Mon, 22 December 2014
Wed, 17 December 2014
Mary: Welcome to mayor rhetoric a podcast for beginners and inspirers that got ideas of people and movement who shape historical history today we have two great surprises one is the topic. We’re going to start our new series on people you didn’t know were rhetoricians, and were going to talk about Adam Smith in particular who was actually a rhetorician despite most people knowing him as an economist and because of that we have a second surprise which is our guest today, which is my own brother my favorite economist, Dave Hedengren.
Dave Hedengren: Hi Mary thanks for letting me be on the podcast, I’m a big fan.
Mary: Oh shucks, your just saying that because you’re my brother
Dave Hedengren: Well I’m listening to the podcast because I’m your brother, I’m saying that because I’m a big fan... anyway so I was shocked when you said Adam Smith worked in rhetoric.
Mary: Yea he did in fact it was his first job coming out of college was his equivalent of a star buck’s job in many ways,
Dave Hedengren: So what did they ask? so you told me he worked at rhetoric but I was like yea but it is like he had to teach fresh men writing his first year as a professor, like what do you mean he worked at rhetoric?
Mary: Well it was actually pretty prestigious, he was a lecturer, because back in the eighteen century they didn’t have Xbox so they didn’t have much to do, so they would have these societies where people would study things and they would hire somebody to come in and teach them about something Adam Smith was actually they hired to come and teach them about rhetoric.
Dave Hedengren: That’s cool, what kind of gig is that is it like a single off speaking fee where you like come in and you get to have some refreshments with some interested locals or is it like every week your there and people like keep talking to you.
Mary: The ladder they were societies and in fact the society that we think sponsored, Adam Smith was originally a medical society it was called the philosophical society of embrown. Which doesn’t really sound like it would be a medical society, but it was it started as a group of medical people learning more about medicine, doctors and then it eventually expanded to include science and literature and all of those things and they needed somebody to in and talk about rhetoric so they got Adam Smith to be the one to do it.
Dave Hedengren: That’s cool so he’s kind of younger guy's starting out his career and he does that.
Mary: Yea fresh out of college.
Dave Hedengren: And it’ the expectation that you’re expecting new ideas in these seminars, or you just kind of re-hashing, are you teaching that’s already known or are you expressing your original opinion on the topic.
Mary: Well what happens when a professor teaches a class.
Dave Hedengren: For undergrads I just assume they just teach what they already know what to read upon and then when you’re talking to lawmen, I assume it would be even more of the case you just get to the real basics of what the discipline teaches.
Mary: Well it’s kind of your interpretation of it right, so you start with what is generally accepted but you give sort of your commentary in your interpretation which is actually what Adam Smith has in these lectures so you will hear things like his opinion on the classics, so you can think about a long time to classics were a really big deal and people would go back and sort of extol especially Cicero and Adam Smith he does think highly of Earald Stotle and Cicero and Quintilian, but he wasn’t married to their ideas so he was willing to accept they had good ideas but only as much as it could be backed up with things that could be found, deductively from first principles that were important to him, propriety and what was the other one I was thinking about,[Dave Hedengren: Sympathy]yea propriety and sympathy.
Dave Hedengren: Yea so in your lecture notes, I feel like you’re going to go all stirred up, but the lecture notes you sent me he describes the classics as a very silly set of books and not of all instructive, I feel like you’re kind of soft pedaling it when you say it like Quintilian and Cicero, but you called the rest silly like was that.
Mary: But yea he did he thought it was silly and not instructive because it didn’t seem to match up with what he saw as the basic principle and in fact his ideas of what those basic principles were, were a little bit different from how we interpret the classics, so we’re use to thinking of Earald Stotle and Cicero and especially Quintilian as being really heavily invested in invention and spending a lot of time talking about how do you find topics that’s one of the common places things like that, but Sniff doesn’t really interpret it that way, so he does this quote where he says Cicero, Quintilian and all the best authors of rhetorical composition, treat the invention of arguments or topics and the composition or arrangement of them as very slight matters and of no great difficulty and never seem to be in earnest, unless they give directions concerning the ornaments of language and expression so you listen to the podcast [Dave Hedengren: Yea] does that sound like there classics
Dave Hedengren: No, it doesn’t sound like the classics.
Mary: Because that sounds like, I don’t know Petrous Raymous.
Dave Hedengren: That silly Petrous Raymous, oh my goodness, Petrous Raymous is a time traveler. [Mary: No] well if you’ll explain it
Mary: It could just mean that Adam Smith just had a misinterpretation of the classics because that’s certainly not how we see it is a little bit fuddling to hear that [Dave Hedengren: Yea] it’s possible that no... he probably.
Dave Hedengren: But so now okay let’s take a step back here, because we’re talking about what Adam Smith said about rhetoric but his final wish he was reaching out with his dying breath and said "You know those lectures I did on rhetoric ".
Mary: Don’t give away the end Dave
Dave Hedengren: Let’s talk about sympathy and propriety
Mary: So what did you actually did pick , so he was skeptical of some of the what he saw, classical emphasis on forms, instead of what we think of as rhetorical flourishes the kind that makes people mad when you’re talking about rhetoric he was very focused on clarity, and conciseness and a lot of the things we really see as a part of the angle American style and so he would say that the perfection of style consist in expressing in the most concise, proper and precise manner the thought of the author and not the manner which best convey is the sentiment passions or affection with which it affects him in which he design to communicate to his reader. So you have, it sounds a lot like common sense right, listen to this, this is another part that Smith says: When the sentiment of the speaker is expressed in a neat, plain and clever manner and the passion or affection he is possessed of and intended by sympathy to communicate to his hearer is plainly and cleverly hid off, then and only then the expressions have all the force and beauty that language can give it.
Dave Hedengren: Yea, which I totally dig, I think that’s a nice way to, I mean maybe this is just my simplistic not of the tradition reading of it, but it seems like yea that’s exactly what rhetoric should be going for say what you want to say but make it said.
Mary: Would you say that its common sense.
Dave Hedengren: it is common sense, did he create did Adam Smith invented common sense.
Mary: Well let’s not get carried away, I mean there was a whole social mehu here of common sense the Scottish philosophers were really digging this idea [Dave Hedengren: yea] so yea this was capital c capital s common sense and it sounds a lot like Hugh Blair who was actually one of the people who listen to these lectures.
Dave Hedengren: Hey speaking of Hugh Blair another part of Adam Smith’s kind of two ideas of rhetoric propriety and sympathy and I wanted to read the sympathy quote that you sent me over in the show notes that says the man that keep sympathy keep time with to my grief cannot but admit the reasonableness, or propriety of my sorrow he who admires the same poem or same picture or admires them exactly as I do must surely allow the justness of my admiration. He who laughs at the same joke and laughs along with me cannot well deny me the propriety of my laughter and that also struck me as a very Hugh Blarian idea. Is that right?
Mary: Yea, sure. It also reminds me a lot about how your one of the only people who laugh at my jokes.
Dave Hedengren: Also true, but that’s because we share a brotherly, a sibling sympathy, right.
Mary: Yea, so sympathy is sort of the idea that you can trace back to Cicero as a matter of fact as this idea that I feel something and you with me start to feel the same thing, and me as a writer its my responsibility to make sure were on the same page emotionally, so you can see in both proprietary and in sympathy, this real, all these threads that come from the general philosophical view of the Scottish enlightenment period.
Dave Hedengren: Yea, so now sympathy is also come in and you can decide whether or not to add this part in the rhetoric podcast, but sympathy comes up a lot in the theory of moral sentiments. Talking about the way we need to relate to one and other, and it’s kind of his idea of the basic fundamental motivating enterprise of humanity is that we have sympathy towards one and other and towards ourselves.
