Essayists From England

"The classical legacies of political thought, from Plato to Nietzsche, and the immediate tasks of running the world, at home and abroad, have been of most concern to the Right. Normative philosophical constructions have become a specialty of the Centre. Economic, social and cultural investigations – of past and present – dominate the output of the Left. Any attempt to come to grips with all three outlooks is thus obliged to traverse quite variegated ground."

"The most advanced socialist thought in England is Raymond Williams’ superbly intricate and persuasive work... Any English Marxism will have to measure itself against this landmark in our social thought."

"The international disputes which united and divided Luxemburg, Lenin, Lukács, Gramsci, Bordiga or Trotsky on these issues represent the last great strategic debate in the European workers' movement. Since then, there has been little significant theoretical development of the political problems of revolutionary strategy in metropolitan capitalism that has had any direct contact with the masses. The structural divorce between original Marxist theory and the main organizations of the working class in Europe has yet to be historically resolved. The May-June revolt in France, the upheaval in Portugal, the approaching dénouement in Spain, presage the end of this long divorce, but have not accomplished it. The classical debates, therefore, still remain in many respects the most advanced limit of reference we possess today. It is thus not mere archaism to recall the strategic confrontations which occurred four or five decades ago. To reappropriate them, on the contrary, is a step towards a Marxist discussion that has the—necessarily modest—hope of assuming an ‘initial shape’ of correct theory today. Régis Debray has spoken, in a famous paragraph, of the constant difficulty of being contemporary with our present. In Europe at least, we have yet to be sufficiently contemporary with our past."

"Putin’s control of the media is becoming more and more comprehensive. What is left over, that ownership does not ensure, self-censorship increasingly neuters. The Gleichschaltung of parliament and political parties is, if anything, even more impressive. The presidential party, United Russia, and its assorted allies, with no more specific programme than unconditional support for Putin, command some 70 per cent of the seats in the Duma, enough to rewrite the constitution if that were required. But a one-party state is not in the offing. On the contrary, mindful of the rules of any self-respecting democracy, the Kremlin’s political technicians are now putting together an opposition party designed to clear the bedraggled remnants of Communism — liberalism has already been expunged — from the political scene, and provide a decorative pendant to the governing party in the next parliament."

"Beyond the discrepant local sympathies of these careers – with their splay of temporary identities: Conservative, Zionist, Nazi, Old Whig – they reflected a common theoretical calling. […] In Schmitt’s own writing, the obscure figure assumes various – typically oblique – historical guises, as political or juridical restrainer in different epochs. But the Stygian cap fits the collective effort of this cluster of thinkers. For these were indeed constructions designed to hold something back. What they all in the end sought to restrain was the risks of democracy – seen and feared through the prisms of their theories of law, as the abyss of its absence: to misterion tes anomias, the mystery of lawlessness."

"The dichotomies which are the signature of their work – the esoteric and the exoteric, the civil and the managerial, the friend and the foe, the lawful and the legislative – are so many cordons. Their function is to hold popular sovereignty at bay. The different gifts displayed in this enterprise, whatever view is taken of it, were remarkable. For all his later tendency to textual dressage, Strauss's range and subtlety as a master of the canon of political philosophy had no equal in his generation. Schmitt's moral instability never impaired an extraordinary capacity to fuse conceptual insight and metaphoric imagination in lightning flashes of illumination around the state. Hayek could seem tactically ingenuous, but he fashioned a theoretical synthesis out of his epistemology and economics whose scope and strength has yet to be supplanted. Oakeshott was the literary artist in this gallery. His writing varies considerably in quality, and can be whimsically arch at one moment and curiously crude at another, disconcertingly close to Punch or Cross-Bencher. But at its best, when it moves into high register, it can rise to a lyrical beauty."

"It will take time to get a more settled sense of Thompson’s distinction as a historian and a writer. His work spans too many forms for easy judgement, and its aura can be a temptation to short cuts. But a tension between what might be called his nineteenth and his eighteenth century sensibility was certainly at the creative centre of it."

"The trope was eminently Oakeshottian. Politics was not a battle of interests, or a quest for truth, or a voyage of progress – it was an aesthetic performance, to captivate an audience. But it was not high theatre (Oakeshott had also insisted that politics was a second-rate activity). It was more like commercial theatre, the drama of the boulevards that plays to our emotions or embarrassments – Rattigan rather than Racine, he explained. On this stage, Mount has certainly given us a stylish production. We might call it the comedy of reform."

"The invisibility of women in canonical histories might lead us to believe that women have no history. Surely then a female history is an essential tool in the emancipation of women? This is partly because if we have no history we are ‘trapped’ in the present where oppressive social relations can continue unchallenged. Furthermore, history can be seen as evidence that things can and do change."

