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WORK ON BLUMENBERG
Hans Blumenberg, Workon Myth, tr. Robert M. Wallace. MIT Press, (Cam-
bridge, Mass., 1985), 685 pp., introduction.
Hans Blumenberg is widely considered one of the most stimulating philos-
ophers in Germany, and with the publication by the MIT Press, in its Studies
in Contemporary German Social Thought, of Robert M. Wallace's translations,
first of The Legitimacy of the Modern Age (1983), and now of Work on Myth,
Blumenberg's major works are beginning to be available in English. These are
long, sometimes difficult books, but exuberantly learned and full of arresting
insights.
Blumenbergis hard to classify. He is Professor of Philosophy at the University
of Miinster, but he does not seem to belong to any community of contemporary
philosophical discourse. He is not an analytical philosopher in the English-
speaking mode; he has not taken "the linguistic turn," and his tone is often
assertive and even oracular. Although he has a gift for detecting structural
similarities among apparentlyunrelated philosophical, and in this work mythical
and literary, productions, he seems little touched by the novelties recently em-
anating from France; and he is neither a Marxist nor a partisan of any psy-
choanalytic school. Although he sometimes relies on the abstractions of German
philosophy, he has no system, is more accessible than Heidegger, and not much
interested in hermeneutics. He seems nevertheless aware of all these possibilities,
and he also has a sense of humor.
Blumenberg is not a systematic or even a very coherent thinker. His books
are composed less of arguments than of ruminations and insights, advancing by
association and analogy rather than logic and emerging in an overall pattern of
thought not always immediately apparent. As Wallace remarks in his introduc-
tion, Blumenberg "avoids distinguishing between imaginative and conceptual-
analytical 'work' " (xiii). Workon Myth is sometimes repetitive and frequently
obscure because the connections between one sometimes remarkableinsight and
the next are left unstated. It is also, at times, both contradictory and ambiguous.
One "works" on it much as Blumenberg himself "works" on myth, with the
sense that more, and perhaps something else, might always be said.
His title, then, suggests how to approach him, but it also hints at how to
"locate" him. He is a philosopher in the mode of the Enlightenment, with its
belief in progress through the intellectual mastery of the world (the immediate
subject of The Legitimacy of the ModernAge), its rejection of the abstractsystem-
building of seventeenth-centuryphilosophy, its reliance on the data of experience,
and its tendency, as Ernst Cassirer put it, to be "even more fascinated by the
activity [of reason] than by the creations brought forth by that activity." For
Blumenberg as for the philosophers of the Enlightenment, "the power of reason
Donald Kelley, however, has called my attention to Manfred Frank, Der kommende
Gott: Vorlesungeniiber die neue Mythologie (Frankfurt am Main, 1982), which groups
him with H. E. Richter and L. Kolakowski as an exponent of "new mythology."
347
does not consist in enabling us to transcend the empirical world but rather in
teaching us to feel at home in it."2 A philosopher in this sense is not so much
a specialist as that generally cultivated person once described as "a man of
letters." Conceiving philosophy in this way, Blumenberg is variously a historian
of ideas with a special talent for identifying the implicit affinities and strategies
in the various productions of Western culture, a literary critic, and a source of
striking psychological insights and anthropological speculation. His willingness
to take risks, combined with this breadth, is, I think, an element in his attraction
for readers who are not professional philosophers, but so also, I suspect, is his
confidence, however guarded, in the capacity of an open-ended rationality not
only to comprehend but also to improve the world. Although most of us have
had to give up the assurance of the Enlightenment, it remains a temptation to
which we would still like to believe we can yield.
Yet Blumenbergis aphilosopheof the twentieth century, not of the eighteenth,
and for him the restless accomplishments of reason since the Enlightenment
represent notable advances beyond it. This conviction is reflected in the subject
of the present work; an eighteenth-century philosopher would simply have dis-
missed myth as a primitive and erroneous way of explaining the world. For
Blumenberg progress in biology, anthropology, and psychology has made clear
that this was a mistake and that myth cannot be so easily disposed of. Indeed
myth constitutes a unique challenge to reason. It consists of "a material whose
hardness and power of resistance [to interpretation] must have unfathomable
origins" (266), and it must constantly be reinterpreted:"one has to 'work' on
it if it is to continue to be adaptable to life as it goes on" (501). Any claim to
exhibit "the ultimate possible way of dealing with myth runs the inescapable
risk of being refuted, of being convicted of implying a still-unfulfilled claim"
through the emergence of still another possibility (632). It is impossible, in
short, to produce anything but "essays" on myth. Blumenberg aims, while
rejecting the conclusions of the Enlightenment on this subject, to be more faithful
to its open-ended critical spirit than the Enlightenment was itself.