Mary: Yea absolutely and you can trace some of the threads from his early work into his later work and then there’s going to be some continuity there.
Dave Hedengren: Which we can see, that it seems like he didn’t want us to see can we go there now.
Mary: Not yet.
Dave Hedengren: We should have written an outline.
Mary: No this is going great, what are you talking about.[Dave Hedengren: Okay] well because what your describing talking about sympathy emotions is not something that a lot of our rhetoric viewers really associate with Adam Smith, so a lot of people they think about Adam Smith as they think sort of like social Darwinism and they think sort of like, I think about what’s important for me, you think about what’s important for you, we hate watch other, were sort of strictly hughtilyterian, that kind of stuff, and that might be an unfair stereo type.
Dave Hedengren: No that’s a hundred percent of an unfair sterio type and I’m shock is that what people really think, I’ve been in the disciplin so long I forgot people really feel that way about Adam Smith. Like we think of him as a heartless calculating hughlilaterian.
Mary: Yea some people might think that Adam Smith was a little heartless and you can sort of think about these characters like, Grad Grind in hard times, sort of like strictly hughlilaterian, who cares about beauty and art but actually Adam Smith did care about beauty and art.
Dave Hedengren: Hugely, so this is something that really bothers me about the interpretation of Adam Smith in the modern era so I've heard of a German expression and as soon as its brought up in intro philosophy classes that they call, Adam Smith problems, I don’t know why they don’t translate the rest of it, but that’s what the intro teacher say they say how could the same man who wrote the theory of moral sentiments with all of its inclinations towards beauty and art and the soul of man also write the wealth of nation which is so cold and calculating. That drives me nuts, because there’s no contradiction there if you read either or both of them you see that their both talking about the same ideas they both have the same underlying view of humanity in fact the wealth of nations was written in between the theory of moral sentiments that he wrote he did one edition of the theory of moral sentiments, then wrote the wealth of nations, then the revised theory of moral sentiment and there all part of the sentimental prize of trying to understand how humans behave and why.
Mary: Yea and Adam Smith at least in his early rhetoric lectures he kind of has that same thread the sort of continuity and connections between all types of beauty and in his rhetoric lectures he talks about the important of beauty everywhere including the beauty of moral act a liter scholar will put out that he speaks of ethical judgment in hysteric terms and he like his contemporaries relate to beauty so in some ways Adam Smith is sort of prefiguring the arch romantics like, keets in the idea of truth is beauty and beauty truth.
Dave Hedengren: I totally agree with that it’s a great line in the moral sentiments that says that it is the objective the object of man is to be loved and to be lovely and I don’t really thinks that captures a lot about what I’m about and I think humans are about.
Mary: Oh well I think you’re a lovely human.
Dave Hedengren: Oh thanks Mary I think that you’re a lovely too.
Mary: So you want to talk about berthing
Dave Hedengren: So much, oh my gosh I've even chopped up the bit they call podcast so okay we’ve been talking about this continuity of thought that you can kind of see in choate ideas that pop up later in the moral sentiments in these early rhetoric lectures but it seems like Adam Smith doesn’t want us to see that view his dying wish is that they burnt sixteen volumes of his work that he’s just, that other stuff besides the theory of world sentiments the moral of a nation, burn it to the ground and it seems like he felt like he must it seems like, and I can't speak for him because he's dead and I’ve never met him but it sounds like he's doing what I somewhat of wish I could do with some of my freshmen papers and I'm like so embarrassed and its like high school papers and that left poem is clearly about so and so, boy I'm embarrassed that I wrote that and he wanted to burn them and you think that’s he was going for was he embarrassed by him did he think that these were simplifications of his ideas that he didn’t want propagating.
Mary: Well I can kind of speak for him, because he did tell two of his friends sort of what he wanted and he was worried that they would detract from his other works that people would sort of [Dave Hedengren: Okay] either they were stupid they did not want people to know about it or it wouldn’t be as important as the stuff that he did multiple revisions on over and over again I just wanted to get rid of them these rhetoric lectures, they were important to his early career i always thought and he did the lectures first as sort of this, community group kind of thing and later he had a share in Glasscock as a rhetoric professor and he thought there too so even though he burnt it he thought a lot of students. You see a lot of Adam Smith ideas from these lectures showing up in Hugh Blair and George Campbell too. You can sort of say his proprietary on these ideas because it was sort of in the air in Edin Berough at the time, but there pretty important ideas and it would have been lost to us if it had been burnt as Adam Smith wanted.
Dave Hedengren: So how do we get a copy of these things.
Mary: Well, sometimes when teachers teach students take notes [Dave Hedengren: I've heard of that] yea and it wasn’t until 1957. That there was a professor that was going through and old country house library and he finds this manuscript like literally manuscript in two volumes with notes and it turns out it was students notes from when Adam smith was teaching in Glasco, and it was like people took notes then like its sort of hard for us to remember but the professor would stand up there and sort of talk out of book and students would write it down so you could assume to write it down so if you remember how episode how we talked about Hugh Blair it was a similar thing he didn’t write the lectures on bell lectures to be like a book he wrote them because students were taking notes and then selling those notes that they had it copied so he sort of had to make sure that they were fixed and under his name. Well Adam Smith had sort of a opposite thing happen where he was trying to destroy everything and here was somebody who verbatim what his notes were from his lecture, so he would talk it and people would write it and.
Dave Hedengren: none of my students write down what i say people just faster writer, slower speakers had better things to things to say back then.
Mary: Yea, I mean like it wasn’t now a days you take notes of whatever you think is going to be on the test some short snippets the main idea, back then it was really about capturing full sentences and complete ideas and the professor would stand up there and essentially read a book out loud slowly and clearly and the students would take notes and write them all down. So that’s how we ended up with it and again that being said there’s plenty of room for human error it’s possible that this student, got something’s wrong or didn’t show up for class one day or something like that but it’s impossible no, because again Adam Smith burnt them.
Dave Hedengren: No oh Adam and let this be a lesson to all of us don’t erase those freshmen papers they might be embarrassing to you but don’t worry we won’t read them until your dead.
Mary: Yea let us be the ones to decide what’s important and what’s not important, because I don’t think this detracts from Adam Smith for me it opens him up as a rhetorician as a guy who's interested in writing
and thoughts and beauty a lot of things that we don’t associate with Adam Smith generally, so if you have a story about things that you burnt and wish you didn’t or things that you wished you burnt, why not drop us a line at email@example.com thanks about coming Dave.
Dave Hedengren: Great to be here I’m going to stick around to the ending music.
Sun, 7 December 2014
Aspasia is one of the most historically elusive, even mythical rhetoricians. As with Socrates, we only have second-hand accounts of her life and work, but unlike Socrates, she was a woman, which meant that much of the accounts we have of her are fragmented and often disparaging.
Aspasia is one of the few women from classical Athens who is listed by name and certainly one of the first female rhetoricians we have record of. What kind of rhetorician she was and how she was able to leave such a legacy is shrouded in jealousy, lies, and accusations. Anything we think we know about Aspasia has to be tempered by the historical circumstances of 5th century bc Athens.
And these were the circumstances for women in Classical Athenian life. If you were an upper-class woman, your life was circumscribe from birth. You were living cloistered in your father’s home until you married, quite young, to an older man. There was no real expectation for passion in marriage, and no sense of equal partnership. Your education was entirely within the home and your whole life was to be “daughter of a citizen and a citizen’s daughter.” Things were difference, however, if you were on the fringes of Athenian society, as Aspasia was.
