Showing posts with label Rousseau. Show all posts
Showing posts with label Rousseau. Show all posts

Friday, August 09, 2013

“I’ve Never Been Modern? Why, that Changes Everything…”

1. We have never been modern — What we thought was modernity wasn’t; 2. Social Darwinism, primitivism, pyrrhonism — Fear vs. lack of imagination; 3. I've always never been modern — The metaphysics of modernity; 4. Does doing require thinking? — Entangled lives; 5. Application: I've always never been human — Conceptual reform; 6. Intellectuals and technical vocabularies — Theoretical decongestants for stuffed up practices


1.      Latour finds himself in a very awkward position in We Have Never Been Modern: while emphasizing, at the close of his second chapter, the point of his title, he nevertheless wants to historically chart the birth of the modern. The two claims strike me as perfectly commensurable if one sorts out what one is doing and claiming properly (in order to avoid your own paradoxes in your own philosophical Constitution). “Constitution” is, of course, Latour’s idiom for developing his account of modernity. This is the gist:
The hypothesis of this essay is the word “modern” designates two sets of entirely different practices which must remain distinct if they are to remain effective, but have recently begun to be confused. The first set of practices, by “translation,” creates mixtures between entirely new types of being, hybrids of nature and culture. The second, by “purification,” creates two entirely distinct ontological zones: that of human beings on the one hand; that of nonhumans on the other. Without the first set, the practices of purification would be fruitless or pointless. Without the second, the work of translation would be slowed down, limited, or even ruled out. The first set corresponds to what I have called networks; the second to what I shall call the modern critical stance. The first, for example, would link in one continuous chain the chemistry of the upper atmosphere, scientific and industrial strategies, the preoccupations of heads of state, the anxieties of ecologists; the second would establish a partition between a natural world that has always been there, a society with predictable and stable interests and stakes, and a discourse that is independent of both reference and society. (11)
Latour’s selection, in 1991, of climate change as a network to be studied is a good indication of why people have found Latour’s work in the philosophy of science increasingly useful. Latour’s formulations, however, strike me as still too paradoxical by half, as in this early formulation (admittedly rhetorical for his dramatic narrative): “And what if we had never been modern? Comparative anthropology would then be possible. The networks would have a place of their own” (10). If modernity is what disallowed a space for networks, and we’ve never been modern, then networks have always had a place of their own. That’s the central paradox Latour awkwardly confronts. He wants to say (rightly, I think) that modernity never existed and to say (also rightly) that realizing this will enable us to do something new, thus ushering in a new moment in our history. But at the close of Latour’s second chapter, he goes to some lengths to say that he is not claiming “that we are entering a new era” (47). Latour’s probably right: “era” would be too strong. Latour, however, is trying to usher something new in, but because of the state of philosophy and politics at the time, he finds it difficult to say so out loud. Latour’s formulation should be: “what we thought was modernity was never actually the case, and realizing this will enable us to do better things we’ve already been doing, and perhaps for some of us something new.”

2.      In order to isolate the context Latour finds himself awkwardly in, we might look at the four-part schematic in its opening pages. After contextually defining the two modern desires as ending humanity’s exploitation of itself and increasing humanity’s control over nature, Latour lists the two different “antimodern” reactions: “We must no longer try to put an end to man’s domination of man, say some; we must no longer try to dominate nature, say others” (9). These are still two recognizable responses, and we might accord them the status of being the radical right and radical left, respectively. However, I think Latour is smart in not so doing. These responses should not be reduced to political orientation (like conservative/liberal, right/left) because political orientations are linked too directly to choices in political action—a “political orientation” can only manifest itself within some local politico-power grid (like the Beltway, or the Democratic Party, or the Arizona 2nd District, or the Printer Icon Department at Microsoft). So what we need are labels that express a guiding motive, or orienting principle, that can then be transformed into a political orientation (and thence action) given a planting in some local institutional context. [1] The two antimodern reactions might be described fairly easily as, respectively, “social Darwinism” and “primitivism.” [2]

The first two then quite easily slide into a right/left manifestation in most current “Western” political landscapes. But Latour’s second two responses are harder to place, both in their attitude and their potential political manifestation. The third possibility Latour calls “postmodernism” and says it is an “incomplete scepticism” that causes people to “remain suspended between belief and doubt, waiting for the end of the millennium” (9). We might call this “pyrrhonism,” after the ancient form of skepticism about the possibility of making knowledge claims (and thus the problem of basing action on them). But while some (certainly not all) postmodernist theorists behave like millennialists (there were probably more during the ‘70s and ‘80s, the context Latour was confronting), it’s certainly no requirement for a pyrrhonism to so compose itself. This makes Latour’s theoretical art less useful, for its utility is based on the sense of his having placed his finger on the pulse of the times—and so better able to manifest a good alternative. This becomes worse, it seems to me, in his last option: those who double down on modernity and “carry on as if nothing had changed” (9). Latour shapes this option as those who put their head in the sand, willfully plugging their ears to their better angels. But this seems terribly ill-suited as a description for any responsible intellectual. And this also seems to be the only option available for those who, while hearing the angels, don’t have any better ideas than striving for political emancipation and better technological control in order to improve man’s estate (in the Baconian phrase). But sticking your head in the sand seems a very different quality from being out of ideas. The first manifests fear; the other lack of imagination. What I think Latour’s schematic in the last instance hinges on is his implicit definition of modernity as unmitigated, Chicago-style anarchic-market economic expansionism—the “clever trick” (9) the West hopes to export. But this must be considered a narrow definition of the modern, for what do you do if you do think there is some interesting difference between “the West and the Rest” that you yet have an imperfect faith in?

3.      The difficulty here seems to be in denying a plausible position for those who are already behaving as if we’ve never been modern, but just didn’t realize it. Because we should ask ourselves of Latour’s schematic—who is he talking about? Theorists? Intellectuals? Politicians? Educated people? Car mechanics who don’t read newspapers? This is the conundrum for the intellectual—how do I attribute motivations to people who wouldn’t understand what I’m attributing to them? What I’m pointing at, I think, is just a matter of Latour’s rhetoric getting in the way of his real point—he’s staging himself as a revolutionary in a field (which he is) while at the same time saying that everyone is hooked up to this field where he is a revolutionary. But they are and are not—everyone’s hooked into networks, but not everyone is in Latour’s disciplinary field (studying networks). It seems like we must make a distinction between intellectual and plebeian, for this seems a corollary of denying we’ve ever been modern, which was after all an intellectual’s fiction—say, of Boyle and Hobbes (his primary emblem). [4] The “modern Constitution” Latour draws up fills a role in inferential patterns that not everyone might ever stumble down. We have to say this to deny the Platonism of principles ruling practices, rather than practices being summarized by principles: the former idea helps to produce the tripartite structure of separation in Latour’s Constitution (principles rule practices, meaning realms are separate and playing by their own rules, hence all you need to do is isolate a practice and formulate its rules, rather than studying the jumble of practices), and the latter helps to show how discourse, the social, and the real (one of Latour’s several formulations) are wrapped up into each other.

Latour’s graphical representation helps see what the paradox amounts to:


The trick to seeing the paradox is asking what is being translated in the hybrid networks. In the Modern Constitution, it is Nature and Culture. But that means the Work of Translation requires the dichotomy of Nature and Culture. That’s why Latour marks it as “the first” (though if you look at his summarizing paragraph above he calls “purification” “the second”), but where does the dichotomy come from? The Work of Purification—that means all those hybrid networks conceptually require the work we’ve become suspicious of. So what, in the end, does it in fact mean to reject the Modern Constitution?

4.      The way through, I think, is to distinguish the metaphysics of modernity from the practices we are surrounded by. We might think of metaphysics as a kind of conceptual explanation of our practices and how they work. What Latour is saying is that the Metaphysics of Modernity is incoherent, and in fact needs to be to get on with the work the Metaphysics in part is designed to explain. But we shouldn’t go that far—what we shouldn’t do is think that the work requires the metaphysics. It is an explanation and perhaps a justification, but nuclear bombs do not require any particular metaphysics to work. They only require that you do a certain thing, not think a certain thing.

The reason it appears that nuclear power also requires us to think a certain thing is that it seems absurd to think that hunters and gatherers could perform the requisite tasks to create a nuclear weapon without having, for example, learned that e=mc2. Our ability to do certain things does require us to be able to think or say certain things—we shouldn’t deny that. But what certain things? That is the open question. Latour and many others wish to argue that there is something irrevocably paradoxical about modern life (and sometimes, just human life in general—like Camus). However, this claim requires that the only way to get on with some practice (say, the Work of Translation) is via this other particular practice that actually contradicts the first. But this claim will only ever be justified based on experiment—trying out other ways of getting the good practice to work. In other words, I see no reason to think that the bad metaphysical dualism between Nature and Culture is required to get the Work of Translation done. Much good philosophical work that goes under the banner of “pragmatism” has been trying to work out alternative idioms for understanding the entangled lives we find ourselves thrown into without trying to erase the entanglement. For what pragmatists have learned over the course of philosophical history—a history marked by attempts to purify our categories of understanding—is that some categories are entangled in each other, but that isn’t itself a paradox. Entanglement is okay. It’s only the ghost of Plato that would tell us otherwise.

5.      One way of applying the lesson above is to debates about humanism and posthumanism, especially as Latour has been picked up by many who consider themselves as working out posthumanistic idioms. From a Latourian point of view, I would think the theoretical lesson is that we’ve never been human(istic)—“humanism” never existed in the way it thought itself to. The trouble here, however, seems to be that some posthumanism composes itself as, from this vantage, distinctly anti-humanistic—it doesn’t just wish for the erroneous self-conceptions of humanism to disappear, but for vast tracts of practices that “gave rise to humanism.”

