sea on a sailboat. They are wild and restless in their passion, but in time Copetta’s mood worsens. She tries to comfort him, but without success. At last a wave comes that bears him away. She is found by the authorities, drifting on the sea – Copetta’s suicide was premeditated, and he had already sent them a telegram to warn them. But the story does not end here. Now we follow the woman as she heads to Paris and tries to stave off her grief through sexual liberation. “She denied herself to no one”. But this does not bring her the deep pleasure she is after. A year later she sends a message to Ostend: “To Mr Copetta Ostend Hotel Estrada expect me tomorrow noon. Wire reply requested.”

She returns. Her mother has died in the interim, but the news has no effect on the woman. She is filled with bliss – her madness is complete. She pretends that Copetta is alive and writes him a message, then one morning she steals a rowboat and heads into the sea. There she meets “Copetta” again. From out of the waves “a dark shape” appears. He joins her on the boat, but his body is crusted with shells and ruined. He tries to ward her off with an ambiguous wave of his arm, but she does not retreat. As they are united in intoxication and pleasure, they turn young once more, and in that moment they are both at last swept under the waves.

Meanings and Themes in “The Sailboat Ride”

“The Sailboat Ride” is a good introduction to many of the general themes of The Murder of a Buttercup. First among these is a turning away from the world. In the Modernist period many artists rejected the stodgy social conditions of the environment in which they worked. Emotions and characters that otherwise would not grace the printed page now rose to prominence and without condemnation on the part of their creators. In “The Sailboat Ride” we have Copetta’s infidelity and also the open female sexuality of the woman. Döblin’s narration in The Murder of a Buttercup is at timeshighly sensual, and this story is filled with hip-on-hip contact, mussels, and other overt and covert sexually charged emotions and symbols.

A painting of Nietzsche by Edvard Munch.
Friedrich Nietzsche, destroyer of past values and builder of new ones, is a big influence on modernism in general, and Döblin in particular. It was he who first challenged the foundations of our culture and society, revealing how flimsy these foundations really were. Painting by Munch.

Of course, within the story both man and women are punished for their desires – Copetta’s inability to deal with socially-conditioned guilt no doubt leads to his suicide, while the woman faces condemnation for forgetting her mother and dancing with so many men. But what matters is that that at the story’s conclusion they turn their backs on society and find bliss. The sea, intoxication (a motif that directly speaks to Nietzsche’s Dionysian world in The Birth of Tragedy), allows them to come together at last, at the cost of their demise. And it’s hard to read the final moments as anything other than triumphant.

“Astralia”: Another Retreat from the World

A rejection of the world can come in many forms, and though death and suicide are common in The Murder of a Buttercup there are other retreats here. In Astralia we find a scholar, Adolf Götting, whose escape comes in the form of mysticism. As the fin-de-siècle mood in Europe worsened towards the outbreak of the First World War, and with organised religion dying, many turned to cults and mysticism to try to find a suitable faith.

The scholar of Astralia has his own mystic group, convinced that the Redeemer will soon return. They meet and drink, and drink a lot. When Götting leaves the tavern one evening he has no boots, nor hat nor coat. He thinks he is transformed into some kind of prophet, and the mockery he receives on the street only confirms his delusions. When he returns home, he treats his wife badly for not being part of his group, but when she continues to fuss about his dress and state of dishevelment he eventually breaks down: “Oh, don’t laugh…. Please, please don’t laugh. Oh, I beg you, I’m begging, beg-ging….”. The retreat fails, Götting is left a fool. Society has been too strong for him to escape.

“The Murder of a Buttercup” – Religion and Rationality

There is a tension in The Murder of a Buttercup not only between society and the self, but also between an extreme rationality and irrationality. Both Nietzsche (e.g. Beyond Good and Evil) and Max Weber (in his lecture “Science as Vocation”) warn against adopting a hyper rationalist viewpoint of the sort that was at the time coming into vogue. While on the surface science offers a lot of explanations, Nietzsche saw a wholehearted belief in science as just a continuation of the Christian world view, and as such one ultimately tending towards nihilism and a devaluation of all things. Meanwhile, Weber added that although science answers a lot of questions, nonetheless its answers are very often based on presuppositions (even today), meaning that most “facts” are nonetheless ultimately contingent. Once we start questioning what underpins them we can devalue the world that way too.

What matters, then, is to leave a little bit of irrationality in yourself instead of veering between hyper-rationalism and irrationalism. There are many characters in The Murder of a Buttercup who seem unable to do this. The most memorable on is Michael Fischer, the hero of “The Murder of a Buttercup” itself. This is an extraordinarily strange tale. On a walk in the mountains Fischer, the head of a firm in the city, attacks and dismembers a buttercup that had managed to slow him down. Fischer is a rational man, if cruel. But the murder of a buttercup is all that is necessary to lead him down the road to madness. A few moments after killing the flower he sees himself, committing the act again. A dislocation has taken place between the old Fischer and the new.