Aspasia was a foreigner, the daughter of neither a citizen or a citizen’s daughter, and as such, she was outside of the restrictions of typical Athenian women. In someways, this may have aided her education and development. She became a hetaera, which is sometimes translated as prostitute, but that’s doesn’t do the position justice. Hetaera were women who entertained men intellectually, socially and sexually. They were capable of witty conversation and knowledgeable. To get an idea of who the hetaerea were, you’d have something like a prostitute mixed with a well-trained geisha. You can imagine that although Greek men had to marry an upper-class citizen for a wife, they more interested in actually spending time with women who were educated and could spend time with them and their friends, instead of being secreted away in the women’s quarters.
One Greek man, Pericles, certainly thought a hetaera could be more interesting than a whife. Pericles thought Aspasia was tops, and spent all of his time with her instead of with his wife. As a matter of fact, in a move that was shocking to the Athenians, Pericles wasn’t just content to have Aspasia as his mistress—he had to go and make her his wife. He divorced his proper, home-kept Greek wife and lived with this foreigner, whom he loved so audaciously that he kissed her at the doorstep every time he went in and out of the home. Now that’s just sweet. And that made many of the comic writers nervous.
It’s possible that Aspasia was so close to Pericles because she was his intellectual equal and some of the fragmented stories we have about her say that Pericles loved her for her brain. Really. Plutarch’s biography of Pericles relates ““Aspasia, some say, was courted and caressed by Pericles upon account of her knowledge and skill in politics.” (qtd 183)
Aspasia may have been one of Pericles’ logographers. If you recall, logographers were the speech writers of ancient Greece, and having a female logographer may be considered an insult to Pericles. For example, the lengthy argument made in Plato’s Menexenus (men-uh-zeen-us) that Aspasia wrote the famous funeral oration. There’s no reason why Aspasia couldn’t had written it, especially if she was as well-educated and cultural astute as the stories about her suggest. But Socrates makes the logographer woman analogous to the whore. Just as a logographer will write any one who pays a speech, regardless of their clients’ political or legal position, Aspasia the prostitute has, in scholar Madeleine Henry’s words “Aspasia made speakers of many men. The fact that one is names and that this one is a man with whom she had a sexual relationship, delicately suggests that she had sexual relationships with the others as well and that they all speak with words she taught them” (35). The connection between the rhetor and the prostitute does not go unnoticed in Cheryl Glenn’s 1994 article recovering Aspasia’s contribution to rhetoric. ““the ideal woman,” she writes “has been disciplined by cultural codes that require a closed mouth (silence) and closed body (chastity) and an enclosed life (domestic confinement).” (180). Glenn sees that Pericles saw—that Aspasia was very different from the Greek wife in all these ways, even breaking domestic confinement to write and teach.
The rhetoric teacher is a hussy because she teaches others. And it wasn’t just Pericles who went to Aspasia. From Plutarch, again “Socrates himself would sometimes go to visit her, and some of his acquaintances with him; and those who frequented her company would carry their wives with them to listen to her” because she “has the repute of being resorted to by many of the Athenians for instruction in the art of speaking” (qtd on 183). If this is accurate, Aspasia had her own school, the same way the Sophists like Isocrates did.
For all of the Socratic irony in the Menexenus that tears her down, you may have noticed that the Romans connected Aspasia with Socrates. Henry says that in some ways it wasn’t that Aspasia was a female Socrates, but, since she came first, Socrates was a male Aspasia. Aspasia also could out-socratic method Socrates and some people think that she taught Socrates how to be socratic. Listen to this dialoge quoted by Cicero in On Invention:
Aspasia reasoned thus with Xenophon's wife and Xenophon himself: "Please tell me madam, if your neighbor had a better gold ornament than you have, would you prefer that one or your own?" "That one." "Well, now, if she had a better husband than you have, would you prefer your husband or hers?" At this the woman blushed. "I wish you would tell me Xenophon, if your neighbor had a better horse than yours, would you prefer your horse or his?" "His." "Now, if he had a better wife than you have, would you prefer yours or his?" And at this Xenophon, too, was himself silent. . . . "Therefore, unless you can contrive that there be no better man or finer woman on earth you will certainly always be in dire want of what you consider best, namely, that you be the husband of the very best of wives, and that she be wedded to the very best of men." (I. xxxxi.51-53)
Sounds an awful lot like the socratic method, doesn’t it? Some scholars think, incidentally, that this dialog is sincerely advocating that both spouses in a marriage should be equally engaged in the relationship, but after reading the Menexenus, it seems to me that there is an equally compelling argument here that Aspasia is saying, “go ahead and covet your neighbor’s wife or husband because you could probably do better.” So you see how Aspasia’s rhetorical contributions are always being read through the lens of her sexuality.
According to the later Greek text Deipnosophists—or, as I like to call them, “Insufferable Foodies of the Second Sophistic”—it was Aspasia that also taught Socrates how to find, pursue and win love.
So if Aspasia was all this, why did she fade from the rhetorical tradition? The easiest answer is to say that as a foreigner and a woman it was very difficult for her to remain in the tradition. During the 1990s, feminist rhetoricians like Cheryl Glenn and C. Jan Swearingen, Susan Jarratt and Rory Ong all set out to “recover” Aspasia from the fragments and jealousy of the classical sources. Strangely, though, interest in Aspasia seems to have waned. There hasn’t been much written on her lately, maybe because it’s hard to say anything about her than what the unreliable, male classical sources have said. Madeleine Henry’s book, for instance, sets out to create not Aspasia’s history, but her historiography, how she has been invoked since the earliest western tradition through the renaissance, Enlightenment and up to the 20th century. In someways, then, we can’t ever know Aspasia, but only know about her. She remains stubbor
Thu, 27 November 2014
Metaphors We Live By
Lakoff and Johnson
Welcome to Mere Rhetoric the podcast for beginners and outsiders about the ideas, people and movements who have shaped rhetorical history. Send us feedback or suggestions at firstname.lastname@example.org Jeremy Smyczek is joining us today, Hi Jeremy. And I’m Mary Hedengren and I was an English major.
We English majors are always being accused of loving metaphors. “We write clearly,” our science friends say smugly. “We don’t use any of that flowery language.” We, because we love our science friends, refrain from pointing out that “clear” writing and “flowery language” are, in fact, metaphors. Metaphors are often seen as deliberate and poetic in the hands of our greatest literary minds: from “It is the east and Juliet is the sun”, to “Love is a battle field” we think that metaphors are purposeful and avoidable and exclusively for poets or English majors.
Not so! Say conceptual metaphor scholars George Lakoff and Mark Johnson. In Lakoff and Johnson’s highly influential 1980 text Metaphors We Live By, they argue that Metaphors used by poets are just reformulations of conventional conceptual metaphors (267). We discover the power of metaphors in all kinds of language in this book, not just “clear” writing and “flowery language,” but even daily greetings like “what’s up?” or “What do you have going on?” These metaphors are grounded in everyday life and make abstract ideas concrete.
Think about it: abstract thought is largely metaphorical, and the more abstract, the more we try to ground it (and there’s another metaphor). If you want to talk about abstracts, you almost always fall into metaphorical thought. It’s unavoidable and unconscious. In this sense, the title of the book Metaphors we Live By demonstrates how pervasive these patterns of thinking really are. Metaphors rely on understanding the world through the experience from “the perspective of man as part of his environment” (229).
It’s granted though, that “part of a metaphorical concept does not and cannot fit” (13). Love may be a battlefield because of the high stakes and opposition, but it certainly isn’t a battlefield because there are canons, bayonets and eventually historical markers. Lakoff and Johnson acknowledge the limits of the metaphor because “when we say that a concept is structure by a metaphor, we mean that it is partially structure and that it can be extended in someways but not in others” (13). Exactly what it is that does get highlighted points out something about the author or community that created the metaphor. The phrase “love is a battlefield” is shocking and expressive because it highlights the violence and pain of love. Saying love is like a red, red rose highlights another aspect of love. The metaphor of love as a gift highlights something else. Love as a tyrant highlights get another thing. Love as a shock, as magic, as a hole into which one falls, or an armed, naked child all fit and don’t fit love and they all highlight some aspect of what the author or community is trying to say about love. The structure of a metaphor highlights somethings and hide others. The structure extends beyond a single metaphor, though, to families of metaphors.