My scare quotes denote the problem of identification that is at issue. For if practices proceed conceptions of practices, then what we are talking about when we want to get rid of humanism is an expulsion of practices—but which are the practices that are at issue? The trouble of cultural evolution is that we are complex to a degree we sometimes forget in analysis. Our conceptions, built out of practices, are only a problem if they double back into bad practices. The problem of institutional reform, as Latour points out, is that if you uproot a practice without uprooting the real cause of the practice—which is another practice—then you will create a “return of the repressed” situation (see 8). [5] So the problem of conceptual reform is the same: identifying correctly a conceptual practice that really does enable a particular bad practice. The trouble of conceptual reform is that a lot of different premises can lead you to the same bad action. Conceptual reform is about disabling the premises in our practical syllogisms that lead us to perform some unwanted action. On this model, there’s a certain slipperiness in conceptual reform. Not only do we sometimes misidentify the culprit, but people have a tendency to replace other premises in their syllogisms if they don’t agree that the object-action is unwanted (the problem we’ve been facing in reforming out of existence racism).

6.      This means the real question for intellectuals is—how much time should we really be spending on haggling over conceptual reform? The stance of both Latour and Shapin is that practices come first, then concepts. [6] So how much dog should we have in the fight over concepts? Who, in fact, are we fighting? Intellectuals have a habit of attributing beliefs and concepts to people who have no idea what they are talking about. This is effectively the same maneuver that physicists perform—do rocks understand the laws of gravity? (If you want to say yes, then you’re simply using a slightly different notion of “understanding”—and how much should we really haggle over this definitional asymmetry?) The real problem is not exactly, it seems to me, bridging back and forth between science, politics, and discourse (which is something like how Latour pictures the problem). The problem is bridging back and forth between experts and non-experts. This isn’t simply a problem of non-experts not understanding technical vocabularies, it is more especially the problem of convincing non-experts that the technical vocabulary should be given authority over our conceptualization of problems (and the experts trusted to be working through the correct inferential consequences—after all, how could a non-expert provide a peer review, or as we used to say in math class, “check your work”?). Latour’s battle is with other experts in his field (which we might label as, in this particular book, philosophers). So how much time should Latour spend in convincing laypersons—scientists, sociologists, literary theorists, politicians, car mechanics—that if they take his perspective, the world will become a little better (i.e., we’ll be able to handle better some of our pressing problems, like climate change)? Because just so long as there are experts resisting Latour, these on-looking laypersons will feel uneasy about giving their trust (this being the very obvious strategy in the debate about climate change). And if there are more direct paths of arguing about these pressing problems, more direct than arguing in a technical field before arguing about the bridge between that field and the public, then this makes Latour look like a detour to action.

So what is the point of all this for debates like those about posthumanism? In turns out not much, because if it is really true that all these systems and practices and networks (or whatever other name one wants to give to the layered and shifting sediment of nature-culture) have always been there, then it doesn’t exactly devalue what the technicians are doing in their respective spheres (even if it is from one vantage seamless). After all, as a layperson, I do tend to think Latour is right in nearly every way as a philosopher of science. If the above is right, then a Latourian revolution in conception just might make the world a little better. Likewise, whatever one thinks of as a “posthuman revolution” just might. But the farther one gets from actuating premises in practical syllogisms—the premise that then kicks out the requisite action—the more nebulous the possible effects changing those farther back premises will have on the object-action one’s eye is really on. All that this suggests is that as scholar-intellectuals, we make a short-term/long-term distinction between the different practices we might take our time up with: practices that will have an immediate effect on the world (voting, teaching), practices a little more distant (writing for newspapers, rabble-rousing), and practices that may only have an effect on the world in the distant future (having babies, writing treatises about conceptual change). As a plea, it is simply about orientation, or about what to remind oneself occasionally while obsessing over one’s area of interest. But it may affect our work as well, for it is possible that a practical orientation like an engulfing messianic fervor might be an actuating principle behind some of our worst practical syllogisms—that our ism-work often looks like silver-bulletism, turning our theoretical work into a practical problem. We have to remain aware of when our theory stuffs up our practical syllogisms, which then requires a theoretical decongestant like Latour.




Endnotes

[1] These labels are at a remove from this “local” context, but no less contextual for that. I think our theoretical discourse has still not yet come to terms with how to formulate the abstract/concrete distinction across the global/local distinction—for we still too often feel moved to call abstraction a “decontextualization,” when we should rather think of it as moving from one context to another. To think of abstraction as a process of decontextualization is to be modern—and we’ve never been modern.

[2] For a brevity I will already fail at, I won’t elaborate why these two labels. But suffice it to say that at other moments in history, these attitudes might have transformed into different orientations. For example, our great modern primitivist is Rousseau, and he mobilized his in order to emancipate humanity, not to not dominate nature. Rousseau’s screeds against modern luxury and the like had as their priority his project of political emancipation, not the ecological project of nature emancipation.

[3] The “unmitigated” plays an important role here, for the American non-Marxist, Reformist Left’s hope is that European “social democracies” provide a model for how to have market economies whose tendencies for imperialistic expansion are curbed.

[4] Latour uses Steven Shapin and Simon Schaffer’s groundbreaking 1985 book, Leviathan and the Air-Pump: Hobbes, Boyle, and the Experimental Life, to discuss the theoretical implications of the historical digging done in that book: that Boyle, to create the material-scientific “object,” had to deny the framework of thought that allowed Hobbes to create the moral-political “subject,” and vice versa for Hobbes. I do something similar to Shapin’s later The Scientific Revolution in “A Lesson between the Lines: Teleology and Writing History.”

[5] What’s a “real cause,” especially in this complex game of interlocking practices? The same thing it is in the physical sciences—the condition that produces the effect. The great problem of cultural reform is that there are a multitude of conditions—in fact, given the problem of redescription in object-conceptualization (e.g., are you talking about the same object if you describe it differently?), there are an infinite number of conditions potentially. This makes our practices of description (i.e., “theory”) terribly important for picking out practices to be reformed, but it also means that a deep theoretical skepticism necessarily abides in all of our attempts at cultural reform—even if we successfully extirpate an unwanted effect (say poor people or greed) by reforming or removing an isolated and defined practice, we will not ever know whether or not that removed practice was really the cause of the bad effect—unless, and only unless, the bad effect returns. Only when we are wrong do we attain certain knowledge (the Hegelian via negativa crossed with Popperian falsifiability—an amusing cross-fertilization). This form of (Cartesian) epistemological skepticism is only debilitating if one hasn’t previously put one’s faith in the “experimental method”—the defining quality of which is the belief that it is only by trial-and-error that we shall apprehend causes, i.e. a real cause can never be found by theoretical fiat (though it will only appear under a theoretical edifice). The trick for making sure this faith in experiment doesn’t turn back into the Platonism that dogmatically, and by fiat, declares it really has found the real cause, and we can therefore cease inquiry, is to combine Baconian experimentalism with fallibilism—the idea that inquiry will never end because we’d never know it if we’d reached it. The trouble, here again, for this sort of orientation toward cultural reform, rather than physics reform, is that when you reform physics, the only losers are physics professors (until a physical discovery blips our universe out of existence—a real fear attaching to the activities at CERN for some). But for cultural reform, more lives are at stake, and hence “inquiry” into real causes of cultural problems has effects we might not always wish to risk. This, and only this, is what provides the intellectual justification for political conservatism, the attitude that a given change will put at risk things we wish to keep.

[6] Following Robert Brandom, I call this Shapin’s “fundamental pragmatism” in “A Lesson between the Lines: Teleology and Writing History.”

Friday, February 06, 2009

American Lit Notebook: Hawthorne II

Every class we had for American Lit, we were required to write a single page about our reading. I've pulled them together, unedited. So they will read a little odd, as my audience was my professor, and occasionally they refer to lectures (though that is rare).

References are to the Portable Hawthorne, edited by William C. Spengemann.

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Hawthorne: The Scarlet Letter, I

I suspected at the time of writing that my harsh judgment of “My Kinsman, Major Molineux” was perhaps a bit overhasty and that I was missing something. Post-lecture, placed in the context of a bald American nationalism and seeing the conflicted Rousseauian spirit of the mob scene, I see more clearly its power. Rousseau’s chained freedom is precursor to Emerson’s all-is-mediated and they form the conflict at the heart of an American form of life. What is clear from the miss, however, is that of the two kinds Henry James called Hawthorne’s “stories of fantasy and allegory” and his “little tales of New England history,” I clearly am most at home in the former (being more algebraic in Emerson’s sense), whatever James’ denigration of it. The Scarlet Letter, on most scores, moves back to this form, though it must in a more complicated sense.

The first interesting facet of the story to be noticed is Hawthorne’s relation to the writing of it. The Scarlet Letter does not present itself as simple piece of made-up fiction. Hawthorne presents it as a recorded narrative, like an historian. “Finding it so directly on the threshold of our narrative, which is now about to issue from that inauspicious portal, we could hardly do otherwise than pluck one of its flowers and present it to the reader.” (160) Hawthorne’s figural gesture of plucking one flower to present creates the illusion of a larger reality in which the story sits, which is the illusion of reality, realness. Hawthorne isn’t, of course, pretending that he’s telling us about something that actually happened. What this gesture does is create a mask behind which Hawthorne can hide, essentially creating an Author persona that mediates between Hawthorne and the story.

This allows Hawthorne to use an ironic aside to his readers throughout the story. For instance, “On the other hand, a penalty which, in our days, would infer a degree of mocking infamy and ridicule, might then be invested with almost as stern a dignity as the punishment of death itself.” (162) The question of what Hawthorne thinks about his contemporary situation is completely blocked behind the mask of the Author. What we are left with is an irony that reflects back on us the question of whether the statement itself is true or not: have we moved past the Puritanism of two hundred years ago? This is the constant question forced upon us by Hawthorne through the Author.

