On Edmund Burke

Reading Iain Hampshire-Monk’s review of The Intellectual Life of Edmund Burke by David Bromwich, I noted Bromwich’s comment that “no serious historian today would repeat the commonplace that Burke was the father of modern conservatism.” Picking out “the father of modern conservatism” does pose difficulties, as such abstract categories as “liberal” and “conservative” are context-sensitive and shift dramatically over time, and picking a single “winner” from among the contestants implies a bit of a game-show approach to history. But to play the game and see where it leads, I confess that some of my own publications support the notion of Burke as the father of modern conservatism, at least if that means providing a modern substructure for conservatism.

My line of reasoning (drawing heavily on Burke’s seemingly apolitical treatise on the sublime) was that the 18th century saw rapid erosion of objective social hierarchies as a legitimating discourse in favor of subjective registers – from empiricism’s egalitarian emphasis on the five senses to the Cult of Sensibility novels, wherein “nobility” is established by personal character and not birthright – all tending toward the subjectivism of Kant. Pre-modern conservatives clung to the old hierarchical thinking of the Great Chain of Being. Burke, though, could see the writing on the wall. The new playing field was the field of subjective registers. Kant and Wordsworth (liberally, in my reading) use the new subjectivism to demystify those old hierarchical power structures and empower the individual. Burke, on the other hand, brings conservatism to modernity by updating its ideological support system. He leaves the mystification of objective power sources intact but articulates a subjective and modern ground of authority for that mystification. First and foremost, he does this through his emphasis on the “second nature” of learned behaviors and received traditions folded into our very identities. But one can see it also in how his aesthetic theory shifts the locus of “the sublime” from the neoclassical objective markings to subjective registers of power, terror, etc. In so many ways, he shores up the dignity of traditional institutions and gives them a foothold in the modern playing field. Thus when Enlightenment radicals like Paine and Wollstonecraft would replace monarchy and aristocratic birthrights with rational democratic principles, Burke countered with the  subtlety and forethought that laid the ground for modern conservatism. At least that’s one way of looking at it.

Gary Gautier, “Ann Radcliffe’s The Italian in Context: Gothic Villains, Romantic Heroes, and a New Age of Power Relations,” Genre 32 (1999): 201-34.

Gary Gautier, Landed Patriarchy in Fielding’s Novels (Edwin Mellen Press, 1998), chapter 3.

Tristram Shandy’s Faux Postmodernism

From time to time, my literati friends put forth Laurence Sterne’s Tristram Shandy (1759) as if it were a postmodernist novel 200 years ahead of its time. This is understandable, considering all the reflexivity and discontinuities built into the structure of the text. But on the core issue of human identity, Sterne is no postmodernist.

Human identity, to the postmodern, is essentially fragmented, incoherent, all colliding and discordant surfaces without any stabilizing interior or deep anchor. Sterne may superficially anticipate these postmodern preferences, insofar as human identity in Shandy, more so than in contemporaries in the period from Henry Fielding to Jane Austen, is whimsically determined by each character’s hobbyhorse. Sterne, however, is a man of sentiment, and his sentimental world view is at odds with postmodernism’s intellectually austere view of human identity. In Sterne’s case, the sentimental side wins. Although human identity in Shandy may seem random, even infinitely displaced by hobbyhorsical identity, this arbitrariness is underwritten in the text by a sense of private identity. (And insofar as private identity is perhaps more “private” in Sterne than in other writers of his age, he may anticipate Freud more than he anticipates postmodernism per se.)  It may be true that once we get Uncle Toby’s “military apparatus out of the way . . . the world can have no idea how he will act,” but Tristram suggests that the reader has a clearer vision than “the world”: “You have seen enough of my Uncle Toby” to know his “singleness of heart . . . plainness and simplicity” (italics mine).  For those who would appropriate Sterne for postmodernism, it may be tempting to see no stable identity behind the hobbyhorse.  (Compare to my snippets on Gertrude Stein or Robbe-Grillet.) A careful reading, however, suggests that there is private human identity, and that it is urgent that we recognize it as such, despite appearances, for this private identity is the real locus of the sympathetic passions at the heart of the 18th-century Cult of Sensibility, of which we might call Sterne a charter member.