Lakoff and Johnson point out that there are some general metaphors that connect many smaller metaphors into a big, over arching metaphor. Some of these master metaphors include social groups as plants or life as a journey. Think about it: We might have a friend who has “lost all direction” and is “wandering” and “stalled out,” while another is a “go-getter” who is always on the “fast track” “getting ahead” along a “career path.” We ourselves talk about “back when I was in high school” or “I’m looking forward to Tuesday,” or say “I’ll cross that bridge when I come to it” like life is a path that takes us from one physical spot to another. All of these little one-word metaphors belong under the larger umbrella of “life is a journey.” Similarly, we might say the same thing about LOVE IS WAR: We speak of romantic conquests, misalliences, being won over and fighting for a beloved’s affection. They all circle around this idea of war, which our culture has connected, weirdly, with romance.
And when these metaphors become part of our lives, we begin to extrapolate that the metaphors we’ve used in our society begin to have an impact back on our society again. If our society is invested in the idea that life is a journey, we may see the past as distant and unapproachable, something you can’t return to, once you’ve left. The metaphor comes from our culture and the metaphor comes back and changes our metaphor. It’s a process that reinforces itself so that cultural assumptions are backed up by tiny language choices. We can see this easily in overtly sexist, racist or ablest metaphors in language: “man up,” “red-headed stepchild,” “strong argument,” “a black day,” “lame idea.” People are used to using the pejorative metaphors so much that they seem natural and innocuous, while they reinforce ideas of which groups are powerful and which are subjected. It’s not just minority groups that are kept in subjection by the pervasive use of unexamined metaphoric language. An entire culture can be limited from seeing alternative narratives of power because of a block of metaphors that reinforces one perspective.
Let me give an example that Lakoff and Johnson give. We often use war metaphors to talk about discussions and debate. We say that we will either “win” or “lose” an argument. That we argue “against” an “opponent.” We can “attack a weak argument” or “make a good point” and if we do, they might respond, “touché.” Or an idea might “lose ground” or be “indefensible.” What if, instead, we thought of discussions as dances instead? Suddenly our opponents become “partners” and we move through a discussion in a non-combative sense.
You may point out, “Sometimes arguments are dances—what about when we ‘dance around’ an idea?” You’re absolutely right. While metaphors used to reason about concepts may be inconsistent, we live our lives on the basis of inferences we derive via metaphor (272-3).
Because metaphors are both formed by a society and influence the society, Lakoff and Johnson argue that they provides a philosophical middle ground between objective and subjective myths (184-225). This understanding is situated in neither an objective world outside of human experience nor in an entirely internal state; metaphors are constructed culturally in “the way we understand the world through our interactions with it” (194). These ideas mean that much of the history of thought is actually a history of trying to come up with better metaphors. Lakoff has written about how metaphors have influenced decisions like who to vote for and whether to go to war, with the assumption that this influence was, in some way, a tainting of rational thought. I’m not sure what correct thought would look like, partially because I have a hard time imagining anything breaking away from metaphorical conceptualization.
This book has had lasting influence since it was published more than 40 years ago. Look it up on Google Scholar and you’ll find it cited well over 30,000 times in everything from business to linguistics to computer programming. For instance, Peter Novig has pointed out how useful this kind of thinking may be for those in AI. Because those robots are always so literal—I’m looking at you, Data!
If you have a favorite metaphor, why not drop us a line at email@example.com? And don’t forget, whether you’re an airy poet or the most hard-nosed scientist, there’s no escaping the power of metaphors.
Thu, 13 November 2014
Welcome to Mere Rhetoric, a podcast for beginners and insiders about the ideas, people and movemnts who have shaped rhetorical history. special thanks to the rhetoric society of america student chatper at the university of texas at Austin. I’m Mary Hedengren and today I’m joined by Laura Thain.
Have you spent much time thinking about coffee? If you’re a grad student, the answer is probably yes, but really do you spend much time thinking about what coffee did, especially coffee shops, especially in Europe? Coffee houses were an integral part of the Ottoman Empire in the late 15th century and they spread quickly throughout all of Europe. By the 17th century, coffeehouses, not taverns, were the places to gather in your neighborhood. And if you think about how caffeine-fueled coffeehouses differed from the sloppy drunkenness of taverns, it’s little surprise that coffeehouses quickly gained a reputation as being a place of open political and intellectual discussion. 15th century Ottomans and 20th century Seattleites alike saw the coffeeshop as a place to open up dangerous conversation. The Spanish king Charles II even tried to restrict coffee houses on the grounds that there were places where “the disaffected met and spread scandalous reports concerning the conduct of His Majesty and his Ministers” (qtd Times 23 Feb 2008). Gathering around a cup of Joe seemed to set everyone to riotous conversation, to the public discussion that led to revolutions in America and France in the 18th century, and because of this the coffeehouse became the place of obsession for 20th century philosopher Jurgen Habermas.
Habermas noted an 18th century seachange in the relationship between people and sovereign. Earlier, people supported (or didn’t) their sovereign as a symbol for them: France is the king and the king is France, therefore it’s to the benefit of France for the king of France to be as rich and grand as possible, regardless of how this impacts the everyday peasant on the street. But in the 18th century, a rise in coffeehouses and the conversations they engender accompanied an increase in newspapers reading clubs, journals, salons and other groups of public political conversation. This Habermas calls the öffentlichkeit, or the public sphere. The public sphere was a dialogue, a conversation of opinions. “Is the king France? Should the king be France? Let’s hear the pros and cons, then!” Habermas drew a direct line between the increase of coffeehouses and their conversations and the toppling of the French monarchy.
This public sphere isn’t a given and not every coffeehouse, town hall meeting etc. is going automatically be a public sphere. In fact, Habermas identified some of the identifying characteristics and requirements for a public sphere.
1- First, the public sphere requires a temporary disregard of public status, according to Habermas. He believed in “a kind of social intercourse that, far from presupposing the equality of status, disregarded status altogether” () . It doesn’t work if only the princes of France get their say and the merchants don’t. Everyone needs a place at the coffee table.
In many ways, our conception of a “public sphere” as ordinary citizens in the US is so pervasive that we have trouble imagining a world without one. But what Habermas points out is that before the birth of a public sphere in the eighteenth century, there was little linking the private sphere (the discourse of ordinary subjects of the sovereign) to the bureaucratic sphere (the discourse of the sovereign to his subjects). Imagine if laws and edicts were all that existed to communicate between king and subject. Habermas argues that the public sphere emerged as a unique space for what were once private murmurings to have real and legitimate impact upon bureaucratic procedure under certain rhetorical constraints. This was no pitchforks-and-barn-burning kind of conversation, but rather, the emergence of a new rhetorical practice that rapidly came to be dominated by a nascent middle class of people: the bourgeois.
2- Talking about private and bureaucratic coming together is tricky, though. “Private” doesn’t mean what we might think today. In the public sphere, there needed to be some sort of common issue, a public issue of common concern. Before the emergence of a public sphere, according to Habermas, the kinds of things we think about as very public were private conversations among citizens, if they were articulated at all. For instance, the question of whether France needs a king is a question that everyone in France is concerned about. The question of whether wine dealers in the northwest of Paris should ration a particularly good vintage is not. The question of whether Pierre ought to marry Margarite is definitely not. Often these common concerns were rarely discussed—they were given. The civic or religious authorities told the people that France needs a king and that’s that. Until the people begin sitting around in coffeehouses started asking the questions about things that they all had an interest in.