The great question in force, it would seem, is that of the nature of sin. I’m guided her by a comment of D. H. Lawrence’s at the outset of an essay on Hawthorne: “Sin is a queer thing. It isn’t the breaking of divine commandments. It is the breaking of one’s own integrity.” This is a distinctively Emersonian transvaluation of sin and gets something importantly right about the common project of mid-19th century American writers. Hester Prynne wavers a good deal on the scaffold, though almost always keeping a bold face to the crowd. What is fascinating is her summons of strength at the moment of truth: “Never!” she tells Dimmesdale, looking not at the crowd or her questioner, but straight into “the deep and troubled eyes of the younger clergyman.” (178) And though her second cry breaks a bit, the strength of her will, having traversed the chapter’s rising sense of agony, is thunderous, and could only adhere to one of singular character. I take the “wildness of her nature” (188) to signal Hester’s authentic self, the one that thundered “Never!” in the face of society’s shame, and that her great sin is that she holds out hope for a reunion with Dimmesdale. Her wildness is chained in New England, the truth of which she must hide from herself, the great strike against sincere authenticity: “doubtless it was so, although she hid the secret from herself, and grew pale whenever it struggled out of her heart, like a serpent from its hole.” (189) The serpent, Satan’s form in Eden, “the tempter of souls,” is here the form of her love for Dimmesdale.

Hawthorne: The Scarlet Letter, II

Much of the middle section of The Scarlet Letter is given over to the development of Chillingworth and Dimmesdale, two characters, I must confess, I find far less fascination with than Hester and Pearl. But part of the growing power in Hester and Pearl lies in their relations to the two, so pass through them we must.

Pearl, in her earlier chapter, is shown to be a vast font of unpredictable, unlawful power, akin by her perceivers to an imp and delivishness. I think this marks the unmistakable odor of a rising feminism. The rules of the past are being broken, and though Hester rests between the past and the future, she does wish “to create an analogy between the object of her affection, and the emblem of her guilt and torture.” (209) Pearl embodies her own passion and wildness, her own break with the past, her sin, and so is consistently held, as Chillingworth cogently sees, as having “no law, nor reverence for authority, no regard for human ordinances or opinions, right or wrong, mixed up with that child’s composition. … Hath she any discoverable principle of being?” Dimmesdale responds, equally cogently, “None,—save the freedom of a broken law.” (237) The wild unpredictability of Pearl depicted by Hawthorne, I think, is his correct apprehension of the unseen vistas of the future to which we in the present must hammer out. This is the romantic Coleridge’s (or was it Wordsworth?) suggestion that we create the taste by which we are judged given its American twist in Emerson’s call for internal, authentic self-reliance, setting out our own rules for ourselves, for Whitman’s vision of democracy and the eratic, yet internally compelled Pearl, with her as yet undiscovered principle of being.

The “melancholy prophecy of decay” (225) in Dimmesdale’s voice is partly found in this breakdown of law, impelled as he is “powerfully along the track of creed,” which was “essential to his peace” “while it confined him within its iron framework.” (228) It is again noteworthy that the breath of fresh air Chillingworth gives Dimmesdale, amidst the “musty fragrance, be it sensual or moral” of his books, is the unfamiliar counterpositions of “other moral scenery” (ibid.). But Dimmesdale’s sin lies elsewhere, too, in D. H. Lawrence’s supposition that sin is lying to yourself. Dimmesdale is unaware of Chillingworth’s hunt because of a “certain morbidness” which “rendered him suspicious of all mankind,” (234) a malady we first saw at the close of “Young Goodman Brown.” What Dimmesdale then conjures are sick self-rationalizations, putting him further from himself. He wraps himself in the cloak of God, reasoning that humanly revelations “are meant merely to promote the intellectual satisfaction of intelligent beings.” (235) If I read Hawthorne aright, with his belief in the power of symbols, when Dimmesdale declares that there can be “no power, short of the Divine mercy, to disclose, whether by uttered words, or by type or emblem, the secrets that may be buried with a human heart,” (ibid.) Hawthorne is marking Dimmesdale’s blindness and self-interested swerving from justice, which ultimately is an authenticity to oneself.

Hawthorne: The Scarlet Letter, III

Emerson and Thoreau are always pulled together, taken to be from common stock, but less often do we match Hawthorne with the so-called Transcendentalists. Chapter 13, “Another View of Hester,” however, maps on quite well with the Romantic view of nature American Transcendentalists were known for and seems to throw Hester into the mode of a prophet.

After Hester and Pearl’s encounter with Dimmesdale on the stockade, Hester recesses into herself, spending the chapter meditating on her situation, which is suggestively called “Another View of Hester.” In Hester, Hawthorne set up a strong dichotomy between outward and inward appearance, a conflict that manifests itself in deliberation over action, the greatest muddle between our private internals and public externals. To begin, Hawthorne rings a strong Emersonian bell when he says, “Little accustomed, in her long seclusion from society, to measure her ideas of right and wrong by any standard external to herself…,” (261) one that even carries Thoreau’s hermetic influence.

Her seclusion, however, is forced by Puritan society, a decision she in part agrees with. She herself views her time with Dimmesdale as a sin and lives her life as Puritan virtue would have it: “it could only be a genuine regard for virtue that had brought the poor wanderer to its paths.” (262, italics mine) But the doubleness of Hester’s behavior always remains—“This might be pride, but was so like humility….” (263) Though Hester acts like a Puritan, and does as a matter of course, believe in its virtues, her outward behavior passes through the third-person reported ambiguities (“pride or humility?”) to their mirror opposite in her mind, the world of thought where she acts as a true radical. What is interesting is that, like Thoreau, Hawthorne emphasizes the outward, behavioral aspect of this inward turn.
“Standing alone in the world,—alone, as to any dependence on society, and with little Pearl to be guided and protected,—alone, and hopeless of retrieving her position, even had she not scorned to consider it desirable,—she cast away the fragments of a broken chain.”


This mirroring of Hester’s Puritan virtue with her “emancipated,” radical theories, the outward behavior with the inward, ineffectual thinking is central to reading Hawthorne’s tale as an allegory for the human condition. Hester, like humanity, sits astride her warring passions and cool thinking, her puritanical behavior and radically feminist thought. The height of the allegory is achieved at the end, as Pearl, embodying the free, yet-unforeseen future, “that unknown region where Pearl had found a home,” (354) leaves her mother, who must return home to New England. Hester is shackled to the past, straddling past and future. Hester birthed the future, but she herself cannot be a part of it. If “My Kinsman, Major Molineux” suggests that the most fluid time for social norms—and so the only moments for transcendence—are during revolutions, Hester must come back because we cannot exist in total, permanent revolution.

Friday, January 23, 2009

American Lit Notebook: Thoreau

Every class we had for American Lit, we were required to write a single page about our reading. I've pulled them together, unedited. So they will read a little odd, as my audience was my professor, and occasionally they refer to lectures (though that is rare).

References are to the Portable Thoreau, edited by Carl Bode.

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Thoreau: “Civil Disobedience,” Walden

Not to unduly continue my ritualistic invocation of Bloom, but writing in 2003 (in Where Shall Wisdom Be Found?), he said that Americans are haunted by “the paradox of Emerson’s influence: Peace Marchers and Bushians alike are Emerson’s heirs in his dialectics of power.” (198) This epileptic seizure of a rhetorical riverbed bears strong witness in Thoreau, overinfluenced as he was. “Civil Disobedience” is a cavalcade of conflicting contemporary resonances: the Iraqi Wars, as many have pointed out, are their Mexican War, but the neoconservative takes great respite in his “the government never of itself furthered any enterprise, but by the alacrity with which it got out of its way.” (110)

What I think we can see clearly in the essay are the political ramifications of Emerson’s call for a return to “moral intuition,” for people to listen to their inner, true, authentic selves, rather than others. This informs Thoreau's use of “conscience” (111) and becomes all the stronger, speaking of the Abolitionists, in “it is enough if they have God on their side, without waiting for that other one [in a first-past-the-post election’s 50% plus one].” (120) The key modifier for Thoreau, in his model of life with governments, remains in the beginning: “‘That government is best which governs not at all’; and when men are prepared for it, that will be the kind of government which they will have.” (109, italics mine) Everything hinges on “when men are prepared for it,” for without it we are stuck with needing a neutral arbiter between fractured views of right and wrong—a government. I’m not sure Thoreau is entirely cognizant of the problems attendant the Emersonian conception of “inner guidance” for, quoting the famous line from Jesus on “rendering unto Caesar,” he says, “leaving them no wiser than before as to which was which; for they did not wish to know.” (124) I think the trouble is exactly not that we do not wish to know, but that the struggle of life is not being entirely sure which is which, but still having to act. The political life was created because we are not perfectly wise, like Plato’s philosopher-kings, but instead need to expediently balance the exigencies of life (let alone the proclamations of those who think themselves wise).

Walden takes an oblique route through politics, and its first long chapter would more properly be called “Economy of the Soul.” Thoreau meditates long and hard on the notion of work in our lives and the give and take, the sacrifice we make (or rather, think we have to make) to survive in life. Thoreau echoes a long, hallowed tradition of social discontent that A. O. Lovejoy called “primitivism,” stretching from the Stoics to its modern font, Rousseau. Recalling the First Discourse, Thoreau says, “Most of the luxuries … are not only not indispensable, but positive hindrances to the elevation of mankind.” (269) “Elevation” is Thoreau’s chief concern, and, like in Emerson, it is a solitary, writerly concern. Emerson was after “tropes,” and for Thoreau the thinker, the play of life is “a kind of fiction.” (386) Thoreau, as he said in opening, lives “by the labor of my hands.” (258)

Thursday, January 08, 2009

Constant’s Speech of 1819

I have spent more time studying Benjamin Constant and Gotthold Lessing, both veritably unknown today, than any other intellectuals of the past (barring Plato). It was a matter of happenstance, those having been the current objects of study of the professor that influenced me the most, but both Constant and Lessing have turned out to be more important to me than the canonized figures we read in philosophy classes. It isn't surprising then that I encountered them in intellectual history classes.