"When I say ‘gender’ you think ‘women’. And it is true that most gender history is written from a woman-centred perspective, but much research covers both men and women and importantly the relationships between the two."

"Architectural History is more than just the study of buildings. Architecture of the past and the present remains an essential emblem of a distinctive social system and set of cultural values, and as a result it has been the subject of study of a variety of disciplines."

"‘Architecture’ may at first appear to be a more fixed and finite term. It has a threedimensional, tangible, useable form. But questions remain about what can be considered architecture and what cannot, and by this I mean that we usually understand architecture to incorporate aesthetic as well as functional consideration into its structure. Anything that does not fall into this category can be described as ‘just a building’. This may seem too simple. Can architecture be determined solely by the use of refined architectural style – high or polite architecture instead of vernacular?"

"I am interested in how we interrogate architecture in terms of its social functions and meanings. Architectural historians writing on eighteenth and early nineteenth century Britain have tended to see social history as the answer to this question. But the social history of architecture or the histories of specific social groups which operated in and around the architecture or building(s), or indeed the spaces created by them or for them, provide only a backdrop or loose historical context."

"The purpose here is to demonstrate the diversity of classical formulae which appeared in architectural design, and if we look at classical architecture as a repertoire of forms rather than statements of specific design credos we can challenge teleological constructions of stylistic histories. The method of grouping the architecture from given periods of time under general stylistic labels has, without doubt, been the backbone of the discipline of architectural history. And when used skilfully and carefully it can provide useful punctuation marks in the lengthy and complex narrative that is the subject-matter of the history of western building. Yet it is only one of many tools with which to explore social and cultural contexts."

"[A]rchitecture is more than a stage for the acting out of these performances. It offers a space for other social groups and kinds of social interactions. It is also important to remember that in examples such as the country house it was home to a large number of residents representing a variety of interests."

"Architecture differs from a work of art, which can be displayed in different settings and the subject-matter, form and meaning will remain unchanged. The physicality of any built structure can be altered over time as additions and alterations are made. Moreover, a building or work of architecture can change its function as it meets the different demands of its occupants, although its exterior appearance may be unaltered. And its meaning may change depending on the nature of the context. This reveals some of the problems of interpreting historic architecture from a modern-day perspective as the physical changes and different cultural contexts transform the object."

"The influence of literary theory on its related disciplines has prompted much debate about the notion of ‘authorship’. Yet the attraction of exploring architecture, or more specifically a building, through the life of its architect (author) remains a significant force in the construction of its histories. This is particularly the case when the architect has been identified as a major figure in the evolution of the architectural history. Conversely, buildings without architects are pushed to the sidelines of history."

"In architectural history then the focus on the biography either of an architect or sometimes a patron separates ‘architecture’ from the function of the building, the theory of the processes of architecture and the broader social and cultural significance. To this end architecture is presented in a kind of historical cul-de-sac divorced from any contemporary or theoretical meaning it may have."

"Style remains a principal concern of the histories of British architecture from the sixteenth century to the early nineteenth century, if not up to the present day. Architecture and style are interlinked to the point that style can almost be believed to contain the essence of architecture, but if this were the case then style would constitute the subject of architectural history. Quite clearly it does not."

"Histories based on biographies can present a one-dimensional image of the architects involved, often inflating what was a portion of their existence, interests or social and cultural significance, making architecture appear to be their driving force when in reality it may have been merely one of several interests."

"If style is anything more than formal analysis or a description of the ornamentation of a building it must surely offer or represent a specific set of ideals from the moment of its production."

"[B]iography is an essential part of human memory. We think about ourselves in terms of what we have done – our identity is constructed around our past. Are history and biography linked or just two parallel strands? Biographers and historians make choices about how to frame their subject, they draw together fragments to present a possible glimpse of the unattainable whole. An historian might have a thesis or method which drives his/her enquiry whereas a biographer has, perhaps, a particular view of an individual they wish to present. Neither presents the truth, only an interpretation."

"You will have heard, I presume, that Wintons Chronicle, by a Mr. Macpherson, is in great forwardness. It is to surpass, in point of correctness and typography, any thing that has hitherto appeared. But, I confess, the specimen I have seen betrayed symptoms of licentiousness and affectation which I can neither approve of nor account for."

"Now Mr. Malone will take this exceedingly ill; for Mr. Malone has a very high opinion of himself, and a very mean one of every body else. But I confess I do not seek to please Mr. Malone: I wish to rescue the language and sense of an admirable author from the barbarism and corruption they have acquired in passing through the hands of this incompetent and unworthy editor. In a word, I mean to convict and not to convince him."