Von Trier’s Melancholia

A friend with whom I’ve had long and beautiful talks about romantic versus classical ideals led me into a discussion recently of Lars Von Trier’s Melancholia, which reminded me of a third pole that in my mind is equidistant from the other two: the existentialist pole. Justine (Kirsten Dunst) is clearly not classical in sensibility, as there is nothing rational or tranquil about her relationship to the world. But nor does she represent a romantic world view. Francis Ford Coppola’s Dracula, for example, represents a romantic world view. Dracula has an all-devouring passion that transgresses all limits – religious, rational, moral – all boundaries shatter before his excessive passion. This is romanticism in its Byronic/Blakean form but with additional attention to the moral dangers that Byron and especially Blake downplayed. The existentialist is in a way the opposite. The world seems drained of meaning, of passion, of emotion, of any kind of authentic sentimental connection to others. Justine’s existentialist mindset (not that she chose this mindset but she expresses it) would find Coppola’s Dracula a bit ridiculous for putting so much frenzied importance on an emotional bond to a woman. Dracula’s attitude implies that there can be enormous meaning in the world, that enormous passion is justified. Justine’s problem is the opposite.

Justine’s foil in Von Trier’s film, Claire (Charlotte Gainsbourg), shows that even our new tripolar model – classical, romantic, existentialist – falls short. Claire indeed represents a value system that stands in primary conflict to Justine’s, but Claire’s world view is neither classical, romantic, nor existentialist; it is a fourth pole, best labeled as the “sentimental world view” – where all human values hover back to the sensible, sentimental, domestic forms of bonding that hold families together.

So Justine and Claire force me into this final sweep on the broad strokes of Western cultural history. If we generally think of the classical ideal as symmetrical, rational, stoical, poised, and the romantic ideal as passionate, excessive, overwrought, suprarational, one can hypothesize a pendulum swing through periods of European cultural history, from classical Greece and Rome to the romantic tendencies of the Medieval era, to the classical Renaissance, romantic Baroque, then neo-classical/Enlightenment, then Romanticism-proper in the late 18th and early 19th centuries. With 19th-century realism, something changes. The ideal that centers the symbolic economy of great Victorian novels by Dickens and others is neither classical nor romantic but sentimental, and it traces back to an underrepresented moment in cultural history, the “Cult of Sensibility” that emerged in 1760s England and Scotland. The Cult of Sensibility sprouted up alongside Romanticism as a reaction against the rational symmetries of the neoclassical aesthetic. But whereas Romanticism-proper favored excessive passion and a power of imagination that stretched beyond all rational boundaries, the Cult of Sensibility favored the tender emotions that could bond people together in the domesticated bliss of their own little gardens. So although Romantics and Sensibility writers shared a rejection of stoical reason as a touchstone of human values, they produced quite different kinds of heroes. Romanticism would produce powerfully ambiguous heroes from Byron’s own Manfred and Childe Harold to Heathcliff of Wuthering Heights and Coppola’s Dracula (and one might even reclaim Milton’s Satan as Romantic hero, as Blake and Percy Shelley did quite explicitly). Sensibility would produce the tender domestic heroes of 18th-century writers like Sarah Fielding and Henry Mackenzie, who were laying the groundwork for the sentimental novels of Dickens and others.

With those four poles, we at least have a more complete heuristic model for cultural analysis. E.g., in Coppola’s Dracula, Mina struggles between romantic (Dracula) and sentimental (Jonathan) options. The symbolic economy of Von Trier’s Melancholia is energized by the conflict between existentialist (Justine) and sentimental (Claire) world views. Mary Shelley’s Frankenstein shakes the model in its own way, with Victor Frankenstein representing a compound of romantic and classical, evincing not only the excess passion and overwrought idealism of the romantic but also a more classical trust in reason and science as his methodology; Elizabeth in that novel, on the other hand, represents the sentimental ideal of tender domestic emotions (and the arc of the plot would seem to validate Elizabeth’s point of view).

But I believe I’ve exceeded the reasonable limits of the blog entry format, so I’ll end with a simple solicitation. If anyone has read this far without becoming overly resentful, please remind me to write a sequel on the following topic: Romantic and Existentialist — Two Forms of Melancholia and Two Forms of Darkness. (Sequel is here.)