Constant's importance to me at the time was that he seemed to take the same position that Rorty took in his political philosophy 200 years later. And considering that my professor continually tried to talk me out of my love-affair with Rorty, I thought it was pretty convenient to just point to Constant: Rorty doesn't slide into relativism any more than Constant does, and for the same reasons (the talk about moral education towards the end).

Looking back now, however, I find most interesting the bits about historical consciousness. The shorthand I use in discussing Constant makes it sound like the Greeks didn't have enough wars to be tired of fighting, unlike 18th-century Europeans. This can't exactly be true, though--whatever history they did have, it was about war. What I wrote I think is still largely right, but I've come to see better why. The exact point is "whatever history they did have." The principle shift that occurred during the Greek Enlightenment was the permanent assertion of literate culture over oral culture. The only sense of the past the Greeks did have was through their stories.

These stories, as we all know, glamorize war and its warriors. One of the major reasons for this, I've come to see, is because of the practical constraints of oral transmission of knowledge--for wisdom to be remembered (for there was, need I mention, no way to write it down for later) it must be memorable. There were many techniques available to Greek rhapsodes and one of them was the creation of heroes. Greek warrior culture kept reproducing itself partly because of the constraints of the available means of cultural reproduction. The creation of writing began to change all that.

More than that, though, is the even more contentious issue about the creation of history writing. Herodotus is often cited as the grandfather of history and Thucydides the real father. Thucydides was a contemporary of Socrates and, similar to Plato, heaped scorn on the practices of those around him, for instance on what counts as good evidence for an event having actually happened. There has often been bafflement as to how Thucydides suddenly, and almost alone, felt this way, about how and why the transition between mythos and logos actually occurred.

The puzzle becomes much easier to understand once one realizes that in oral cultures "accurate representation" of the past didn't make much sense--what would it be accurate with? Ephemerality contains much more of a hold when words pass out of existence as soon as they attain existence, when they are spoken unlike when they are written down. How would a rhapsode even reliably know whether they'd repeated the story exactly the same way? The gist is that rhapsodes repeated the wisdom of the past in their songs to present audiences with present purposes in mind--that was the point in repeating them. Our "clichés," potted, formulaic wisdom like "don't put all your chickens in one basket" or "hell hath no fury like a woman scorned," are remnant practices of oral culture (including the misprision). The Homeric stories aren't history, but they are an oral culture's preserved past.

It is often, and correctly, said that the Greeks had no historical consciousness. It wasn't a strange anomaly, and neither was the creation of history. However, Constant was definitely taking advantage of a culture internalizing literacy and the multitude of practices it enabled.

*NOTE* The footnote links won't work unless you're on the specific post page (by clicking on the title link). You'll have to excuse my crappy coding.

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In “The Liberty of the Ancients Compared with that of the Moderns,” Benjamin Constant develops a distinction between two kinds of liberty. In the course of this speech, though, Constant enters in a discourse developed by two seemingly separate parties: liberal theorists and republican theorists. While developing the example of modern liberty, Constant plays upon themes developed David Hume and Bernard Mandeville: attacks on ancient regimes, particularly Sparta, and the doux-commerce thesis, a composite discourse developed by Albert Hirschman. At the same time he sounds chords similar to Hume and Mandeville, he sounds chords similar to Jean-Jacques Rousseau, a republican who held Sparta in the highest regard. Like Rousseau, Constant feared the de-politicization of the public sphere and desired a moral re-entry. In the course of this essay, I hope to draw out the applicable similarities and differences between these thinkers, how Constant navigates the possible pitfalls of synthesizing ancient and modern liberty, and how, in the end, Constant runs headlong into a tension in philosophical presuppositions that he inherits from the Enlightenment.

The explicit purpose of Constant’s essay is to draw a distinction between two types of liberty that are floating around in the intellectual air. That they are both called “liberty” causes confusion and Constant wishes to clarify the difference between them and argue that one is more desirable than the other. What Constant calls “modern liberty” is synonymous with “individual liberty” and “individual independence” and what he calls “ancient liberty” is synonymous with “political liberty” and “political rights.”[fn.1] What develops is a modern liberty designed for the private sphere and an ancient liberty designed for the public sphere.

The novel thing about Constant’s argument, though, is that it is an historical argument. Rather than making a transcendental argument, sketching the contours of an ahistorical, inviolable human essence like Kant, Constant seems to remain purely socio-historical.[fn.2] Beginning with his identification of the two types of liberty with historical epochs, and continuing with his sketch of the changing conditions between ancient society and modern society, Constant makes pragmatic arguments about what best fits the needs of modern society. He identifies the aims of modern society as “the enjoyment of security in private pleasures” and liberty as “the guarantees accorded by institutions to these pleasures.”[fn.3] These institutions, though, are modern institutions, for “none of the numerous and too highly praised institutions which in the ancient republics hindered individual liberty is any longer admissible in the modern times.”[fn.4] Constant typically refrains from arguing that modern liberty is the true liberty of mankind, and limits himself to arguing that, though ancient liberty was possibly the most fitting freedom at one time, its day in the sun has now past and modern liberty, a liberty centered around the protection of a private sphere of free action, is now the most fitting liberty.

What these historicist arguments show is Constant’s unwillingness to be nostalgic. He is an anti-primitivist in this sense, refusing to gloss the great civilizations of the past, even Athens, as idyllic. Constant warns us of what happens when we become nostalgic:
“One could not read the beautiful pages of antiquity, one could not recall the actions of its great men, without feeling an indefinable and special emotion, which nothing modern can possibly arouse. The old elements of a nature, one could almost say, earlier than our own, seem to awaken in us in the face of these memories. It is difficult not to regret the time when the faculties of man developed along an already trodden path, but in so wide a career, so strong in their own powers, with such a feeling of energy and dignity. Once we abandon ourselves to this regret, it is impossible not to wish to imitate what we regret.”[fn.5]
The end result of this imitation, for Constant, is the Terror following the French Revolution. For Constant, the viciousness, arbitrariness, and wretchedness of Robespierre and his cronies provides the greatest reason to abandon ancient liberty to a bygone era.

Constant’s refusal to be nostalgic does not stop at saying that our changed context demands new tools. Constant not only says that society has changed and our conception of liberty must change with it, but also that this change is for the better.[fn.6] By modern lights, the evolution from the ancient polis to the modern state can be considered progress, not simply a lateral shift in means and ends. Constant says that when the ancients sacrificed “that independence to their political rights, [they] sacrificed less to obtain more; while in making the same sacrifice, we would give more to obtain less.”[fn.7] The applicable “we,” of course, is “we moderns.” Constant is saying that by our lights we have made progress. This progress comes out particularly in his sounding of the doux-commerce chord.

Doux-commerce is a multi-layered discourse that many eighteenth century intellectuals (notably excluding Rousseau) took part in. The central claim of doux-commerce is that commerce is a “powerful moralizing agent which brings many nonmaterial improvements to society.”[fn.8] “A society where the market assumes a central position for the satisfaction of human wants will not only produce considerable new wealth because of the division of labor and consequent technical progress, but generate as a by-product, or external economy, a more ‘polished’ human type.”[fn.9] Hirschman cites Montesquieu as a paradigmatic example, as when Montesquieu says, “it is an almost general rule that everywhere there are gentle mores, there is commerce and that everywhere there is commerce, there are gentle mores.”[fn.10] Hume enters this discourse when he says, “men become acquainted with the pleasures of luxury and the profits of commerce; and their delicacy and industry, being once awakened, carry them on to farther improvements….”[fn.11] Hume’s invocation of “delicacy” announces his participation in doux-commerce. Additionally, Hume’s “more ‘polished’ human type” includes other “virtues” such as industriousness. Industriousness isn’t always thought of as being a virtue, but doux-commerce theorists typically redescribe traditional (read: ancient) virtues in a manner more fitting for modern times, best exemplified, though in extreme form, by Mandeville’s slogan, “private vices, public benefits.”[fn.12]

Constant begins this line of argument by sketching the differences between ancient republics and modern states. The ancient republics were small and bellicose; modern states, large and peaceful. Ancient republics, being constantly on their guard from attack, had to rely on slave labor for the production of goods. Modern states were “essentially homogeneous in their nature” and were “sufficiently civilized to find war a burden. Its uniform tendency is towards peace.”[fn.13] This is Constant’s primary doux-commerce formulation. Unlike Hume’s historical argument, which makes pretensions about mankind’s “nature,”[fn.14] Constant’s argument remains unburdened by this essentialism. Constant says simply, “War and commerce are only two different means of achieving the same end, that of getting what one wants.”[fn.15] However, this doesn’t lead him down the relativist cul-de-sac of saying, “War and commerce are simply two different means, therefore one is just as good as the other.” Constant argues that history has given us moderns the
“experience, by proving to him that war, that is the use of his strength against the strength of others, exposes him to a variety of obstacles and defeats, that leads him to resort to commerce, that is to a milder and surer means of engaging the interest of others to agree to what suits his own.”[fn.16]
Constant does not argue that the ancients were denying their essential humanity; he argues that the ancients simply did not have the historical wisdom that we moderns have. The ancients did not have their own bloody wars to look back on and reflect. Constant argues that, because we moderns can look back on the mistakes of the ancients, “an age must come in which commerce replaces war. We have reached this age.”[fn.17] And because in the modern period commerce “is the normal state of things,” modern states can now see that “every day war becomes a more ineffective means of satisfying their wishes.”[fn.18]

Constant’s refusal to be nostalgic, then, is rooted in an historical analysis of the rise of commerce. This leads him to enter the chorus of disparagement surrounding ancient republics, particularly Sparta. Hume presages Constant’s description of the ancient republics as militant when he says, “the labour of the HELOTES could not have maintained so great a number of SPARTANS, had these latter lived in ease and delicacy,” like moderns do. Mandeville finishes the redescription and joins Constant in refusing to be nostalgic when he says,
“I have heard People speak of the mighty Figure the Spartans made above all the Commonwealths of Greece, notwithstanding their uncommon Frugality and other exemplary Virtues. But certainly there never was a Nation whose Greatness was more empty than theirs….”[fn.19]
For Mandeville and Hume, the modern period should no longer count frugality as a virtue. “Grave moralists,”[fn.20] those “men of severe morals,”[fn.21] are those who enter into “voluntary frugality.”[fn.22] For Constant, the attack on Sparta isn’t limited to lamentations on the Spartans’ outdated economic sensibilities. Constant says, “It would be easier today to make Spartans of an enslaved people than to turn free men into Spartans.”[fn.23] This unpacks partially to mean that modern people would no longer be able to tolerate the tough conditions that a militant lifestyle would demand.

