Rav Hirsch on Bad Biographies

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Artwork: horrific AI attempt to produce a portrait of Rabbi Samson Raphael Hirsch
Rav Hirsch on Bad Biographies
I recently started reading a book by Hillel Goldberg called, Between Berlin and Slobodka: Jewish Transition Figures From Eastern Europe (1989), featuring biographies of six towering intellects: R’ Israel Salanter, Harry A. Wolfson, R’ Isaac Hutner, R’ Joseph B. Soloveitchik, Abraham J. Heschel, and Rabbi Joseph Z. Lipovitz. I bought it because Amazon was selling it for only $6 (!) and I figured that it would be beneficial to learn about the impact these six influential men had on Jewry.
I enjoyed reading the book from the get-go. The author is a gifted writer with an engaging style. The blurb on cover testifies that he “spent two decades in research on this biography” – a claim bolstered by the extensive endnotes and bibliography, which fill a whopping 102 pages. I read through the biographies of the first three figures, about whom I had little prior knowledge, and felt like I was learning something … until my reading was brought to a screeching halt by a critical review.
Lawrence J. Kaplan is Professor of Rabbinics and Jewish Philosophy in the Department of Jewish Studies at McGill University. He has written extensively on a wide range of topics and is regarded as one of the foremost experts on the thought of Rabbi Joseph B. Soloveitchik, whose Ish ha-Halakhah (Halakhic Man) he translated into English. When I posted an excerpt from Goldberg’s book on my Facebook wall, Professor Kaplan suggested that I read his critical review essay, published in Daat: A Journal of Jewish Philosophy and Kabbalah (no.35, pp. V-XXXIV, summer 1995).
Any attempt on my part to summarize Kaplan’s review would fail to do it justice. Its power comes from its thoroughness in exposing the gaps and prejudices in Goldberg’s treatment of his subjects. Instead, I will cite his closing paragraphs:

Two general points emerge from my lengthy examination and critique of Goldberg's treatment of his four central transition figures; the first is negative, the second, positive. First, to return to my starting point, while Goldberg claims to evaluate these figures in terms of their success at integrating the various clashing worlds within them, I believe I have shown that his evaluations cannot be sustained and that what he is really offering us is a purely theological judgment in a scholarly garb. Second, my own alternative analysis of the thought of these figures, while necessarily sketchy and incomplete, leads to the tentative conclusion that they, to use Goldberg's ostensible criterion, were, despite tensions and even contradictions, considerably more successful in integrating these worlds than Goldberg would have us think.

Have I been too harsh on Between Berlin and Slobodka? Did I not state earlier that it deals with a large and important subject and did I not concede to it many considerable strengths? Why then the sharpness of my tone?

If I have taken the book to task in so uncompromising and critical a fashion, it is precisely because I, like my old friend Hillel Goldberg, am simultaneously committed to the values of Jewish Orthodoxy and intellectual responsibility, and because I believe that Goldberg has, in writing this work, allowed, however unwittingly, the former value to override the latter. I am sure I need not remind Goldberg that the rabbinic tradition itself affirms, "Truth is the seal of the Holy one, blessed be He," and, that Rav Kook, whose strict Orthodoxy Goldberg would certainly not wish to deny, adds, "The truth is more beloved than everything, and precisely in it will the Exalted One, blessed be He, be praised.”

Anyone wishing to study the phenomenon of Jewish transition figures from Eastern Europe in the twentieth century will find much valuable data and many stimulating and incisive observations and insights in Between Berlin and Slobodka. The book as a whole, however, falls far short of its stated goals.

Kaplan’s review shook me on two levels. First, it reminded me of how dependent we are on experts in fields outside of our own expertise, and how easy it is to misplace our trust without realizing it. I had never heard of Hillel Goldberg, but I trusted him because he published a book which appeared to be based on copious amounts of research. I then shifted my trust to Kaplan based on the substance of his critique, strengthened by my small measure of firsthand familiarity with his scholarly prowess. But what would happen if another expert I trusted penned an essay defending Goldberg’s analysis? I would be left with compelling cases on both sides, and I would feel helpless to draw my own conclusions. The obvious “solution” of “go forth, study the collective works of Rav Hutner in light of all biographical data, and form your own conclusions” is not practical. This dilemma is not unique to intellectual biographies, and that’s what scares me. I realize this isn’t a new or profound insight. Just a rude reminder of an unavoidable limitation on the human intellect.