In this spirit he attributes its misunderstanding of myth to a fundamental
contradiction between its belief in reason as a universal faculty and its own
"historical myth of the darkness out of which reason lighted its way" in order
to make a new beginning (265). Blumenberg has no use for such radical dis-
continuities in the history of thought; The Legitimacy of the Modern Age had
attributed the idea of progress to "experiences involving such a great extent of
time that the spring into the final generalization of the 'idea of progress' sug-
gested itself as a natural step" (30-31). In this book he criticizes the rational
"projects" of the Enlightenment on grounds that, for him, reflect a more con-
sistent rationality. "It can be rational," he remarks (163), "not to be rational
to the utmost extent ... rationality is all too ready to engage in destruction
when it fails to recognize the rationality of things for which no rational foun-
dation is given."
Myth, for Blumenberg, is a dimension of human experience whose function
in human existence had not been graspedby the rationality of the Enlightenment,
which was based on a too narrowly rationalistic (and therefore insufficiently
2 Cf. Ernst
Cassirer, The Philosophyof the Enlightenment, tr. Fritz C. A. Koelln and
James P. Pettegrove (Princeton, 1951), esp. 5, 13.
WORK ON BLUMENBERG 349
3Cf. Geoffrey Clive, The Romantic Enlightenment: Ambiguity and Paradox in the
WesternMind (1750-1920) (New York, 1960), 39-56.
350 WILLIAM J. BOUWSMA
for distraction, and occasionally fidelity to vows attributed to the gods in these
stories gave human beings a degree of freedom for maneuvering among and
escaping from them. Since the stories were placed in a remote past, they also
made the terror more distant. In this way work on myth succeeded in "a
dismantling of the old seriousness" (632); later stages in the development of
myth saw the introduction of that humor and parody to which-for philosophy,
in contrast to myth, is always serious-Plato objected.
Blumenberg's account suggests, then, the progressive success of the mythical
project. We know nothing about the earliest efforts to make the world more
comfortableby myths, but the persistence of animal shapes in mythology suggests
a process of natural selection in which theriomorphic gods gradually gave way
to gods in human form, until finally, after vast stretches of time, the most
effective myths for reducing the oppressiveness of existence emerged. The re-
duction of myths to writing came at a late stage in this process, and its result
was to end the process of improvement; from this point on "only corruption
remains possible," including perhaps the corruption representedby the mingling
of myth and dogma (153). Myth itself, therefore, like its interpretation, is the
product of a prolonged "work on myth."
Myth, then, served the needs of archaic man; but for Blumenberg it appears
also to be a perennial necessity of human existence. "The fundamental patterns
of myths are simply so sharply defined, so valid, so binding, so gripping in every
sense," he tells us, "that they convince us again and again and still present
themselves as the most useful material for any search for how matters stand,
on a basic level, with human existence" (150-51). For Blumenberg, then, there
seems to be a limit to the potential emancipation of mankind. The human animal
"never entirely attains the certainty that he has reached the turning point in
his history at which the relative predominance of reality over his consciousness
and his fate has turned into the supremacy of the subject" (9).
He has a special talent for discerning mythical elements in the more pompous
constructions of the moder mind such as, in its various manifestations, German
Idealism. Since Kant, Blumenbergobserves, philosophers have merely "put new,
from abstract to highly abstract titles in the place of the old [divine] names: the
'I,' the world, history, the unconscious, Being," to do the work of the old myths:
"they drive out the desire to ask for more" and, without providing answers to
questions, "make it seem as though there is nothing left to ask about" (288).