Rousseau picks up on this same theme, though for Rousseau it should be lamented that modern man is no longer durable and robust. While Constant praises the ability to enjoy private pleasures and pursue private interests, Rousseau condemns these same pleasures. As private pleasures and interests increase, “true courage is enervated, the military virtues vanish.”[fn.24] Rousseau is a primitivist in this sense: he is nostalgic for the past, holding them up as a paradigm of moral virtue.[fn.25] Martial prowess is held to be a moral virtue and Rousseau takes Sparta as a rhetorical rallying point. In an animated homage, Rousseau writes,
“Can I forget that it was in the very lap of Greece that was seen to arise the City equally famed for its happy ignorance and for the wisdom of its Laws, that Republic of demi-Gods rather than men, so much superior to humanity did their virtues appear? O Sparta! Eternal shame to a vain teaching!”[fn.26]
Rousseau here juxtaposes “happy ignorance” with “wisdom.” The full meaning of Constant’s statement about the Spartans then comes out as “we moderns are too knowledgeable to go back.” While Rousseau is nostalgic for the “happy ignorance” of the now long gone Spartans, Constant remains skeptical as to whether, even if we wanted to, we would be able to return to the ignorance of Sparta and “the wisdom of its Laws.”

While Constant does not join Rousseau in being nostalgic, he does join him in being critical of modern institutions. Like Rousseau, Constant worries about the de-politicization of the people. Rousseau laments the loss of citizens (and attacks those professions born in the lap of luxury) when he says, “We have Physicists, Geometricians, Chemists, Astronomers, Poets, Musicians, Painters; we no longer have citizens.”[fn.27] Both men were against Mandeville’s collapsing of the public sphere into the private, his “sociology of excess,” the “petticoat thesis” that “presented commercial society as the product of the uninhibited, and often whimsical, pursuit of human passions and needs.”[fn.28] Mandeville thought that this was all that was needed for a nation to be successful. Constant warns, though, that “the danger of modern liberty is that, absorbed in the enjoyment of our private independence, and in the pursuit of our particular interests, we should surrender our right to share in political power too easily.”[fn.29] Hume helps in this middle position by de-moralizing luxury, the consequence of private independence and particular interests that Rousseau lambastes in the First Discourse. Hume speaks also for Constant when he says against Mandeville the “libertine” and Rousseau the “severe moralist,” “men of libertine principles bestow praises even on vicious luxury, and represent it as highly advantageous to society; and on the other hand, men of severe morals blame even the most innocent of luxury, and represent it as the source of all the corruptions, disorders, and factions, incident to civil government.”[fn.30] Like Hume, Constant considers “innocent luxury” to be harmless, even beneficial such as when it opens up space for scientists, mathematicians, artists, etc. But, like Rousseau, Constant still worries that overindulgence in our private pursuits will lead us to too easily “surrender our right to share in political power.” For Constant, political liberty is a necessary (though perhaps not sufficient) condition for the existence of private independence. Without political power there is no guarantee for our idiosyncratic interests. As Constant says,
“Could we be made happy by diversions, if these diversions were without guarantees? And where should we find guarantees, without political liberty? To renounce it, Gentleman, would be a folly like that of a man who, because he only lives on the first floor, does not care if the house itself is built on sand.”[fn.31]
Constant is worried about how to protect the individual. Rousseau’s solution is the exact opposite of Mandeville’s: he collapses the private sphere into the public. Rousseau submerges the individual into the general will. In the ultimate modern expression of ancient liberty, Rousseau says, “Each of us puts his person and all his power in common under the supreme direction of the general will, and, in our corporate capacity, we receive each member as an indivisible part of the whole.”[fn.32] Constant refuses this course of action. As we have seen, for Constant, such an act would be a reversion into a past form of liberty, a form that our historical consciousness has evolved out of. Constant says, “Let us mistrust … this admiration for certain ancient memories. Since we live in modern times, I want a liberty suited to modern times.”[fn.33] William W. Holdheim plays on how history informs Constant’s thinking when he says, “The French Revolution has shown that in practice the general will to which we submit may be far from representing our ideal selves: we simply submit to those men who wield the power. Instead of attaining to a superior form of freedom, the individual is crushed under the onslaught of state and society.”[fn.34] Constant recognizes that we moderns need a different solution. As Philippe Raynaud says,
“If, by renouncing the Rousseauistic reconciliation of the individual and the body politic, Constant predicts a retreat of individuals into the private sphere, he also shows that this relative ‘privatization’ of social life can only be preserved if individuals remain citizens.”[fn.35]
Constant’s solution is to merge ancient and modern liberty, private independence with political duty. The difficulty is attempting to convince people, preoccupied with their own pleasure, that to continue in pleasuring themselves they must exercise their political rights. Constant’s solution, his point of moral re-entry, is with a fitting education.

Holmes points out that “the final section of ‘Ancient and Modern Liberty’ comes as a surprise,”[fn.36] almost seeming to contradict the first part. The practical problem of the liberal dilemma is: “how to motivate individuals to participate, how to galvanize them into civic activism, given the scant rewards each individual might expect from time expended on political affairs.”[fn.37] Constant solves this dilemma by using the idea of a moral education: “The work of the legislator is not complete when he has simply brought peace to the people. Even when the people are satisfied, there is much to do. Institutions must achieve the moral education of the citizens.”[fn.38] This statement should remind us of Rousseau’s Great Legislator.[fn.39] And again: “Political liberty, by submitting to all the citizens, without exception, the care and assessment of their most sacred interests, enlarges their spirit, ennobles their thoughts, and establishes among them a kind of intellectual equality which forms the glory and power of a people.”[fn.40] This seems to be unmistakably Rousseauian with political liberty seeming to be a mere placeholder for the general will. So, the question should be asked, “How is Constant’s solution different from Rousseau’s?”

Rousseau says,
“it must also be agreed that although men cannot be taught to love nothing, it is not impossible to teach them to love one object rather than another…. If … they are trained early enough never to consider their persons except as related to the body of the State, and not to perceive their own existence, so to speak, except as part of the state’s, they will eventually come to identify themselves in some way with this larger whole…. Not only does Philosophy demonstrate the possibility of these new directions, but History provides a thousand stunning examples.”[fn.41]
Constant parallels this thought when he says, “the progress of civilization, the changes brought by the centuries require from the authorities greater respect for customs, for affections, for the independence of individuals.”[fn.42] Reaching back to his historicism, Constant can say that the objects of education are different now and we should not feel hypocritical when we shape a moral education surrounding our new understanding of what it is to be a modern. Constant says, “since the liberty we need is different from that of the ancients, it needs a different organization from the one which would suit ancient liberty.”[fn.43] Constant’s moral education is a rehabilitated one, one that does not make pretensions towards innate humanity, the humanity that Rousseau wished to free with his moral education. The liberty that Constant envisions being taught is not a straight modern one. It goes beyond a simple liberty for the private sphere, simple private independence. Constant argues that we must synthesize the liberty of the ancients with the liberty of the moderns, thus ushering in a form of liberty that is different from both. Constant, “far from renouncing either of the two sorts of freedom,” shows that in order to keep the gains moderns have made over the ancients we must “learn to combine the two together.”[fn.44]

The one loose end in this reading of Constant’s speech of 1819 is his use of eternal rights rhetoric. Constant says right before discussing the progress of civilization, “We still possess today the rights we have always had, those eternal rights to assent to the laws, to deliberate on our interests, to be an integral part of the social body of which we are members.”[fn.45] I view this as a tension in Constant’s position that results from the common parlance of his time. Like Hume’s contrast between natural and unnatural, Constant’s dependence on eternal rights is not necessary for his theoretical position. The crux of Constant’s argument in his speech of 1819 is on historical analysis. Both Hume and Constant fall prey to Enlightenment philosophy, that philosophy which searched for the eternal. But his outdated mode of discourse can be ignored in favor of the practical suggestions Constant made about how to negotiate the modern world.

In the course of this essay I’ve attempted to pull apart the argument Constant makes in his 1819 speech, “The Liberty of the Ancients Compared with that of the Moderns.” I have tried to situate it in the discourse of its time by noting the similarities of Constant’s argument with those arguments forwarded by Hume, Mandeville, and Rousseau. Like Hume and Mandeville, Constant argues that commerce has a soothing effect on any warlike tendencies. But like Rousseau, Constant fears that commerce’s ascent to prominence may have unfortunate side effects, such as seen with the rise of Napoleon. That Constant’s position falls in between Hume and Mandeville’s on one side and Rousseau’s on the other adds to the difficulty of interpreting the end of his speech, but hopefully the suggested reading, that Constant’s argument hinges not on eternal pretensions, but on historical analyses, smoothes out some of the difficulties putting the first three-fourths of his speech together with the last fourth.