Second, Kaplan’s critique reminded me of how much subjectivity is involved in any attempt to capture the essence of a human life in writing. This, in turn, prompted me to recall Rav Samson Raphael Hirsch’s critique of Heinreich Graetz’s seminal work, History of the Jews. For those who are unfamiliar, here is an informational blurb excerpted from Collected Writings of Rabbi Samson Raphael Hirsch: Volume V (1988, Feldheim):

The historian Dr. Heinrich Graetz (1817-1891) was a professor at the Judisch-Theologische Seminar in Breslau where he published his eleven-volume History of the Jews (1853-1870). He reflected the ideological tendencies of his academic institution by accepting Biblical criticism and by believing in the historical evolution, rather than the Divine origin, of the Oral Law … Although Graetz was personally traditional in practice (and a student of Rabbi Samson Raphael Hirsch while the latter was Rabbi in Oldenburg), his work was used by those who wished to reform Orthodox Judaism. Recognizing its danger to Torah Judaism, Hirsch reacted strongly with a “critical examination” of Graetz’s fourth volume. In a series of twelve articles in his journal Jeschurun, Hirsch quoted the pertinent passages from Graetz’s History and then disproved his theses regarding the Oral Law.

Here is Rav Hirsch’s scathing critique of Graetz’s work, which I will present here in full. (Parenthetically, I hope you’ll be able to see why this ranks among my favorite written reviews of anything, ever.)

I once had a young friend who was a deaf-mute. He was a rather popular artist in one of the German provincial capitals. All his portraits looked very much alike, yet they were not truly alike. He had a habit – we called it a peculiarity – of painting all his pictures in colossal dimensions. All his paintings were much larger than life and therefore had a strange, spectral look. One could readily surmise that the subject had sat for the portrait, but one could not state with certainty that this was indeed the one. Recognition was not the result of a visual impression, but of reflection. The portrait hinted at the identity of the subject, but it was clear that the artist had not painted his subject in terms of objective reality. He had only captured the subjective impression made upon him by the personality of his subject.

When it comes to a human subject, the artist’s eye is not his only medium of perception; the portraitist is influenced also by his emotions. Any contemplation of a human subject entails the conception of an intellectual personality. The subjective image of a subject, which is largely influenced by personal likes and dislikes, will unconsciously guide the brush in the artist’s hand. Such an image may often be entirely inaccurate. In addition, it may be further influenced by accidental poses of the subject, or even by the subject’s – or the artist’s – momentary state of health or ill-health.

This should explain the many portraits which, though they cannot be dismissed out of hand as “bad,” show features so unlike the subject and are so much at variance with his true character, that those better acquainted with him – especially his closest friends and relations – will categorically reject the portrait. The artist has captured in his work a trait that is transient or accidental (and colored by the artist’s own subjective impressions) as if it were a permanent aspect of his subject’s personality. In fact, the portrait flagrantly contradicts the character of the person they know. Regarding our deaf-mute friend, it might be worthwhile to make a psychological study to establish whether deaf-mute artists see their human subjects in a light so basically different from normal portraitists that there must always be something unusual about any portrait painted by a deaf-mute. 

Now imagine an artist whose natural angle of vision causes him to see his subjects not larger, but smaller than life. Imagine further that, over many years, this artist created portraits for which his subjects never sat. He based his work on some isolated trait in his subjects that may have come to his attention by accident and that, in addition, may have been distorted by the artist’s hasty judgment or misinterpretation. This artist then brings his creative imagination into play, using this one trait as a basis for interpreting the personality of the subject as a whole. He portrays his subjects as he saw them once, in unguarded moods, positions or activities: the one in a playful mood, the other in a pensive state; the one laughing, the other weeping; the one angry, the other joking. Some of his subjects are made to appear indignant, arrogant or impudent, while others look depressed, anxious, humble or embarrassed. But in thus portraying a person, the artist has seized upon only one note in that person’s whole range of emotions, a note which, in fact, may have been played only once in the person’s lifetime, but which the artist has perpetuated as the keynote, the dominant character. 