The idea that the coffee house became a new space for people who previously had no visible platform to communicate with existing power structures is really important because it signals the emergence of not just a new place to talk but a new center of institutional authority. Habermas argues that the public sphere is an important and new site of power in the 18th century. This might sound familiar to you if you’ve heard talk about “public discourse” in the things you read and discuss in your own life. Public discourse and a space to have that discourse in is really important, but it’s important to understand how that space happened to read how we might read what the public sphere means as a concept today.
3- Habermas argues that the public sphere is a public good, but in order to do so he claims that once-private-now-public issues had to be open for anyone to discuss. As Habermas said “The issues discussed became ‘general’ not merely in their significance, but also in their accessibility: everyone had to be able to participate” In coffee houses and salons, there were no rules about who was allowed to open their mouths.
The coffeehouse seems to fulfill these expectations, which is probably why Habermas was so keen on the example. But the coffeehouse wasn’t perfect and these imperfections highlight some of the problems of the public sphere in general.
For instance, there were rules about who could get in the coffeehouse. While Germany made some exceptions for silent baristas, in France and Germany, women were personae non gratae in these vibrant spaces of public debate. It’s all very well to say coffeehouses were inclusive, except where they weren’t.
And for that reason, Habermas’s dreamy ideal of the public sphere is seen by some as just a dream, a bourgeois dream that pretends to be inclusive but actually excludes voices of women and other minorities. The scholar who is mostly closely associated with a criticism of Habermas’s public sphere is American scholar Nancy Fraser.
Nancy Fraser’s Rethinking the Public Sphere makes her three points about the public sphere to challenge Habermas’. While Habermas emphasizes disregard of public status, common issues and the freedom to open your mouth and speak, Fraser refutes these same points.
1. When Habermas says that everyone is equal in the coffeehouse, Fraser contends that this is actually a “bracketing [of] inequalities of status” and far from removing these differences of status, “such bracketing usually works to the advantage of dominant groups in society and to the disadvantage of subordinates.” Instead of saying—inauthentically—that there is equality in the public sphere, Fraser recommends instead that we “unbracket inequalities in the sense of explicitly thematizing them.” Instead of saying that a prince and a merchant are the same in the coffeehouse, some of the conversation should be about the fact that they aren’t and why.
2. Fraser also challenges the idea that there are common issues in the public sphere. She says that there “no naturally given … boundaries” between public issues (or “common concern”) and private ones. So remember the example about how the question of whether France needs a king being a public one while Pierre marrying Margarite is a private one? Well, what if the names were instead Louie XV and Marie of Poland? Is that a public issue or a private one? Fraser points out that many issues that were once personal issues like domestic abuse, have become public issues. As she says, "Eventually, after sustained discursive contestation we succeeded in making it a common concern".
3. Finally, Fraser points out that not everyone is welcome to the table. Women were excluded everywhere—in clubs and associations—philanthropic, civic professional and cultural—was anything by accessible to everyone. On the contrary, it was the arena, the training ground and eventually the powerbase of a stratum of bourgeois men who were coming to see themselves as a ‘universal class’” The deception that such spheres were truly public justified the male, middle classes in making decisions that were for ‘all of France’ when, in actuality, hegemonic dominance had excluded many participants.
Instead, Frase suggests that theses marginalized groups form their own public spheres, which she called Counterpublics. These counterpublics are “parallel discursive arenas where members of subordinated social groups invent and circulate counterdiscourses to formulate oppositional interpretations of their identities, interests, and needs"
Another site of vibrant research in public sphere theory is in the field of spatial rhetorics. While Habermas arguably saw the public sphere as an ideological shift that just happened to be housed in Europe’s coffee house and salon culture, scholars like Henri LeFebvre, Edward Soja, David Fleming, and UT Austin’s own Casey Boyle are increasingly interested in talking about, to quote Dr. Boyle, “how spaces affect our shared practices and sense of identity.” To these scholars, the coffee shop as a physical, embodied space is as important to the structural transformation of the public sphere as the folks who inhabited it.
So the next time you visit your favorite cafe and order yourself a hot beverage, think about what kind of public you’re a part of. What, if anything, do you have in common with the people around you? What are some power differentials between you? What “common concerns” do you have? And what do you think about the king of France?
Thu, 6 November 2014
It was 1985. As Bowling for Soup would later describe the year, “there was U2 and Blondie, and Music still on MTV” And in the pages of College English a debate was raging. Two scholars, careful and smart, battling over a question that still haunts beginning composition instructors: should we teach punctuation to first year writing students? The debate between Martha Kolln and Patrick Hartwell describes some of the difficulties in navigating the question of teaching grammar and punctuation, but it doesn’t begin with the Hartwell-Kolln debate of the 80s: it begins with the Braddock Report of 1963.
The Braddock report, or, more properly, “Research in Written Composition" by Braddock, Lloyd-Jones, and Schoer was commissed by the National Council of Teachers of English to answer the question of whether grammar instruction had any impact on improving student writing. And what they found was that, using one- and three-year studies, instructing in grammar was “useless if not harmful” to the teaching of writing. And for many instructors, that sealed the deal. Grammar fell deeply out of favor. But the Braddock report wasn’t carefully applied: its full argument was that: "The teaching of formal grammar has a negligible or, because it usually displaces some instruction and practice in actual composition, even a harmful effect on the improvement of writing" (Braddock, Lloyd-Jones, and Schoer, 1963). The way grammar was being taught could be faulty without the practice of teaching grammar being problematic. In other words, to cite the 1960 Encyclopedia of Education Research “Diagramming sentences …teaching nothing beyond the ability to diagram.” Still, grammar was out.
For Patrick Hartwell, that sealed the deal. In “Grammar, Grammars and the Teaching of Grammars,” he makes some strong claims against the teaching of grammar in composition. For one thing, he says that most errors don’t matter and those errors that do matter can usually be “caught” without knowing if they’re a predicate or a verbal adverb or whatever. Some of these errors will be caught ‘naturally,” Hartwell says, without anyone teaching explicitly. As he says, “If we think seriously about error and its relationship to the worship of forma l grammar study, we need to attempt some massive dislocation of our traditional thinking ,to shuck off our hyperliterate perception of the value of formal rules, and to regain the confidence in the tacit power of unconscious knowledge that our theory of language gives us. Most students, reading their writing aloud, will correct in essence all errors of spelling, grammar, and, by intonation, punctuation, but usually without noticing that what they read departs from what they wrote.” If you can speak it, you can get it. Hartwell does admit that people who are coming at English from another language tradition may need more explicit help, but grammar can be cut from most classes without much harm being done. Hartwell cites research that spending time on grammar is useless and claims that “It is time that we, as teachers, formulate theories of language and literacy and let those theories guide our teaching, and it is time that we, as researchers, move on to more interesting areas of inquiry.”
Martha Kolln was not ready to move on. Kolln read Hartwell’s argument and gave it a big ol’ nu-uh. Students don’t just have an inborn sense of grammar because they don’t have an inborn sense of rhetoric. She doesn’t think composition should be exclusively a grammar class, but she does believe in what she calls “rhetorical grammar.” In her book of the same name, Martha Kolln tells us that punctuation is part of our voice, not just a “final, added-on step” (279). Some of these consequences are more delicate (“will that semi-colon create a more formal air than that dash?”), while others are more blunt (“if you use all caps here, your academic paper will look like an eight-grader’s text-message”). Kolln does a good job of not saying that certain things are off-limits—sentence fragments, passive voice, ellipsis. Overall, these are choices, just like any rhetorical choice. So when Hartwell says that grammar shouldn’t be researched or taught in composition, she read his argument as saying “a subset of rhetorical choices shouldn’t be taught in composition.” And So she wrote a comment in to College English.