Endnotes

[1] These turns of phrase are peppered throughout Constant’s essay, for instance, pages 315, 317, 321, 316, respectively for each. (Benjamin Constant, “The Liberty of the Ancients Compared with that of the Moderns,” in Political Writings, ed. B. Fontana)

[2] As Biancamaria Fontana says, “[Constant’s] views on the limits of public authority, individual liberty, sovereignty and representation were not offered as universal principles but were embedded in a preliminary understanding of the type of historical society to which they applied to the exclusion of others.” (Biancamaria Fontana, Benjamin Constant and the Post-Revolutionary Mind, (New Haven: Yale University Press, 1991), 29.)

[3] Constant, 317

[4] ibid., 321

[5] ibid., 317

[6] Pierre Manent stops short of this conclusion when he says, “It is clear that Constant is in no way asserting the superiority of modern principles over those of the ancients. He is simply saying that in the ancient city-state, the social and political conditions of human happiness were radically different from what they are in modern times. By refusing to make a value judgment regarding these two versions of human happiness, he necessarily condemns attempts to impose on a given social and moral state any political institutions modeled on a radically different state. Constant is not asserting, as Montesquieu had clearly suggested, that modern liberty is friendlier to man’s nature than was ancient liberty, or that ancient liberty is ‘inhuman,’ or brutalizes his nature.” (Pierre Manent, An Intellectual History of Liberalism, trans. Rebecca Balinski, (Princeton: Princeton University Press, 1994), 89.) While I agree that Constant does say that “the social and political conditions of human happiness were radically different” and that he does not say, with Montesquieu and Hume, that “modern liberty is friendlier to man’s nature,” under my analysis, I think it is quite clear that when he strikes the doux-commerce chord (to be discussed shortly), as when he says, “thanks to commerce, to religion, to the moral and intellectual progress of the human race, there are no longer slaves among the European nations” (Constant, 314, emphasis mine), he is saying that moderns have made improvements over their ancient counterparts. So I agree with Guy Dodge who says, “It was Constant first and then Henri de Saint-Simon who reversed Rousseau … by pointing out the superior virtues of modern commercial over ancient military society.” (Guy Dodge, Benjamin Constant’s Philosophy of Liberalism, (Chapel Hill: University of North Carolina Press, 1980), 30.) I do not think that “moral and intellectual progress” is simply a rhetorical flourish set out to grab his European audience. I think it is central to his repudiating the title of relativist that he strike this limited ethnocentric chord. By doing this he limits his context to “Europeans,” and thereby to history, rather than an extravagant, universal and ahistorical context like “humanity,” which allows him to retain the ability to condemn “attempts to impose on a given social and moral state any political institutions modeled on a radically different state.”

[7] Constant, 317

[8] Albert O. Hirschman, “The Doux-Commerce Thesis,” in Rival Views of Market Society, 109.

[9] ibid.

[10] Charles de Secondat de Montesquieu, The Spirit of the Laws, trans. and ed. Anne M. Cohler, Basia Carolyn Miller, and Harold Samuel Stone, (Cambridge: Cambridge University Press, 1989), 338.

[11] David Hume, “Of Commerce,” in Essays: Moral, Political, and Literary, ed. Eugene F. Miller, rev. ed., (Indianapolis: Liberty Fund, 1985), 264.

[12] This is the subtitle for Mandeville’s The Fable of the Bees.

[13] Constant, 313

[14] Hume says, “the less natural any set of principles are, which support a particular society, the more difficulty will a legislator meet with in raising and cultivating them. It is his best policy to comply with the common bent of mankind, and give it all the improvements of which it is susceptible. Now, according to the most natural course of things, industry and arts and trade encrease the power of the sovereign as well as the happiness of the subjects….” (Hume, “Of Commerce,” 260) Hume’s argument in “Of Commerce,” though historical, is of the kind that moves from the unnaturalness of the ancients, to the naturalness of the moderns, thus holding “nature” as an ahistorical bar of judgment.

[15] Constant, 313

[16] ibid. Fontana says, “Constant’s attempt to bring or restore to political theory a sociological understanding of the nature of modern European nations went beyond the aspiration of adding some historical background to the activity of constitutional engineering. His political theory was the theory of a particular historical reality: large nation states with a developed commercial economy within the European cultural tradition.” (Fontana, 45)

[17] Constant, 313

[18] ibid., 314

[19] Bernard Mandeville, The Fable of the Bees, ed. F. B. Kaye, (Oxford: Clarendon Press, 1957), 245.

[20] ibid., 150

[21] Hume, “Of Refinement in the Arts,” 269

[22] Mandeville, 157

[23] Constant, 319

[24] Jean-Jacques Rousseau, First Discourse, in The Discourses and Other Early Political Writings, ed. Victor Gourevitch, (Cambridge: Cambridge University Press, 1997), 20.

[25] Arthur O. Lovejoy says that primitivism “has … been rather the expression … of an emotional nostalgia or an idyllic day-dream … one may in principle distinguish ‘sentimental’ from ‘practical’ primitivism…. But the one naturally shades off into the other; a mood of intense dissatisfaction with some or all the characteristics of the civilized life of one’s own time will obviously produce in some minds a hope and an endeavor to put an end to them.” (Arthur O. Lovejoy and George Boas, Primitivism and Related Ideas in Antiquity, (Baltimore: Johns Hopkins University Press, 1935), 16.) Bernard Yack calls the modern variant of this hope “the longing for total revolution.” (see Bernard Yack, The Longing for Total Revolution, (Berkeley: University of California Press, 1992), 3-10.) For more on Rousseau and primitivism, see my "Primitivism in Rousseau."

[26] Rousseau, First Discourse, 11

[27] ibid., 24

[28] Dario Castiglione, Readings of Mandeville on Commercial Society, 167

[29] Constant, 326

[30] Hume, “Of Refinement in the Arts,” 269

[31] Constant, 326. Stephen Holmes partly attributes Constant’s worries about political liberty to the historical experience he and France endured when Napoleon rose to power. He says, “the postrevolutionary urge to escape from politics and delimit the political sphere had nourished an invasive dictatorship. Constant experienced the pang of enforced depoliticalization in his own person when he was ejected from the Tribunat in 1802. It is inconceivable that, having suffered this humiliation, he would have afterward viewed privatization as simply and exclusively a public good.” (Stephen Holmes, Benjamin Constant and the Making of Modern Liberalism, (New Haven: Yale University Press, 1984), 41.)

[32] Jean-Jacques Rousseau, The Social Contract, in The Social Contract and Discourses, trans. E. D. H. Cole, (Vermont: Everyman, 1973, 1993), 192.

[33] Constant, 323
[34] William W. Holdheim, Benjamin Constant, (London: Bowes & Bowes, 1961), 85.

[35] Philippe Raynaud, “Constant,” in New French Thought: Political Philosophy, ed. Mark Lilla, (Princeton: Princeton University Press, 1994), 87.

[36] Holmes, 39

[37] ibid., 42

[38] Constant, 328

[39] Rousseau, Social Contract, 213-7

[40] Constant, 327

[41] Jean-Jacques Rousseau, “Discourse on Political Economy,” in Collected Writings of Rousseau vol. 3, trans. Judith R. Bush, Roger D. Masters, Christopher Kelly, and Terence Marshall, ed. Roger D. Masters and Christopher Kelly, (Hanover: University Press of New England, 1992), 155.

[42] Constant, 324

[43] ibid., 325

[44] ibid., 327

[45] ibid., 324

Friday, October 31, 2008

Longing for the Apocalypse

This is another short paper written for a class that looked at how the concept of time worked in literature and theory. Every paper in the series takes up whoever we were reading and pairs them together. They aren't exactly haphazard pairings, but ya' know. It is an open question as to how forced brevity effected the efforts--good exercise; still not used to it. This one was the last one written, and since it was the last, it exploded into a cavalcade of diverse thoughts that I wanted to say, this being my last opportunity. It begins with some unknown German guy summarizing literature about the image of "apocalypse" in theory and slides into my first attempt to pull together a number of threads I've been thinking about lately--primitivism, intellectual influence, and literacy.

You'll also notice the forced MLA. God I hate MLA.

*NOTE* The footnote links won't work unless you're on the specific post page (by clicking on the title link). You'll have to excuse my crappy coding.

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In the most revealing passage in Klaus Scherpe’s serviceable summary of Continental intellectual trends relating to the notion of “apocalypse,” Scherpe says
In Kafka’s stories the exception begins and remains the rule; an idea’s reversal is always implicit in its being thought. Kafka’s literary modernity is a state of emergency, which means that the revolutionary impulse implicit in the notions of “interruption” and the “breakthrough” propagated by Benjamin’s theory of modernity can never occur; the catastrophe can never set any energy free nor provide the stimulus for change. (Scherpe 113)
Benjamin has swallowed the notion that modernity soaks us to the core, that the “‘age of information,’ when norms are purged of meaning and time is characterized by its ‘empty’ homogeneity” (106) requires the notion of a radical break to even conceive of change. After taking both notions on board, postmodernity becomes the last shock available as, for instance, Baudrillard “proclaims a condition of the absolute absence of events.” (100) The question would seem to be: why is such an absurd conclusion taken seriously by smart people? By using Don DeLillo’s White Noise, I would like to trace a path to re-engineer the position so-called postmodern intellectuals have found themselves.