Now let us imagine that, years later, this artist presents to us these sketches as true-to-life portraits, committing the error of explaining the transient moods in which he painted his subjects as typical of their character. “Look,” he says, “this one was always laughing; that one had an evil temper; this one was forever playing games; that one was always deep in thought.” Even worse, he passes off these products of his imagination not only as authentic character sketches of his subjects but as prototypes of all their contemporaries; thus, “during this period, people were laughing all the time; during this other period, they tended to be depressed; this era was one of arrogance; that era was an age of anxiety and timidity.”

Now let us say that, in reply to our look of disbelief, the artist cites ancient chronicles in support of his presentation: “During that year the cherries were sour; as a result, everyone alive at the time had a sour look on his face,” or, “During this year the future looked bright; as a result, everyone was in an unusually friendly mood.” Say, further, that this artist clings to his fancies as if they were absolute truth, so much so that wherever he needs a historical reference to authenticate his portrait he feels free to invent a reference to suit the portrait. Consider all these caprices of artistic fancy, and you have the History of the Jews by Dr. H. Graetz. 

These lines were written to a friend who wanted to hear my opinion of this History soon after its publication. They reflect the impressions which the book made upon me after I read it through only once, without subjecting the author’s views and descriptions to detailed tests in the light of the data and the sources he cites in their support. Even a superficial glance at this so-called “History of the Jews” should be sufficient for anyone with even a slight knowledge of the literature cited by the author as his source material to see that this work presents more fiction than fact.

Since then, I have examined this work in detail and checked it against the cited sources. Leaving aside the religious philosophy for which it is intended as an ideological basis and which its conclusions are meant to support, I have found it to be, even from a purely scientific point of view, a product of the most outrageous, irresponsible superficiality. I therefore consider it my sacred duty to present the results of my investigation to the public.

The main point of Rav Hirsch’s analogy is that, at the end of the day, a biography is a subjective portrait. The force of his analogy lies in its depiction of just how much the author’s subjectivity can skew the accuracy of the biography. According to Kaplan, Goldberg was a tragic victim of his own subjectivity. I say “victim” because his distortion was not intentional, and I say “tragic” because of how much he misrepresents the ideas of these individuals in his account of their contributions. Kaplan goes so far as to write: “In the case of Harry Wolfson and, perhaps also, Abraham Joshua Heschel what Goldberg presents us with are not so much portraits as caricatures.”

On a personal level, I am left with one question: Do I finish reading Goldberg’s book? One the one hand, my newfound awareness of its flaws will help me to take everything I read with a heaping tablespoon of salt. Additionally, Kaplan acknowledged at the end of his review that readers will still “find much valuable data and many stimulating and incisive observations and insights.” He even encouraged me on Facebook to continue reading and to share my thoughts when I’m finished. At the same time, I’m wary about knowingly allowing inaccuracies to enter my mind and take root. Reading the chapter on Rabbi Soloveitchik might not be so bad, since I already have a wealth of diverse biographical snapshots and enough firsthand knowledge of his Torah to form my own views. But do I really want my introduction to Abraham J. Heschel to be a biography that is so slanted by the author’s value judgments that it borders on caricature? 

Although I haven’t made my decision yet, I am inclined to finish the book. Considering what I wrote above about the unavoidable perils of relying on experts and the inherent hazards in every biography, I might as well lean into the process, exposing myself to as many different takes as possible. Theoretically, I will build up a healthy skepticism from the diversity of views while accumulating a core composite image where the differing accounts overlap. Errors will be unavoidable, but that’s par for the course of being a human being with a limited intellect.

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