Myth can be particularly discerned in theodicy and philosophy of history, Ide-
alism's most pretentious offspring; these
finally fulfill myth's most secret longing not only to moderate the difference in
power between gods and men and deprive it of its bitterest seriousness but also
to reverse it. As God's defender, as the subject of history, man enters the role
in which he is indispensable. It is not only for the world that, as its observer
and actor, indeed as the producer of its "reality," he cannot be imagined as
absent, but also indirectly, by way of this role in the world, for God as well,
whose "fortune" is now suspected of lying in man's hands. (32)
Some of the richest pages in this work illustrate these views by analyzing
what Blumenberg calls "fundamental myths," myths that offer something like
a total explanation for human existence, its tribulations, and the manner of their
WORK ON BLUMENBERG 351
sending them Pandora with her fateful box. The story explains both the glory
and the wretchedness of mankind.
A major part of the book is devoted to tracing the myth of Prometheus
through the ages in its various forms, and above all in the nineteenth century,
for whose self-understandingit was of special importance. Kant, though troubled
by what Franklin's experiment with the kite portended, had called him "the
Prometheus of modem times"; and early philosophers of history-Schlegel,
Schiller, Schelling-saw in Prometheus a representation of the divine principle
at work in all human accomplishments and historical.events. For Marx the
rebellion of Prometheus stood for his own protest "against all heavenly and
earthly gods who do not acknowledge human self-consciousness as the highest
divinity," though Blumenberg suggests that Marx also projected onto the story
his own revolt against Hegel (570-86).
But he is particularly interested in the more ambiguous treatment of Pro-
metheus by Nietzsche and-by implication rather than explicitly-by Freud,
both of whom were conspicuously dubious about the benefits of civilization. In
his misogyny, Blumenberg suggests, Nietzsche was on the side of the Zeus who
"denies that men deserve to live" (616); Nietzsche blamed Prometheus for
making "death invisible for men under the veil of culture" (619). For Freud
fire had been first experienced as a resource to be domesticated, and had been
basic to the distribution of labor between the sexes: "Prometheus had stolen
fire from the gods; Freud's primeval man must merely give up pissing in the
fire," whereas woman's role, for which she is suited by "one of her most
incidental incapacities," is to preserve it (624). This may already suggest that
"deformation of the myth into the grotesque" which Blumenberg associates
with Gide's Promethee mal enchazne (1899). Gide brings this survey, and in
more than one sense the nineteenth century, to an end.
This is a book that can be understood in various ways, one of which is
connected with the figure who looms largest in this account of the admirers of
Prometheus, and indeed is uniquely important to Blumenberg as he has been
to other modem German writers. Suddenly, nearly two-thirds of the way through
the book, Blumenberg tells us where it has been headed from the beginning
(399):
Everything up to this point in this book has a gradient; all the lines converge
on a hidden vital point at which the work expended on myth could prove to
be something that was not fruitless. It was not fruitless if it could feed into the
totality of one life, could give it the contours of its self-comprehension, its self-
formulation, indeed its self-formation-and this in a life that is open for our
access, without the merciful hiding places that we all demand for ourselves.
The life he has chosen, ostensibly for its accessibility, is that of Goethe.
Blumenberg does not tell us why this convergence of lines is required to
prevent his book's proving fruitless. He simply proceeds to provide his reader
with 157 pages of psychological and literary biography that explore in great
detail Goethe's identification both of Napoleon and himself with Prometheus,
and the degree to which he perceived his own life as a reenactment of the
Prometheus myth. The clue of this self-perception, for Blumenberg, is the "ex-
traordinary saying" in part 4 of Dichtung und Wahrheit:Nemo contra deum
WORK ON BLUMENBERG 353
nisi deus ipse. This motto is appropriate to the self-exaltation, against fate and
all lesser powers, of both Napoleon and Goethe, and it leads Blumenberg to a
lengthy discussion of the attitude it expresses in relation to Epicureanism and
Spinoza's pantheism, Luther's attitude to the deity, and the end of the Enlight-
enment. Taken by itself, this section of the book is of extraordinary interest;
but, at least for a reader whose cultural formation does not require so strenuously
coming to terms with Goethe, it is likely to seem a bit unbalanced. I suspect
that it is included in the book because Goethe is for Blumenberg both the
worthiest representative imaginable of the Romantic challenge to the Enlight-
enment and, at the same time, because Goethe also sought to retain the values
of the Enlightenment as part of a fuller vision of human existence, a suitable
model and guide for himself. "No one," Blumenbergnoted, "has ever articulated
more precisely why reason admits needs, which it arouses itself, without being
able, in its regular discipline, to satisfy them: not in order to acquire secretly,
after all, the excess that is denied to it, but in order not to let unreason gain
power over the unoccupied space" (401). It was Goethe, perhaps, who compelled
him to reexamine his commitment to the values of the Enlightenment, to criticize
it with its own instruments, and so, by the same token, to vindicate it. If this
is so it would also help to explain his mixture of respect for Goethe with irony
about Goethe's Promethean posturing. The first way to understand this book,
then, is as aggiornamento:a bringing up to date of the philosophy of the En-
lightenment.