In this comment she agrees that composition shouldn’t be just about grammar and she’sshe agrees with the Braddock report that “formal grammar is not the best way to teach grammar” but “rhetorical grammar has a place in our composition class, because of course grammar is there” (877). And if the grammar is there, then it ought to be talked about intelligently. Kolln sees a lot of throwing the baby out with the proverbial bathwater in getting rid of all grammar instruction. When people claim “ Our students should learn to write by writing-only by writing, by letting it all hang out. Let's not in-hibit their creativity by calling unnecessary attention to the structures they use; and we're certainly to have no "lessons" on sentence structure or parts of speech, on "formal gram-mar."
How foolish. How harmful. The result is a generation (or more) of students who have no language for discussing their language. We teach them terminology in every other field-in science and math and history and geography and computer science and physical education, in literature, and in French. But not in their own language.”
Well, Hartwell read Kolln’s argument and made the snappy reply “ther’s little to be caccomplished by talking about paradigms” Zing! I mean, is it okay if I take a sidebar and say that passions here are remarkably high? Both Kolln and Hartwell have deep-rooted passions about the teaching and study of grammar, calling each other’s perspectives “foolish” and sniping at each other. It’s rare to find such academic vitriol, so when ever it comes up, you know there’s some intense feelings going on.
Anyway, Hartwell says that not teaching grammar doesn’t keep student from talking about grammar because, of course, they will do so naturally, because “every culure develops a remarkable rich metalinguistics vocabulary for discussion language” and current students are no exception. He also says that it’s better to err on his side of thigns because if, hypothetically, he and Kolln were to take a tour of writing instruction among practioners, “ we’d find it dripping with a kind of grammar instruction we both deplore.”
Okay, so after the furver of these grammar debates, where does that leave us? Strangely, the answer to that question depends on which generation “us” is. The Braddock reports did eventually filter down into the classrooms and for a while it looked that Hartwell won this one. During that while was when I went through high school, actually. I had a totally of 3 days of grammar instruction in high school, which came in a creative writing class, of all things. But I was never expected to know any grammar vocabulary beyond what it takes to fillout a MadLibs. But that’s changed. Yesterday my mom—also a writing teacher—texted me to say that she had been helping her 12-year-old grandson diagram sentences. Diagram sentences! I didn’t know that had been happening since the fifties: bowling leagues, Tupperware parties and diagramming sentences and here’s my nephew, in a generally progressive school, diagramming sentences! I shouldn’t be too surprised, though—I’ve noticed that each year my freshmen student enter with more and more background in grammar. This has led to the odd situation where sometimes my students know more about formal grammar than I do. So to talk about their use of grammar in the classroom, Jeremy and Eric are going to present their own perspectives on the matter.
Sat, 1 November 2014
Today, in honor of Halloween, we're trying something a little different. A little spookier.
Welcome to Mere Rhetoric the podcast for beginners and insisters about the ideas, people and movement who have shaped rhetorical history. Well, I’ve been thinking about what to do for this week’s episode of Mere Rhetoric, but I keep coming back to the idea that it’s Halloween, so this week things are going to be a little different. A little spookier. If you love it if you hate it, please let me know by emailing us at firstname.lastname@example.org, because today is going to be different
We’ve been talking about all of the different ways that rhetoric is part of politics—in ancient Athens with Demosthenes, in renaissance courts, and in contemporary America. Today we’re going to talk about a different type of politics: academic politics. One of the weird things about academic rhetoric is that submissions to journals or to academic conferences are done by peer review, but not just any peer review, blind review. Blind review means that the people who look at your paper without knowing who they are and without them knowing who you are. Blind peer review is supposed to make it so that the piece is judged on its quality, without any prejudice against female, minority or junior academics. It’s not without controversy, though. Carol Berkenkotter points in her article “The Power and Perils of Peer Reivew” that in a discipline like rhetoric and composition, there is no one community that describes the standards of our discipline. As she says “This means that the reviewers for a journal such as CCC represent diverse constituencies with vastly different disciplinary roots and allegiances. This diversity many advantages- [but] it can wreak havoc for the writer seeking to publish who happens to get reviewers who have little regard for (or outright hostility to) the writer's approach, methods, or theoretical/disciplinary framework. The respondent in Cheryl Fontaine's survey says it all: "If [the work I do] goes to reviewers who love classical rhetoric, I get smashed. If it goes to those who are interested in post- structuralism and philosophy, I'm fine.’” So there is a difficulty that in rhetoric and composition, sending something out to blind review might mean that you go to hostile readers who don’t trust your methods.
But let’s get real: if hostile reviewers don’t publish your paper, it’s not the end of the world. But what if you give a hostile review and the person whose paper you rejected found out and got—really hostile? Maybe that could be the end of the world.
And so, M.R. James’ “Casting the Runes.”
April 15th, 190-
I am requested by the Council of the —— Association to return to you the draft of a paper on The Truth of Alchemy, which you have been good enough to offer to read at our forthcoming meeting, and to inform you that the Council do not see their way to including it in the programme.
* * * * *
I am sorry to say that my engagements do not permit of my affording you an interview on the subject of your proposed paper. Nor do our laws allow of your discussing the matter with a Committee of our Council, as you suggest. Please allow me to assure you that the fullest consideration was given to the draft which you submitted, and that it was not declined without having been referred to the judgement of a most competent authority. No personal question (it can hardly be necessary for me to add) can have had the slightest influence on the decision of the Council.
Believe me (ut supra).
* * * * *
The Secretary of the —— Association begs respectfully to inform Mr Karswell that it is impossible for him to communicate the name of any person or persons to whom the draft of Mr Karswell’s paper may have been submitted; and further desires to intimate that he cannot undertake to reply to any further letters on this subject.
* * * * *
‘And who is Mr Karswell?’ inquired the Secretary’s wife. She had called at his office, and (perhaps unwarrantably) had picked up the last of these three letters, which the typist had just brought in.
‘Why, my dear, just at present Mr Karswell is a very angry man. But I don’t know much about him otherwise, except that he is a person of wealth, his address is Lufford Abbey, Warwickshire, and he’s an alchemist, apparently, and wants to tell us all about it; and that’s about all — except that I don’t want to meet him for the next week or two. Now, if you’re ready to leave this place, I am.’
‘What have you been doing to make him angry?’ asked Mrs Secretary.
‘The usual thing, my dear, the usual thing: he sent in a draft of a paper he wanted to read at the next meeting, and we referred it to Edward Dunning — almost the only man in England who knows about these things — and he said it was perfectly hopeless, so we declined it. So Karswell has been pelting me with letters ever since. The last thing he wanted was the name of the man we referred his nonsense to; you saw my answer to that. But don’t you say anything about it, for goodness’ sake.’
‘I should think not, indeed. Did I ever do such a thing? I do hope, though, he won’t get to know that it was poor Mr Dunning.’
‘Poor Mr Dunning? I don’t know why you call him that; he’s a very happy man, is Dunning. Lots of hobbies and a comfortable home, and all his time to himself.’
‘I only meant I should be sorry for him if this man got hold of his name, and came and bothered him.’
‘Oh, ah! yes. I dare say he would be poor Mr Dunning then.’
