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• W1588892264 abstract "IN MOST SITUATIONS, we should use a metaphorical steering wheel, which allows degrees of adjustment, rather than using a metaphorical paddle, which permits only a limited, dichotomous, either-or response. So cautioned S. I. Hayakawa. From experience I have learned that you can't criticize anything without having it supposed that you favor the opposite extreme, wrote Joseph Wood Krutch in The American Scholar. (Cited by Dr. Sanford Berman, in his audiocassette tape The Either-Or Way of Thinking.) For years, thinkers have criticized reacting in terms of either one extreme or another. During the Age of Enlightenment or Age of Reason (generally considered from 1650-1850), the literary genre known as the comedy of manners attempted to combat such pernicious either-or ways of thinking. As a form of satire, the comedy of manners ridiculed human vices with the aim of producing an improvement in behavior. The major focus of Moliere's comedies was to mock excesses in thinking, behavior, or emotion, and to emphasize the rational middle course. In Moliere's play Tartuffe, the patriarch Orgon becomes befuddled by his own excessive either-or reacting to life situations. His two children also behave in extremes. Orgon's son Damis, with his hotheaded extremes of temper, and Orgon's daughter Mariane, with her excessive timidity, appear as extreme characters and as extreme opposites. The father Orgon, son Damis, and daughter Mariane are prisoners of dichotomous either-or thinking and are unable to make the rational incremental adjustments needed for a harmonious life. One of the goals of Enlightenment writers was to assist individuals to make rational adjustments, and therefore to find a wider choice of strategies than those available from rigid either-or evaluations. Representing the power of reason in Moliere's Tartuffe are Orgon's brother-in-law Cleante, who advocates moderation; Orgon's second wife Elmire, who employs pragmatic negotiation; and Orgon's practical maid Dorine, another pragmatist who offers alternative methods of responding to seemingly impossible dilemmas. When a confidence man deceives Orgon, taking advantage of his excessive religious piety, relatives and friends try to point out the error of Orgon's befuddled judgment. Orgon mistakenly thinks his brother-in-law is attacking religion or piety. However, in the scene which appears below, Cleante seeks to discourage Orgon's either-or thinking. In effect, he wants to take away Orgon's dangerous metaphorical either-or paddle and replace it with a useful metaphorical steering wheel, which emphasizes incremental degrees of response: Cleante: Ah, Brother, man's a strangely fashioned creature Who seldom is content to follow Nature, Beyond the narrow bounds of moderation, And often, by transgressing Reason's laws, Perverts a lofty aim or noble cause. Act I, Scene V, Lines 81-86 Norton World Masterpieces, p.26 Cleante doesn't criticize legitimate religious practice; he criticizes excess, as he attempts to steer Orgon into emulating more moderate role models: Cleante: With bright examples to instruct and guide us. Consider Ariston and Periandre; Their virtue is acknowledged; who could doubt it? But you won't hear them beat the drum about it. They're never ostentatious, never vain, And their religion's moderate and humane; It's not their way to criticize and chide; They think censoriousness a mark of pride, And therefore, letting others preach and rave, They show, by deeds, how Christians should behave. Act I, Scene V, Lines 125-136 Norton World Masterpieces, p.29 During Moliere's time, some Roman Catholic prelates savagely criticized the play Tartuffe as anti-religious, but Moliere insisted that the play satirized only bogus hypocritical religious behavior, characterized by fanatical zeal which engendered ridiculous extremes in behavior. …" @default.
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• W1588892264 date "2003-04-01" @default.
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• W1588892264 title "Using Literature to Neutralize Pernicious Dichotomous Thinking" @default.
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