The two positions Scherpe traces have Baudrillard on one side and his “German prophet,” Gerd Bergfleth, on the other. Baudrillard, in effect, pushes the self-directed ironic masks worn by the Romantics to achieve autonomy to its outermost reaches, what he calls “objective irony.” Baudrillard sees quite rightly that a truly all-pervasive irony, when taken out of its normal state of (subjective) context-dependence and amped up into a (objective) reality-rule, becomes an indifference that ultimately denies change: “Everything has already happened.”[fn.1] (100-1) This de-dramatizes reality because by denying change/events, we’ve effectively relieved ourselves of waiting around for something to happen (so-called “drama”). Scherpe says perceptively that the German side of the equation is missing the irony of Baudrillard’s position—whereas from Baudrillard’s position we might as well drop the nukes, from Bergleth’s vantage (a “typically German version of the postmodern condition,” (123) Scherpe says humorously), we need it. Bergleth has an “intense desire for some sort of deadly seriousness” (126) in the midst of French playfulness, a “longing for death” (127) as the last place to find meaning, the true flipside of Camus’ insistence that the only pertinent philosophical question was whether to commit suicide.[fn.2] Bergfleth must re-dramatize the notion of apocalypse to regain Benjamin’s hope for change and (for what ends up resting on the ability to see differences) meaning.

If we turn to White Noise, I believe we can trace the interesting patterns that accrue to the fascination with catastrophe and apocalypse. In Chapter 14, DeLillo shows us Jack and his kids watching television, “floods, earthquakes, mudslides,” “totally absorbed in these documentary clips of calamity and death.” (DeLillo 64) The significance, and ultimately the disturbing fascination Jack sees, is that “Every disaster made us wish for more, for something bigger, grander, more sweeping.” (ibid.) The next day Jack asks Alfonse why “people find themselves intrigued by catastrophe”? (65) He replies, not only that “it’s natural, it’s normal,” (ibid.) but that “We need an occasional catastrophe to break up the incessant bombardment of information.” (ibid.)

I would like to unpack this section in several different ways. First, DeLillo and the postmoderns all take very seriously the effect of technology on our culture and consciousness. This point should not be underestimated, as all other points fall from there. Modern society is not only bombarded with information, but it better stores and recalls that information. If info is blandly defined as our sensory input, then it is flatly false that we get more info now than before—it is everywhere and always the same saturated state. However, the creation of technology, Prometheus bringing the Gods’ fire to us, has expanded exponentially our ability to store and retrieve information and has altered our consciousness accordingly.[fn.3]

One consequence of our ability to retrieve the past more quickly and accurately has been the increasing sense that the past is a burden. This can be seen quite clearly in the evolution of poetry. In Homeric times, oral poetry was the only form of paideia. As this transferred into prose form, written poetry shuttled into a stage of theological instruction (Dante being the great exemplar). Petrarch marked a great change in all this, as the poet turned inwards, towards his own problems, personal and otherwise. By the time of the Romantics, that shift had been solidified—poets had become so self-conscious of the past that the insular search for something new to say began in true earnest.[fn.4] Irony was instrumental in their search for new ways to shrug off the past—as a stance, it put one in a skeptical relation to the past, and as a figure, one could repeat the past while meaning something else.

The last idea to put into play is that of primitivism—the notion that the past was a glorious time, if only we could restore it. This might seem entirely counterintuitive, but as anxiety over contemporary decadence increases, such that things as time goes on are getting worse, it seems natural to suppose that things were better earlier, before they got worse. Primitivism, in a simple sense, is a typical conservative reaction—too much change is bad for the system—and is as old as recorded time.[fn.5] Primitivism takes on a new cast during the Enlightenment, suffused in the form of Rousseau. Rousseau wished to reach back to the past, as a simpler time. But Rousseau realized the almost insurmountability of this problem because the problem was society itself.[fn.6]

Thus enters the fascination with apocalypse. Bernard Yack suggests that Rousseau transmitted to the European intellectual tradition a “longing for total revolution.”[fn.7] By locating the pernicious evil in the very civilizing, socializing process, Rousseau put out of practical reach our ability to change: “Man is born free, and is everywhere in chains,” he says famously in the Social Contract. As technological rates increase, the burden of the past chains us tighter and tighter to where we have been, and the more we dream of being released. For the poet, from the great masters of the past. For the political revolutionary or spiritual purist (who, in true Rousseauian spirit, end up being one and the same), from modern society. We become fascinated with catastrophe as our sense of “we’ve seen this all before” increases, and as time goes by, greater and greater catastrophes of greater magnitude are demanded to breach our attention. And as the Mountains of Time begin to blot out the Sun, we begin to pray for the Great Leveler. The turn in DeLillo, in post-apocalypse, is the same turn in Rousseau—a sudden, renewed sense of community as the TVs die away.

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Works Cited

Bate, W. Jackson. The Burden of the Past and the English Poet. Cambridge: Harvard University Press, 1970, 1991.

Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. 2nd ed. New York: Oxford University Press, 1973, 1997.

DeLillo, Don. White Noise. New York: Penguin Books, 1984, 1985, 1999.

Havelock, Eric A. Preface to Plato. New York: Universal Library, 1963, 1967.

Lovejoy, Arthur O. and George Boas. Primitivism and Related Ideas in Antiquity. Baltimore: Johns Hopkins University Press, 1934, 1997.

Nehamas, Alexander. The Art of Living: Socratic Reflections From Plato to Foucault. Berkeley: University of California Press, 1998.

Ong, Walter J. Orality and Literacy: The Technologizing of the Word. New York: Methuen, 1982.

Rice, Eugene F, Jr., with Anthony Grafton. The Foundations of Early Modern Europe, 1460-1559. 2nd ed. New York: W. W. Norton & Company, 1970, 1994.

Scherpe, Fredric. “Dramatization and De-dramatization of ‘the End’: The Apocalyptic Consciousness of Modernity and Post-Modernity.” Cultural Critique. No. 5 (Winter 1986-7), p. 95-129.

Yack, Bernard. The Longing for Total Revolution: Philosophic Sources of Social Discontent from Rousseau to Marx and Nietzsche. Berkeley: University of California Press, 1986, 1992.

Endnotes

[1] Baudrillard is right about irony because the classic notion of irony is a directed notion, from speaker to audience, author to reader. What irony does is hide the meaning of a statement. Though often thought of as a simplistic “means the contrary of what it says,” Romantic irony has more to do with the irony of Socrates, as when Alexander Nehamas argues, against the traditional “contrary” version that Gregory Vlastos stands at the far end of in Socratic studies, that irony is a “concealment”: “Irony seems to create a mask. It does not show what, if anything, is masked. It suggests depth. It does not guarantee it.” (Nehamas 67) When Baudrillard expands the ultimately faceless mask of irony to a world-condition, he seems to understandably draw the conclusion that, since 1) all depths are created by a concealing mask, 2) everything is a concealing mask, and 3) every mask pulled off finds us with another concealing mask, the very notion of a “reality” to be taken seriously and differentiatedly is suspicious and should be treated indifferently because it can/could/should/has been revealed to be a different, faceless mask (hence his concept of the simulacrum, a representation with no represented—like a signifier with no signified—which means every representation represents the same thing: nothing).

[2] While L’étranger offers a wonderful portrait of a life seemingly devoid of internally generated meaning (and hence careening towards the only thing that would stand out: death), Camus investigates in prose the question of suicide in Le mythe de sisyphe.

[3] Here I would refer to the work of Walter J. Ong and Eric A. Havelock on orality, literacy and the beginnings of Greek (Western) thought. In our Homeric, oral state the only way to store info was in memorable pieces (because they had to be personally remembered) by the instrumental use of hexametric verse, rhyme, formulas, the use of heroic figures. As Ong says,
The new way to store knowledge was not in mnemonic formulas but in the written text. This freed the mind for more original, more abstract thought. Havelock [in Preface to Plato] shows that Plato excluded poets from his ideal republic essentially (if not quite consciously) because he found himself in a new chirographically styled noetic world in which the formula or cliché, beloved of all traditional poets, was outmoded and counterproductive. (Ong 24)
This marked the true birth of what we now think of as poetry—broadly, the attempt to write in an original way. Poetry had previously been involved in reproduction of noetic resources, but writing provided an external way to save these.
Our sense of accuracy has also increased as our technological capacities have. Writing allowed us to record thoughts. It also allowed us to record history, to record events in a more individuated way than ever before (the detailed History of the Peloponnesian War of Thucydides rather than the amorphously mythic Works and Days of Hesiod). The printing press registers as another significant event in the history of our consciousness. The reproduction of classic texts for the length of the Middle Ages were largely left to the hands of monastic scribes, most of whom were illiterate and were simply trying to copy as closely as possible the marks. The invention of moveable type changed everything:
Manuscripts, totally dependent on the skill, learning, and care of the scribe, had always been inaccurate and unreliable. Furthermore, this inaccuracy and unreliability were becoming increasingly great as successive generations of scribes copied the errors of their predecessors and added their own. The fundamental contribution of printing to learning was that it halted this progressive corruption and made possible the long and continuing effort to restore the great texts of the past to something approaching their original integrity. Printing gave scholars all over Europe identical texts to work on. (Rice 7)
The weight of the past has increased exponentially since that time as more and more is reproduced and preserved, not only the great and vast, but the boring and trivial. We have it all at our finger-tips.

[4] In this Walter Jackson Bate’s The Burden of the Past and the English Poet is instrumental, as is Harold Bloom’s transformation of Bate’s more historical thesis into a theory of poetry in The Anxiety of Influence.