A buttercup
The premise of “The Murder of a Buttercup” is quite original, and it serves as a good vehicle for airing a lot of the tensions underlying humankind’s leap into the modern era. Photo by Robert Flogaus-Faust / CC BY

As he continues walking, guilt for the “murder” begins to eat away at him, including a fear of social repercussions – “What if someone saw him, one of his business colleagues or a lady?”. Fischer tries to control himself the same way he controls his firm. In his mind he even seems to refer to himself as a “firm”. But he is unable to win out, and images of death and decay, of the “plant corpse”, continue to eat at him. Alongside another emotion – pleasure. A kind of sexual enjoyment was to be had in murdering the plant, a “gentle lasciviousness”.

Once Fischer gets over his guilt he feels “liberated”. But back in the city this guilt returns. He finds himself crediting the buttercup money to try to buy back his peace, he makes offerings to it. He is unable to win out – he ends up crying at all the beauty in the world, beauty that his guilt is ruining. He only moves on when he takes a new buttercup home from the mountains. He lavishes attention on this one out of spite for the old one. “Never had his life passed so cheerfully” we are told. Eventually, he disappears into the forest, “laughing and snorting loudly”. His madness is complete.

Modern Anxieties in The Murder of a Buttercup

Döblin’s Berlin grew extremely rapidly in the final years of the 19th and early 20th centuries. The city and business underpin Fischer’s power and confidence. But the foundations are flimsy. There is a moment in the story where he thinks “Nobody would make a fool out of him, nobody”. Though he tries to live rationally, he gains more enjoyment from an imaginary war with a buttercup than from his entire business career. His final retreat into the forest, like Copetta and the woman’s in “The Sailboat Ride”, is a firm rejection of society and social constraints. And like theirs, it is marked by a feeling that illicit, sexual pleasures and desires and more valuable than socially constrained ones, even as those same desires have fatal consequences. Fischer’s story is also similar to “Astralia” by means of its preoccupation with religious concerns.

In “Astralia” there was an attempt to replace organised religion with a kind of mystical cult; in “The Murder of a Buttercup”, however, it is the absence of religion that is the focus. Without a god to turn to, the question of how to expiate his guilt torments Fischer incessantly and seems to be a great contributor to his eventual madness. Looking at the story through Nietzsche seems like a good approach. Guilt, of course, is a Christian emotion in Nietzsche’s view. It makes us uncomfortable acting in a way that benefits ourselves by encouraging us to think about others and external, heavenly, judgement. It is thus the hallmark of a slave-morality. Fischer lives in a godless world, but he is still hamstrung by a Christian moral system, leaving him in the double bind of feeling a bad emotion but being unable to deal with it.

He doesn’t know he is free, and that ignorance comes to destroy him.

Conclusions

There are a few other interesting stories here, including “The Wrong Door”, with its amusing play on our ideas of fate, and the coldly rational and brutally misogynistic “Memoirs of a Jaded Man”. But space and attention are at a premium and I had better wrap things up. I liked a lot of the ideas and concerns that Döblin voices in The Murder of a Buttercup. In some sense his stories, with their mix of the supernatural and irrational alongside the rational and concrete, reminded me of Borges’ work. But Borges manages in three or four pages what Döblin needs several more to do, and I’m not sure the latter’s work is better for the extra space.

A painting of Döblin in a jagged, modernist style.
Modern anxieties alone are not enough for good fiction, at least in my book. The stories in The Murder of a Buttercup are intellectually interesting, but not always gripping. Portrait of Döblin by Ernst Ludwig Kirchner.

It doesn’t help that his stories are rarely gripping, and there were a few times when I was left confused about what was actually happening. These aren’t instances of modernist flourishes – when Döblin’s language gets weird, it can be fantastic and beautiful – instead, these are times when he could probably simply have done with an editor. In the end, I’m left with mixed feelings. These tales are the work not of a talented author, but of someone who has everything they need to become one given time and the right circumstances. As with Isaac Babel’s Red Army Cavalry, and Platonov’s Soul and Other Stories, I can’t help but feel that the intellectual side of Döblin’s stories overpower their weaker and less gripping plots. And unfortunately, while it makes him easy to write essays about, it doesn’t really make him enjoyable to read.

But I hope his mature work, when I get around to it, will change my mind.

Have you read any Döblin? Does he get better? Leave a comment and let me know.