"But it is not the want of ear and judgement only of which I have to accuse Mr. Malone: he stands charged with divers other high crimes and misdemeanors against the divine majesty of our sovereign lord of the drama; with deforming his text, and degrading his margin, by intentional corruption, flagrant misrepresentation, malignant hypercriticism, and unexampled scurrility. These charges shall be proved--not, as Mr. Malone proves things, by groundless opinion and confident assertion, but--by fact, argument, and demonstration. How sayest thou, culprit? Guilty or not guilty?"

"Mr. Malone can not read, and is totally ignorant of the consequences of his own absurd ideas; he could never else have thought such a line as the following consistent with the laws of metre: '"What wheels? Racks? fi-ers? What flaying? boiling?' Thus, however, he insists that Shakespeare intended us to read--swor-en, char-rums, instead of sworn, charms; su-ar, for sure, &c. &c. converting one syllable into two, two into three or four and so on."

"Every reader of this incomparable edition will have frequent occasion to observe that the editor "draweth out the thread of his verbosity finer than the staple of his argument." The present instance, indeed, is nothing in comparison to pages of inanity with which the work abounds, and which, on account of their "true no-meaning," are actually incapable of refutation or discussion."

"I am sorry to hear of the indisposition of Cumyng, who seemed a very intelligent and respectable man. It is, however, some consolation to you, on the approaching loss of a good friend, that you will get his library."

"You will have perceived, I suppose, by your Magazine, that Herbert Croft has been obliged to relinquish the publication of his grand dictionary for want of subscribers. He is chiefly indebted, I believe, to the absurdity of his plan, which, by retaining all the blunders of Johnson and adding his own refutations, &c. doubled the bulk and price of the work. Besides, his printed specimen afforded no very promising idea of his etymological abilities ; and in fact some of his late letters in the newspapers seem to imply a derangement of intellect."

"I have just dipped far enough into Mr. Malones edition of Shakspeare to find he has not been sparing of his epithets whenever he has occasion to introduce me to the notice of his readers. In fact, I believe I originally gave him some little provocation. But I thought your countrymen had been remarkable rather for the suddenness of their anger than the duration of their malignity. Have the morals of this worthy editor been corrupted by his long residence amongst us?"

"I have still some intention of printing an edition of Shakspeare, in which I shall carefully attend to what you say. I send you a pamphlet in which I flatter myself I have totally demolished the great Mr. Malone. He has attempted to answer it by the most contemptible thing in nature."

"I am astonished that your friend Brand should be so absurd as to fancy that Gateshead means "the end of the road," instead of "the head of the goat;"and that Bede has confounded "gate, via, with goat, capra.""

"You cannot do better, I think, than commit yourself to the care of one of the Stockton captains who are for the most part very honest people, except, indeed, where it is their interest to be otherwise, which is as much as one can say of any body. If you can get nothing better on board of ship than biscuit and water, you may certainly make a shift to subsist upon that food for a week or two, and though there may be neither bed nor hammock for you, when a person is fatigued he will sleep very comfortably on a cabin floor or a coil of rope. Besides, a little temporary hardship at the outset of your expedition into the world may teach you to bear those greater misfortunes to which all are liable, with more philosophy...."

"I am quite sick of the modern writers of ancient history, who think to make amends by their fine language for the total want of industry, truth and candour."

"Like a skilful husbandman you must force the soil which nature has left sterile; and depend upon it the produce will be answerable to the cultivation."

"But I am sure you will agree with me that truth should be preferred to all things and sacrificed to nothing; and that a single fact is worth a hundred conjectures."

"I am glad to find you persist so heroically in a mode of living, which you will one day or other find to have been of essential service both to your body and mind, by preserving health and a good conscience, neither of which you could possibly have, if you addicted yourself to the unnatural and diabolical practice of devouring your fellow creatures, as pigs and geese undoubtedly are … I am to signify to you that eggs are henceforward to be considered as animal food, and, consequently prohibited to be eaten."

""Timeo Danaos, et dona ferentes," I dread a Scotchman bringing ancient verse."

"You are sufficiently acquainted with the wild and unfounded notions published by Mr. Tytler and others, upon the subject of Scotish Music. The character given of Scotish men by old surly Johnson was, generally speaking, far from unjust. They prefer any thing to truth, when the latter is at all injurious to the national honour: nor are they, as far as I can perceive, very solicitous about it on any occasion."

"I am now satisfied that no one can tell me from good authority what was the vulgar language of the South of Scotland in the Xllth century; I, however, entirely concur with you in opinion, that it was the English Saxon."

