A LIGHT-HEARTED LOOK AT ONTOLOGY
"I exist as I am, that is enough, If no other in the world be aware I sit content, And if each and all be aware I sit content."
--Walt Whitman
Popeye and the Poker
Walt leans forward and draws a balloon coming from the sailorman's lips and fills in the words: "I yam what I yam! A few deft strokes of the pencil and the drawing is finished - a figure of a sailor with billowing biceps and a corncob pipe stuck in the gash of a mouth stares out from the page."That's right Popeye," breathes the thin-legged woman with pigtails beside him on the sketchpad paper - "You are what you are!"
"Ahhhhhhh! Shucks Olive," responds the cartoon navy man, "At least we both exist now - that's something - but what do we exist AS - that's what puzzles me?"
"I am what I am," muses Disney laying down his pencil and leaning back in his chair, "What does he mean? "I am what I am?" At the moment he isn't anything other than a drawing on a piece of paper - and Olive too, she's just lines of graphite on some white paper."
Is Popeye talking about the simple fact of his existence when he says "I yam whad I yam," or is he talking about the manner of his existence?"
If Popeye was referring to the simple fact of his existence why does he not simply say - "I am" [or I yam] why does he have to add the supplementary "WHAT I yam" - what does the additional: "what I am" add to his statement and how does it change the import completely?
The ?'what' interrogative and relative determinant is Popeye's assertion about the modality, class, kind, or nature of his existence, but he uses it without furnishing us with any life-style details. We are expected to know about the way that Popeye exists a priori - and of course millions of children all over the world DO know in advance about Popeye's manner of behaviour and his liking for spinach, and his love for the skinny-ribbed Olive, and his fights with the huge, towering rival for Olive's three-fingered hand.
Examples of predicational pruning are often produced by intellects anxious to disprove the analysis of the verb "to be" as a non-verb of simple existence.
Another old chestnut is the poetical Hamlet's gloomy: "To be or not to be?" This is often trotted out as an example of how the "to be" infinitive is apparently acting as a verb of simple existence, when in fact it is nothing more that a predicational trope - a fragment shorn of its descriptive implications for purposes of scansion, metricality, and poetical licence: "To be ALIVE or not to be ALIVE?" We all KNOW the import of the excised predicate ALIVE, and that is why we respond to the effectualness of the line with so much compassion, for it ushers in intimations of our own mortality.
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