Was Abraham Ethically Defensible in Keeping Silent About His Purpose?
The ethical as such is the universal, again, as the universal it is the manifest, the revealed. The individual regarded as he is immediately, that is, as a physical and psychical being, is the hidden, the concealed. So his ethical task is to develop out of this concealment and to reveal himself in the universal. Hence whenever he wills to remain in concealment he sins and lies in temptation, out of which he can come only by revealing himself.
With this we are back again at the same point. If there is not a concealment which has its ground in the fact that the individual as the individual is higher than the universal, then Abraham’s conduct is indefensible, for he paid no heed to the intermediate ethical determinants. If on the other hand there is such a concealment, we are in the presence of the paradox which cannot be mediated inasmuch as it rests upon the consideration that the individual is higher than the universal, and it is the universal precisely which is mediation.
The Hegelian philosophy holds that there is no justified concealment, no justified incommensurability. So it is self-consistent when it requires revelation, but it is not warranted in regarding Abraham as the father of faith and in talking about faith. For faith is not the first immediacy but a subsequent immediacy. The first immediacy is the aesthetical, and about this the Hegelian philosophy may be in the right. But faith is not the aesthetical — or else faith has never existed because it has always existed.
It will be best to regard the whole matter from a purely aesthetical point of view, and with that intent to embark upon an aesthetic deliberation, to which I beg the reader to abandon himself completely for the moment, while I, to contribute my share, will modify my presentation in conformity with the subject. The category I would consider a little more closely is the interesting, a category which especially in our age (precisely because our age lives in discrimine rerum) has acquired great importance, for it is properly the category of the turning- point. Therefore we, after having loved this category pro virili, should not scorn it as some do because we have outgrown it, but neither should we be too greedy to attain it. for certain it is that to be interesting or to have an interesting life is not a task for industrial art but a fateful privilege, which like every privilege in the world of spirit is bought only by deep pain.
Thus, for example, Socrates was the most interesting man that ever lived, his life the most interesting that has been recorded, but this existence was allotted to him by the Deity, and in so far as he himself had to acquire it, he was not unacquainted with trouble and pain. To take such a life in vain does not beseem a man who takes life seriously, and yet it is not rare to see in our age examples of such an endeavor. Moreover the interesting is a border-category, a boundary between aesthetics and ethics. For this reason our deliberation must constantly glance over into the field of ethics, while in order to be able to acquire significance it must grasp the problem with aesthetic intensity and concupiscence. With such matters ethics seldom deals in our age. The reason is supposed to be that there is no appropriate place for it in the System. Then surely one might do it in a monograph, and moreover, if one would not do it prolixly, one might do it briefly and yet attain the same end — if, that is to say, a man has the predicate in his power, for one or two predicates can betray a whole world. Might there not be some place in the System for a little word like the predicate? In his immortal poetics Aristotle says, I am of course concerned here only with the second factor, recognition. Where there can be question of a recognition there is implied also a previous concealment. So just as recognition is the relieving, the relaxing factor in the dramatic life, so is concealment the factor of tension. What Aristotle has to say in the same chapter about the merits of tragedy which are variously appraised in proportion as and impinge upon one another, and also what he says about the “individual” and the “double recognition,” I cannot take into consideration here, although by its inwardness and quiet concentration what he says is peculiarly tempting to one who is weary of the superficial omniscience of encyclopedic scholars. A more general observation may be appropriate here.
In Greek tragedy concealment (and consequently recognition) is an epic survival grounded in the first instance upon a fate in which the dramatic action disappears from view and from which tragedy derives its obscure and enigmatic origin. Hence it is that the effect produced by a Greek tragedy is like the Impression of a marble statue which lacks the power of the eye. Greek tragedy is blind. Hence a Certain abstraction is necessary in order to appreciate it properly. A son murders his father, but only afterwards does he learn that it was his father. A sister wants to sacrifice her brother, but at the decisive moment she learns who he is. This dramatic motive is not so apt to interest our reflective age. Modern drama has given up fate, has emancipated itself dramatically, sees with its eyes, scrutinizes itself, resolves fate in its dramatic consciousness. Concealment and revelation are in this case the hero’s free act for which he is responsible.