The book can also be read as the most recent episode in the long love affair
between German intellectuals and the Greeks, and this reading would help to
explain a puzzling limitation of the book. Although it professes to formulate
and test a general theory of myth, it is concerned exclusively with the mythology
of the Greeks. One might have expected Blumenberg's concern with the genesis
of myth to have led him to examine, if not more exotic mythologies, at least
our own oldest mythological material, the mythologies of the Eastern Mediter-
ranean that lie behind not only the biblical material on which he often draws
for illustration but also the myths of the hellenic world. Yet the names of
Mithras, Gilgamesh, and Astarte, of Isis and Osiris, are missing from this book.
I do not mean to suggest that an examination of other mythologies would
invalidate Blumenberg's theory; this is not a matter on which I am competent
to judge. But it is odd that a scholar of such broad culture has not felt it
necessary to consider their relevance to his argument. This omission does not,
at any rate, suggest the method of the Enlightenment.
The book may also be read as evidence of the intellectual pilgrimage of a
singularly lively, imaginative, and original mind. Here comparison with The
Legitimacy of the Modern Age is instructive. In my own reading that book was
more clearly a defense of the attitudes of the Enlightenment and their continuing
viability; it contested only implicitly the Enlightenment's own conception of
itself as a "new beginning." The present book suggests, both in its argument
and in its occasional signs of ambivalence, an increasing tendency to criticize
what may have been the author's own earlier assumptions and an openness to
aspects of the human condition not hinted at by either the Enlightenment or
the earlier book. And while the earlier book took religious thought seriously
only before it chose to distinguish itself absolutely from philosophy, this book
354 WILLIAM J. BOUWSMA
may hint that religion occupies a positive and necessary place in human existence
as such. I word this suggestion so diffidently because Blumenberg's discussion
of the relationship between myth, logos, and dogma and of the role of this triad
in philosophy and theology seems to be equivocal and perhaps even contradic-
tory. Thus myth and logos are at once distinct and identical; myth in some
sense precedes and excludes logos (170, 600); and like dogma it seeks to end
the questioning, which logos, operating in philosophy, persists in asking (257-
60). But myth is also, in another sense, a province of logos (350), "a piece of
high-carat 'work of logos'" (27). Blumenberg also seems surprisingly ambi-
valent, at times, about dogma, so regularly denounced by the Enlightenment.
Dogma, he says, "is not the consuming of myth by the bit of philosophy that
it also contains, but is itself already a piece of remythicization" (256); and
although antithetical to the tolerance essential to the free exercise of reason,
dogma has its uses. Like myth the product of natural selection, it "is directed
toward preserving something that is subject to attack or temptation, which
presupposes a world that is full ... of attack and temptation" (252). In Blu-
menberg's work on myth, we may perhaps find hints of uncompleted work on
behalf of a Blumenberg who is still situated a bit uneasily between two only
partly integrated cultures.
These are all ways of reading the book as a whole. But I am not sure that
this is always the most profitable approach to Blumenberg, or what those who
have found him stimulating and even profound have most appreciated in his
work, which is full of incidental insights to which no account of this kind can
do full justice. Philosophers, literary scholars, anthropologists, theologians, and
historians are all likely to find this book valuable. As a historian myself, I should
like to exercise a reviewer's prerogative by concluding with an example of
Blumenberg'sarrestingobiterdicta relevant to my own discipline. In this passage
he describes en passant and without referring to it directly, the danger implicit
in a certain influential tendency in contemporary historiography (102):
Here again myth seems at odds with logos, but the observation invites, with
some urgency, to work on history.