The Secretary and his wife were lunching out, and the friends to whose house they were bound were Warwickshire people. So Mrs Secretary had already settled it in her own mind that she would question them judiciously about Mr Karswell. But she was saved the trouble of leading up to the subject, for the hostess said to the host, before many minutes had passed, ‘I saw the Abbot of Lufford this morning.’ The host whistled. ‘Did you? What in the world brings him up to town?’ ‘Goodness knows; he was coming out of the British Museum gate as I drove past.’ It was not unnatural that Mrs Secretary should inquire whether this was a real Abbot who was being spoken of. ‘Oh no, my dear: only a neighbour of ours in the country who bought Lufford Abbey a few years ago. His real name is Karswell.’ ‘Is he a friend of yours?’ asked Mr Secretary, with a private wink to his wife. The question let loose a torrent of declamation. There was really nothing to be said for Mr Karswell. Nobody knew what he did with himself: his servants were a horrible set of people; he had invented a new religion for himself, and practised no one could tell what appalling rites; he was very easily offended, and never forgave anybody; he had a dreadful face (so the lady insisted, her husband somewhat demurring); he never did a kind action, and whatever influence he did exert was mischievous. ‘Do the poor man justice, dear,’ the husband interrupted. ‘You forget the treat he gave the school children.’ ‘Forget it, indeed! But I’m glad you mentioned it, because it gives an idea of the man. Now, Florence, listen to this. The first winter he was at Lufford this delightful neighbour of ours wrote to the clergyman of his parish (he’s not ours, but we know him very well) and offered to show the school children some magic-lantern slides. He said he had some new kinds, which he thought would interest them. Well, the clergyman was rather surprised, because Mr Karswell had shown himself inclined to be unpleasant to the children — complaining of their trespassing, or something of the sort; but of course he accepted, and the evening was fixed, and our friend went himself to see that everything went right. He said he never had been so thankful for anything as that his own children were all prevented from being there: they were at a children’s party at our house, as a matter of fact. Because this Mr Karswell had evidently set out with the intention of frightening these poor village children out of their wits, and I do believe, if he had been allowed to go on, he would actually have done so. He began with some comparatively mild things. Red Riding Hood was one, and even then, Mr Farrer said, the wolf was so dreadful that several of the smaller children had to be taken out: and he said Mr Karswell began the story by producing a noise like a wolf howling in the distance, which was the most gruesome thing he had ever heard. All the slides he showed, Mr Farrer said, were most clever; they were absolutely realistic, and where he had got them or how he worked them he could not imagine. Well, the show went on, and the stories kept on becoming a little more terrifying each time, and the children were mesmerized into complete silence. At last he produced a series which represented a little boy passing through his own park — Lufford, I mean — in the evening. Every child in the room could recognize the place from the pictures. And this poor boy was followed, and at last pursued and overtaken, and either torn to pieces or somehow made away with, by a horrible hopping creature in white, which you saw first dodging about among the trees, and gradually it appeared more and more plainly. Mr Farrer said it gave him one of the worst nightmares he ever remembered, and what it must have meant to the children doesn’t bear thinking of. Of course this was too much, and he spoke very sharply indeed to Mr Karswell, and said it couldn’t go on. All he said was: “Oh, you think it’s time to bring our little show to an end and send them home to their beds? Very well!” And then, if you please, he switched on another slide, which showed a great mass of snakes, centipedes, and disgusting creatures with wings, and somehow or other he made it seem as if they were climbing out of the picture and getting in amongst the audience; and this was accompanied by a sort of dry rustling noise which sent the children nearly mad, and of course they stampeded. A good many of them were rather hurt in getting out of the room, and I don’t suppose one of them closed an eye that night. There was the most dreadful trouble in the village afterwards. Of course the mothers threw a good part of the blame on poor Mr Farrer, and, if they could have got past the gates, I believe the fathers would have broken every window in the Abbey. Well, now, that’s Mr Karswell: that’s the Abbot of Lufford, my dear, and you can imagine how we covet his society.’
‘Yes, I think he has all the possibilities of a distinguished criminal, has Karswell,’ said the host. ‘I should be sorry for anyone who got into his bad books.’
‘Is he the man, or am I mixing him up with someone else?’ asked the Secretary (who for some minutes had been wearing the frown of the man who is trying to recollect something). ‘Is he the man who brought out a History of Witchcraft some time back — ten years or more?’
‘That’s the man; do you remember the reviews of it?’
‘Certainly I do; and what’s equally to the point, I knew the author of the most incisive of the lot. So did you: you must remember John Harrington; he was at John’s in our time.’
‘Oh, very well indeed, though I don’t think I saw or heard anything of him between the time I went down and the day I read the account of the inquest on him.’
‘Inquest?’ said one of the ladies. ‘What has happened to him?’
‘Why, what happened was that he fell out of a tree and broke his neck. But the puzzle was, what could have induced him to get up there. It was a mysterious business, I must say. Here was this man — not an athletic fellow, was he? and with no eccentric twist about him that was ever noticed — walking home along a country road late in the evening — no tramps about — well known and liked in the place — and he suddenly begins to run like mad, loses his hat and stick, and finally shins up a tree — quite a difficult tree — growing in the hedgerow: a dead branch gives way, and he comes down with it and breaks his neck, and there he’s found next morning with the most dreadful face of fear on him that could be imagined. It was pretty evident, of course, that he had been chased by something, and people talked of savage dogs, and beasts escaped out of menageries; but there was nothing to be made of that. That was in ‘89, and I believe his brother Henry (whom I remember as well at Cambridge, but you probably don’t) has been trying to get on the track of an explanation ever since. He, of course, insists there was malice in it, but I don’t know. It’s difficult to see how it could have come in.’
After a time the talk reverted to the History of Witchcraft. ‘Did you ever look into it?’ asked the host.
‘Yes, I did,’ said the Secretary. ‘I went so far as to read it.’
‘Was it as bad as it was made out to be?’
‘Oh, in point of style and form, quite hopeless. It deserved all the pulverizing it got. But, besides that, it was an evil book. The man believed every word of what he was saying, and I’m very much mistaken if he hadn’t tried the greater part of his receipts.’
‘Well, I only remember Harrington’s review of it, and I must say if I’d been the author it would have quenched my literary ambition for good. I should never have held up my head again.’
‘It hasn’t had that effect in the present case. But come, it’s half-past three; I must be off.’
On the way home the Secretary’s wife said, ‘I do hope that horrible man won’t find out that Mr Dunning had anything to do with the rejection of his paper.’ ‘I don’t think there’s much chance of that,’ said the Secretary. ‘Dunning won’t mention it himself, for these matters are confidential, and none of us will for the same reason. Karswell won’t know his name, for Dunning hasn’t published anything on the same subject yet. The only danger is that Karswell might find out, if he was to ask the British Museum people who was in the habit of consulting alchemical manuscripts: I can’t very well tell them not to mention Dunning, can I? It would set them talking at once. Let’s hope it won’t occur to him.’
However, Mr Karswell was an astute man.
* * * * *
This much is in the way of prologue. On an evening rather later in the same week, Mr Edward Dunning was returning from the British Museum, where he had been engaged in research, to the comfortable house in a suburb where he lived alone, tended by two excellent women who had been long with him. There is nothing to be added by way of description of him to what we have heard already. Let us follow him as he takes his sober course homewards.
* * * * *
A train took him to within a mile or two of his house, and an electric tram a stage farther. The line ended at a point some three hundred yards from his front door. He had had enough of reading when he got into the car, and indeed the light was not such as to allow him to do more than study the advertisements on the panes of glass that faced him as he sat. As was not unnatural, the advertisements in this particular line of cars were objects of his frequent contemplation, and, with the possible exception of the brilliant and convincing dialogue between Mr Lamplough and an eminent K.C. on the subject of Pyretic Saline, none of them afforded much scope to his imagination. I am wrong: there was one at the corner of the car farthest from him which did not seem familiar. It was in blue letters on a yellow ground, and all that he could read of it was a name — John Harrington — and something like a date. It could be of no interest to him to know more; but for all that, as the car emptied, he was just curious enough to move along the seat until he could read it well. He felt to a slight extent repaid for his trouble; the advertisement was not of the usual type. It ran thus: ‘In memory of John Harrington, F.S.A., of The Laurels, Ashbrooke. Died Sept. 18th, 1889. Three months were allowed.’
