Abstract

To carry on reasoning in the face of the implications of skepticism is what Fred Parker calls “sceptical thinking.” Not to be confused with the engineered vacillation leading to a tranquillizing suspense of judgement, it involves the double perspective of someone conducting a life, believing and reasoning as we do, while acutely aware that the whole endeavor is, in a sense, untenable. If, as Sir Philip Sidney famously said, an imaginative writer “nothing affirms, and therefore never lieth,” then the dilemma posed by skepticism might be less embarrassing for that kind of writer than for philosophers. The latter purport to offer tenets valued according to their truth, however variously defined; the former, on the other hand, create “speaking pictures,” or verbal imitations. Skeptically thinking imaginative writers can create speaking pictures of a life in which knowledge is unavailable though people must reason, believe, and act. In a famous letter Keats went so far as to deem a kind of ataraxy to be a condition of the highest art, adducing Shakespeare’s “Negative Capability... of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason”. Parker does not discuss the possibility that negative capability might conduce to the highest flights of literature. He is concerned with the unresolved tensions of skeptical thinking that he sees as complicating key works of literature in the Hanoverian reigns. For their authors and readers, the negativity of skepticism was “disillusioning and destabilizing” if not ameliorated by a humor like Sterne’s or an irony like Hume’s. Humor or irony arises from the oddity that skepticism is put in its place only when we give up and allow nature to reassert itself. Not heroic measures, but backgammon and making merry with friends prevail over doubt. Sometimes, when the confrontation with skepticism gives rise to the precept of following nature, skepticism can result in “a surprising confidence of assertion”.