[5] On this see Arthur O. Lovejoy and George Boas’ Primitivism and Related Ideas in Antiquity. One of the many benefits is their distinguishing between various senses of “primitivism.” The sense I shall use it is as a “cultural primitivism.” Lovejoy says, “The cultural primitivist has almost invariably believed that the simpler life of which he has dreamed has been somewhere, at some time, actually lived by human beings.” (Lovejoy 8)

[6] As Lovejoy says of Rousseau’s First Discourse, “The study of the arts and sciences does not contribute à épurer les moeurs [to the purification of mores], and there it is of minimal value, and often actually harmful.” (Lovejoy 274)

[6] Yack says that the “subjective awareness of the inability to produce a desired object distinguishes a longing from a desire….”
In both longing and desire we feel the uneasiness created by the lack of a desire object. But while in desire our uneasiness focuses on the desired object, thus promoting attempts at its acquisition, in longing the awareness of our present incapacity to acquire the object diffuses our uneasiness. The energy produced by that uneasiness has no obvious outlet—thus the vague, generalized feeling of uneasiness which most of us associate with longing. … When we discover the obstacle to our satisfaction we generate a new object of desire: a world without that obstacle to our satisfaction. And if we find ourselves incapable of removing this obstacle, our desire becomes a longing which, in turn, generates the definition of new objects of desire. (Yack 5-6, italics mine)
Compare this to Scherpe’s nice little slap at Baudrillard: “the curious manner in which this form of theorizing constantly creates new objects in order to make them disappear….” (Scherpe 99) On my reading, this is exactly what is to be expected at the long, self-conscious end of Platonic theory. Nietzsche saw Hegel grasp previous generations and drain them of their power for his own, thought it a neat trick and went directly at the main offender—Plato. Heidegger saw Nietzsche invert Plato, and saw the next step as an inversion of Nietzsche. Derrida sees Heidegger and ups the inverting ante, but by now the jig is up and the game of inverting back and forth infinitely becomes increasingly boring.

Sunday, January 27, 2008

Primitivism in Rousseau

Note: This was written for an intellectual history class in 2001. Clearly, it is very old. But I thought I'd fill in a little of the work I've done in other areas (stuff that is at least presentable--you should really see the crap I was writing when I first got to college), which oddly enough has mainly been in political and moral philosophy (given how much I usually spend writing on these kinds of topics otherwise). This is a fairly pedantic piece, very short and not terribly insightful, but perhaps it might serve some purpose.

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In October 1749, while walking to a prison to visit his friend Diderot, Rousseau is said to have stumbled upon an advertisement from the Academy of Dijon for an essay contest. The subject was “Whether the restoration of the Sciences and the Arts has had a purifying effect on morals.” Rousseau had a sudden revelation upon seeing the advertisement and is said to have stopped right there to pen part of the First Discourse, thus launching both Rousseau’s career and his political thought. The part of Rousseau’s political and moral thought that is of current concern is that of his primitivism. Rousseau’s First Discourse provides a strong example of Lovejoy’s concept of cultural primitivism and how a primitivist can criticize civilization while residing within its influence.

Lovejoy’s short but sweet definition of cultural primitivism is “the discontent of the civilized with civilization, or with some conspicuous and characteristic feature of it.”[1] The understanding that goes with this definition is that “civilization” as a concept is relative to the culture in question. Americans may call the Middle East primitive, with a lack in consumer products, but by the same token the Middle East can come up with other examples that it would consider primitive (like Australian pygmies). This is also contrasted with chronological primitivism, which would change the caveat in civilization to “relative to the time in question.” Cultural primitivism, though sometimes fused with chronological primitivism, is concerned with particular cultures, which only sometimes have temporal differences.

The conspicuous feature that is almost invariably opposed by primitivists is any notion of “progress.” For the cultural primitivist, the simple life is the good and easy life. Lovejoy says, “It is easier precisely because it is … simpler; it is less burdened by apparatus and … with a multitude of restrictive rules and regulations and conventionalities.”[2] The primitive life is idealized as free from societal pressures and free from the labor that is required by civilization to sustain civilization.

The concern of primitivists is that a civilization’s aggregate desires (and consequently an individual’s desires) will increase faster that its ability to satisfy them. The cultural primitivists do not want to get rid of civilization. The primitivists want to guard against the overindulgence and decadence of civilization, not oversee the destruction of civilization. They themselves are civilized and benefit from the advantages of civilization. The advice of primitivists to the civilized is to not desire, hence Lovejoy’s elegant turn-of-phrase, “the wisdom of not wanting.”[3]

Rousseau’s First Discourse provides a clear and strong example of cultural primitivism. Rousseau opens the piece with the question from the advertisement: “Has the restoration of the Sciences and Arts contributed to the purification of Morals, or to their corruption?”[4] Lovejoy summarizes Rousseau’s answer: “The study of the arts and sciences does not contribute à épurer les moeurs [the purification of mores], and therefore it is of minimal value, and often actually harmful.”[5]

Rousseau first sets civilization up for a fall by applauding its emergence from the ignorance of the Middle Ages. He writes, “A few centuries ago the Peoples of this Part of the World, which is today so enlightened, lived in a state worse than ignorance.”[6] But then he begins to twist the advantages of civilization and the tools of the civilizing process: science, art, and commerce.
“Soon the sciences followed Letters; the Art of writing was joined by the Art of thinking … and the major advantage of commerce with the muses began to be felt, namely of rendering men more sociable by inspiring in them the desire to please one another with works worthy of their mutual approbation.”[7]
Rousseau’s disdain is almost palpable is this passage as he describes the exercise of intellectual passions and reason as simply an act of mutually reinforcing self-gratification, rather than a pursuit or progress towards perfect knowledge. This is particularly poignant given the backdrop of the vogue of French salons. Even more important is the link between commerce and the sciences and arts. Rousseau paints them as co-conspirators, as mutually reinforcing as Voltaire and other Parisians.[8]

Rousseau then springs his trap:
“While the Government and the Laws see to the safety and the well-being of men assembled, the Sciences, Letters, and Arts, less despotic and perhaps more powerful, spread garlands of flowers over the iron chains with which they are laden, throttle in them the sentiment of that original freedom for which they seemed born, make them love their slavery, and fashion them into what is called civilized peoples. Need raised up Thrones; the Sciences and Arts have made them strong.”[9]
This beautiful passage contains two very important points about cultural primitivism: 1) the sciences, arts, and commerce (which were linked intrinsically in the passage before) stifle the freedom and virtue of the primitive and 2) some restrictions are necessary.

Rousseau continues the assault on the sciences and the arts with more disparaging remarks about the hypocrisy of outward decency and inward vulgarities. Art has fashioned our manners, but left behind our natural rustic morals. We no longer present ourselves to others, rather only an appearance cut from a uniform mold: polite, customary, constrained. We are no longer sincere, but rather deceitful and malicious. Rousseau ends the tirade with, “…our souls have become corrupted in proportion as our Sciences and Arts have advanced toward perfection…. Virtue has been seen fleeing in proportion as their light rose on our horizon, and the same phenomenon has been observed at all times and in all places.”[10] All of this condemns the sciences, arts, and commerce because of progress. The scientists and artists think they are progressing and becoming more virtuous when really they are moving farther away from the ideal.

But Rousseau’s attack on the sciences and arts is not totally unrestrained. As we saw before, Rousseau does believe that some restrictions are necessary. Society itself is a necessary condition for any freedoms to arise. Rousseau continues the thought “Need raised up Thrones” in The Social Contract where he famously says, “Man is born free; and everywhere he is in chains.”[11] Even more importantly to the First Discourse is the fact that Rousseau came under a lot of fire after its publication, with many refutations being brought out against him. Rousseau replied to five of them and in his replies Rousseau can be seen narrowing the object of his attack. No longer are the sciences and arts themselves at fault, only those who are not virtuous enough to handle them are. And no longer are all sciences and arts condemned, only those that are useless or sophistic.[12] These qualifications on the corruptive nature of the sciences, arts, and commerce can be seen as completely consistent with cultural primitivism, rather than potentially conflicting.

Rousseau’s primitivistic advice is littered in the piece, but in most places it can be read as the antithesis of the corruption he’s defaming. In two short passages, Rousseau says, “What gives rise to all of these abuses, if not the fatal inequality introduced among men by the distinction of talents and the disparagement of the virtues?”[13] and “The wise man does not run after fortune…”[14] The first passage lays the road for his Second Discourse (on inequality) and the second is clear positive advice in the primitivist tradition. In short, Rousseau’s First Discourse is a fertile breeding ground for his primitivism and many ideas that Rousseau later develops. Rousseau shows great contempt for the “progress” of the sciences and arts, but stays short of condemning all progress and civilization.


[1] Arthur O. Lovejoy and George Boas, Primitivism and Related Ideas in Antiquity, (Baltimore: Johns Hopkins University Press, 1935), 7

[2] ibid., 9

[3] ibid., 10-11

[4] Jean-Jacques Rousseau, “Discourse on the Sciences and Arts,” in The Discourses and Other Early Political Writings, ed. Victor Gourevitch (Cambridge: Cambridge University Press, 1997), 5

[5] Lovejoy, 274

[6] Rousseau, 6

[7] ibid.

[8] Other links between commerce and the arts occur on pages 9 (“luxury and the Arts”), 13 (“thatch roofs, rustic hearths where moderation and virtue dwell”), 14 (“luxury, dissoluteness and slavery”), 16 (“Arts … luxury”), 19 (“question of luxury”) and many more.

[9] ibid., 6

[10] ibid., 7-9

[11] Rousseau, The Social Contract and Discourses, trans. G. D. H. Cole (London: Everyman), 181

[12] John C. Hall, “The Development of Rousseau’s Political Philosophy,” in The Social Contract and Discourses, lvii-lviii

[13] Rousseau, "Discourse on the Arts and Sciences," 23

[14] ibid.