The Dilemma of Modern Man in John Collier’s The Chaser more

The Dilemma of Modern Man in John Collier¶s The Chaser Modern man, it is a big question. What does modern here mean?, Adorn and Horkheimer taken from Immanuel Kant gives a good answer in The Dialectic of Enlightenment,´ Understanding without direction from another, ³ is understanding guided by reason´ (2002:66). The word ³reason´ in modern age has been the best conclusion that human must know everything through his reason. It is a tool to get the highest understanding of world phenomenon. All events can be explained by reason; no outside reason; a tool ³is to rule over disenchanted nature´ (2002:3). Nature is not regarded as the part of mystery, because there is no longer mystery in the world. The mystery if it really exists merely is not here, in the world but beyond the world. In that book, both thinker analyze deeper this condition. What happens then, if human being as characteristic of modern man tends to use his rationality at all? this writing applies the word ³dilemma´ inspired from Sindhunata¶s thesis; ³Dilemma Usaha Manusia Rasional´. Human undergoes a dilemma when he believes that his rationality in fact remains its irrationality. Man unconsciously considers that his act contains irrationality although he lives in modern era that throws irrationality away. This writing is used to analyze the dilemma of a character named Alan Austen as person who lives in modern age in John Collier¶s The Chaser. The dilemma of Alan Austen Austen tries to find the house of a paranormal from the information in a name card. ³He wanted written obscurely on one of the doors « Alan, without word, handed the card he had been given´ (Collier). The name card, the number and title front of the house, are the characteristic in modern age where human disciplinary identify himself. People just see the name card and a particular place will be easy to find. The name card of the old man or paranormal is a signifier when its signified (his house) is clearly can be known. In modern era, ³it is associated with a certain set of attitudes towards the world, the idea of the world as open to transformation, by human intervention´ (Giddens 1998:94). People rule the world. They have to make everything clear and systematic. By using name card, the finding of house is easier. They do not want to let themselves wasting their time, because time is money. It is a first step to make a good transformation, to be more progressive each day. This purpose only happens if they use ratio, because modern is only ³a progressive force promising to liberate humankind from ignorance and irrationality" (Rosenau,1992:5). The scenario then, is it running well? Wait for a moment. In other scene, it is shown that ³ (Austen) and peered about for a long time on the dime landing before he found the name´ (Collier). This scene proves that although there is a card name for finding the house easier, the process is not always easy. Austen should peer for a long time. The product of rationality unconsciously or not has emerged own problem. Why does the problem emerge to something systematic called modernism? Let look another scene before analyze deeper. Austen comes to the paranormal because he wants to buy love potion with permanent effect. ´ you really do sell love potions?´ « And how much, said Alan, is this wonderful mixture?³their effect are permanent, and extend far beyond the more casual impulse´ « That is just one dollar (Collier) As the modern man, this problem is so silly. It is actually there is no reason for love potion and the feeling of love. This is caused that modernism as a product of ³Enlightenment has always regarded anthropomorphism´ (Adorno and Horkheimer, 2002:4) taken ratio in single place for determining knowledge. Therefore a thing such love potion is considered as ³The supernatural, spirits and demons, are taken to be reflections of human beings who allow themselves to be frightened by natural phenomena (ibid)´. Human must forget the belief of the things but his ratio. But, Austen¶ act shows in vice versa. That condition also is aware of Marx in Das Capitalist before Adorno and Horkheimer analyze further, he argues that finally the goods that the people produce, is worshiped by them. This is a principle of the fetishism of commodity. Austen as the symbol of person who lives in modern age in fact is still trapped by love potion. He wants to search the permanent effect of the potions like Kant¶s dilemma. It is the representation of modern age that Collier describes in this story well. He desires to find the most ultimate thing that never is changing. It is not imagination, ³you will not have to use your imagination´ (collier), instead ratio. Ratio since Desacartes¶ Aufklarung considered that only ratio, the unchangeable one. Collier in this story reminds the reader that, Austen as the product of modernism still believes in irrationality. ³It wanted to dispel myths, to overthrow fantasy with knowledge. Bacon, "the father of experimental philosophy,'" brought these motifs together. He despised the exponents of tradition (Adorno and Horkheimer, 2002:1). Unfortunately, such Austen act, ³problem of AufklaÈrung remains the central problem of modern man, the part of our cultural history from which we cannot clear free (Cascardy, 1999:3). Austen as the free agent is actually not free, because he is created by the product of the past tradition, the product myth. It is the ancestor creature when the modern man regard they do not use their ratio effectively. And, now, Austen shows himself that modern man is another myth. Back to the last question, Why does the problem emerge to something systematic called modernism?.It is caused only from the principle of modernism itself. All the things regarded can be materialized; love by using love potion, religious belief is commerce, the time of general election, the candidate comes to the priest and paranormal. No one can be no measured, such Alan¶ question. ³But the love potion?´ said Alan. ³Oh, that´ said the old man, that is just a dollar´ .Love also can be measured through ³the tool of love´; the love potions. Austen does not want to busy for getting Diana¶s love. He just understands there is a simply way to get something.³for scorn, adoration. Give one tiny measure of this to the young lady-its flavor is imperceptible in orange juice « she will change altogether. She will want nothing but solitude and you´ (Collier). The outcome is better than the process. It is principle of modern man. They do not believe another but ³the use´. This neo-positivist and pragmatist attitude is the myth for modernism. The abstract of love is measurable in a tool; symbolize in love potions. ³T he scientific calculation of events annuls the account of them which thought had once given in myth(Adorno and Horkheimer, 2002:5). The most important thing is what the tool can be functioned. Because of this attitude, in The Dialectic of Enlightenment, Bacon rational human does not know something within himself except ³the use´. Collier shows, how modern man cannot release his anxiety toward something outside. Austen in a dilemma where he is rational man cannot leave his irrationality. Because of this myth, critical theory of Horkheimer becomes pessimist. Austen, finally as the free agent, in fact is just the pessimist person to get his love. Therefore, That ³Modernism is bound-up with autonomy of art « Art participates in the disenchantment of the world « it extends the destruction of natural boundaries´ (Bernstein,1992:190) then is something questionable such the dilemma in The Chaser. It also questions the disenchantment. Refference: Adorno,Theodore and Horkheimer, Max.2002. The Dialectic of Enlightenment. California: Stanford University Press. Bernstein, J.M.1992.The Fate of Art. The Pennsylvania State University. Cascardy, J Antonio. 1999. The Consequence of Enlightenment. Cambridge University Press. Giddens, Anthony. 1998. Conversations with Anthony Giddens: Making Sense of Modernity. Stanford, Calif.: Stanford University Press. Rosenau, Pauline Marie. 1992. Post-modernism and the Social Sciences: Insights, Inroads, and Intrusions. Princeton, N.J.: Princeton University Press.