"But what danger either can be in from any event that I, at least, have in contemplation I really do not comprehend. No reformer, Painite, or whatever you please to call us, proposes to put himself in a worse condition than he is in at present: and every one has something of his own, such as it is —I myself have a little. You may therefore be assured that the most violent revolutionist is as little anxious as yourself for any change that would put in jeopardy the well earned fruits of your honest industry. If, indeed, you were a sinecure placeman or pimping pensioner of ten or twenty thousand a year you might I confess have some little reason to fear. But as it is, I can perceive that you have a good deal to gain and nothing at all to lose. For my part, though I do not clearly see what I shall get by a revolution, I possess a place which brings me in from fifty to one hundred a year, and that I shall be certain to lose. The most prominent feature in the new system is the abolition of taxes; and, since you are an expert arithmetician, and able calculator, I shall be glad to learn the specific injury you will sustain by that. No, no; depend upon it, my friend, that your ideas on this subject are a little erroneous: and, if you think truth preferable to falsehood and right to wrong, I would recommend you to enlighten your mind by an attentive erusal of the "Rights of man," and Godwins "Enquiry concerning Political Justice," both which, I presume, you may procure if you have an inclination. At any rate, when the row begins, I should think it a point of prudence to remain a temperate spectator, till, at least, the contest is fairly decided..."

"I hope your patriotic exertions, of which this is by no means the first, will be productive in time of the success they merit; but am afraid that the vices of government, which "infect to the north star," are inimical, at present, to every species of reformation."

"The attorney general has prepared no less than three indictments against Eaton for his "Hogs wash," and a fourth against poor Spence for his "Pigs meat:" so that these two worthy swineherds seem to have brought their hogs to a fine market. I have not yet seen the latter, but Eatons daughter informs me that he has long made up his mind for another imprisonment, and has accordingly taken a shop in Newgate-street, that he may have his family near him, and that the great cause, which he appears to have much at heart, may not be neglected in his confinement. We have not been hitherto able to do any thing for our friend Rickman, who sent me the other day one of citizen Paines pens, with some pretty occasional verses, which you may probably like to see."

"Shoals of Scotchmen are arriving here every day; the difficulty, I should imagine, would be to find one going back. Edinburgh, at the same time, is so very small a place, that you may be easily acquainted with the motions of every individual from your shop-door. Formerly, I have been told, when a Scotchman intended a journey to the South, he used to ring the cryers bell for a quarter of a year beforehand, in order to indemnify himself against the enormous expences of the Newcastle waggon, by the packets and parcels he got the charge of from his neighbours; but at present, I suppose, the neighbours go too— not in the Newcastle waggon, I mean, but the mail-coach—Tempora mutantur!"

"Whatever change may take place you must have better pretensions, I presume, to intitle yourself to its advantages than a set of political and religious opinions; unless you think it sufficient to emulate the bons citoyens who make it their business, in rags and tatters, to discuss questions in the Jardin de la revolution, for the good of their country."

"You would be a slave to the attorneys, Whom I Have Found NOT ONLY THE MOST IGNORANT AND CAPRICIOUS, BUT THE MOST INSINCERE, UNPRINCIPLED, AND IN EVERY RESPECT, WORTHLESS OF MEN. In a word you had much better hang yourself at once than begin to draw under the bar. If you do not immediately accept Wolleys offer you may resign yourself to everlasting damnation, as there will not be a chance left of your doing well."

"...but if you succeed in persuading this poor devil to part with every penny of his own profits, in stripping him to the skin, in picking him to the bone, Jonathan Wild was a fool to you, that's all. You have my full and free consent to do whatever you please with the fellow, and god send him a good deliverance. But you won't forget to lend me the cash!"

"By heaven, I verily believe if he were only to employ you to draw him up a lease for a year, he would never be able to get out of your clutches as long as he lived. ...Old Slangy was a fool to you."

"You cannot say that I have ever been backward in doing justice to your ingenious contrivances and unremitting assiduity in pursuit of money. I foresaw the success of your design upon the poor Count, too well concerted, indeed, to give him a chance of eluding it. But I am not yet sufficiently hardened to congratulate you upon an event which affords the immediate prospect of a jail for your client, and the not very distant one of a gallows—or at least a pillory—for yourself. Jonathan Wild was a great man, to be sure; but I would not have you forget that he was hanged at last."

"With respect to charity jobs, I am no more fond of them than yourself, and beg that this may be the last I receive from you, as I plainly perceive, if you can get an agent to do your business for nothing, it will in a very little time consist of nothing else but charity jobs."