The car stopped. Mr Dunning, still contemplating the blue letters on the yellow ground, had to be stimulated to rise by a word from the conductor. ‘I beg your pardon,’ he said, ‘I was looking at that advertisement; it’s a very odd one, isn’t it?’ The conductor read it slowly. ‘Well, my word,’ he said, ‘I never see that one before. Well, that is a cure, ain’t it? Someone bin up to their jokes ’ere, I should think.’ He got out a duster and applied it, not without saliva, to the pane and then to the outside. ‘No,’ he said, returning, ‘that ain’t no transfer; seems to me as if it was reg’lar in the glass, what I mean in the substance, as you may say. Don’t you think so, sir?’ Mr Dunning examined it and rubbed it with his glove, and agreed. ‘Who looks after these advertisements, and gives leave for them to be put up? I wish you would inquire. I will just take a note of the words.’ At this moment there came a call from the driver: ‘Look alive, George, time’s up.’ ‘All right, all right; there’s something else what’s up at this end. You come and look at this ’ere glass.’ ‘What’s gorn with the glass?’ said the driver, approaching. ‘Well, and oo’s ‘Arrington? What’s it all about?’ ‘I was just asking who was responsible for putting the advertisements up in your cars, and saying it would be as well to make some inquiry about this one.’ ‘Well, sir, that’s all done at the Company’s office, that work is: it’s our Mr Timms, I believe, looks into that. When we put up tonight I’ll leave word, and per’aps I’ll be able to tell you tomorrer if you ‘appen to be coming this way.’
This was all that passed that evening. Mr Dunning did just go to the trouble of looking up Ashbrooke, and found that it was in Warwickshire.
Next day he went to town again. The car (it was the same car) was too full in the morning to allow of his getting a word with the conductor: he could only be sure that the curious advertisement had been made away with. The close of the day brought a further element of mystery into the transaction. He had missed the tram, or else preferred walking home, but at a rather late hour, while he was at work in his study, one of the maids came to say that two men from the tramways was very anxious to speak to him. This was a reminder of the advertisement, which he had, he says, nearly forgotten. He had the men in-they were the conductor and driver of the car — and when the matter of refreshment had been attended to, asked what Mr Timms had had to say about the advertisement. ‘Well, sir, that’s what we took the liberty to step round about,’ said the conductor. ‘Mr Timms ‘e give William ’ere the rough side of his tongue about that: ‘cordin’ to ’im there warn’t no advertisement of that description sent in, nor ordered, nor paid for, nor put up, nor nothink, let alone not bein’ there, and we was playing the fool takin’ up his time. “Well,” I says, “if that’s the case, all I ask of you, Mr Timms,” I says, “is to take and look at it for yourself,” I says. “Of course if it ain’t there,” I says, “you may take and call me what you like.” “Right,” he says, “I will”: and we went straight off. Now, I leave it to you, sir, if that ad., as we term ’em, with ‘Arrington on it warn’t as plain as ever you see anythink — blue letters on yeller glass, and as I says at the time, and you borne me out, reg’lar in the glass, because, if you remember, you recollect of me swabbing it with my duster.’ ‘To be sure I do, quite clearly — well?’ ‘You may say well, I don’t think. Mr Timms he gets in that car with a light — no, he telled William to ‘old the light outside. “Now,” he says, “where’s your precious ad. what we’ve ‘eard so much about?” “‘Ere it is,” I says, “Mr Timms,” and I laid my ‘and on it.’ The conductor paused.
‘Well,’ said Mr Dunning, ‘it was gone, I suppose. Broken?’
‘Broke! — not it. There warn’t, if you’ll believe me, no more trace of them letters — blue letters they was — on that piece o’ glass, than — well, it’s no good me talkin’. I never see such a thing. I leave it to William here if — but there, as I says, where’s the benefit in me going on about it?’
‘And what did Mr Timms say?’
‘Why ‘e did what I give ’im leave to — called us pretty much anythink he liked, and I don’t know as I blame him so much neither. But what we thought, William and me did, was as we seen you take down a bit of a note about that — well, that letterin’—’
‘I certainly did that, and I have it now. Did you wish me to speak to Mr Timms myself, and show it to him? Was that what you came in about?’
‘There, didn’t I say as much?’ said William. ‘Deal with a gent if you can get on the track of one, that’s my word. Now perhaps, George, you’ll allow as I ain’t took you very far wrong tonight.’
‘Very well, William, very well; no need for you to go on as if you’d ‘ad to frog’s-march me ’ere. I come quiet, didn’t I? All the same for that, we ‘adn’t ought to take up your time this way, sir; but if it so ‘appened you could find time to step round to the Company orfice in the morning and tell Mr Timms what you seen for yourself, we should lay under a very ‘igh obligation to you for the trouble. You see it ain’t bein’ called — well, one thing and another, as we mind, but if they got it into their ‘ead at the orfice as we seen things as warn’t there, why, one thing leads to another, and where we should be a twelvemunce ‘ence — well, you can understand what I mean.’
Amid further elucidations of the proposition, George, conducted by William, left the room.
The incredulity of Mr Timms (who had a nodding acquaintance with Mr Dunning) was greatly modified on the following day by what the latter could tell and show him; and any bad mark that might have been attached to the names of William and George was not suffered to remain on the Company’s books; but explanation there was none.
Mr Dunning’s interest in the matter was kept alive by an incident of the following afternoon. He was walking from his club to the train, and he noticed some way ahead a man with a handful of leaflets such as are distributed to passers-by by agents of enterprising firms. This agent had not chosen a very crowded street for his operations: in fact, Mr Dunning did not see him get rid of a single leaflet before he himself reached the spot. One was thrust into his hand as he passed: the hand that gave it touched his, and he experienced a sort of little shock as it did so. It seemed unnaturally rough and hot. He looked in passing at the giver, but the impression he got was so unclear that, however much he tried to reckon it up subsequently, nothing would come. He was walking quickly, and as he went on glanced at the paper. It was a blue one. The name of Harrington in large capitals caught his eye. He stopped, startled, and felt for his glasses. The next instant the leaflet was twitched out of his hand by a man who hurried past, and was irrecoverably gone. He ran back a few paces, but where was the passer-by? and where the distributor?
It was in a somewhat pensive frame of mind that Mr Dunning passed on the following day into the Select Manuscript Room of the British Museum, and filled up tickets for Harley 3586, and some other volumes. After a few minutes they were brought to him, and he was settling the one he wanted first upon the desk, when he thought he heard his own name whispered behind him. He turned round hastily, and in doing so, brushed his little portfolio of loose papers on to the floor. He saw no one he recognized except one of the staff in charge of the room, who nodded to him, and he proceeded to pick up his papers. He thought he had them all, and was turning to begin work, when a stout gentleman at the table behind him, who was just rising to leave, and had collected his own belongings, touched him on the shoulder, saying, ‘May I give you this? I think it should be yours,’ and handed him a missing quire. ‘It is mine, thank you,’ said Mr Dunning. In another moment the man had left the room. Upon finishing his work for the afternoon, Mr Dunning had some conversation with the assistant in charge, and took occasion to ask who the stout gentleman was. ‘Oh, he’s a man named Karswell,’ said the assistant; ‘he was asking me a week ago who were the great authorities on alchemy, and of course I told him you were the only one in the country. I’ll see if I can catch him: he’d like to meet you, I’m sure.’
‘For heaven’s sake don’t dream of it!’ said Mr Dunning, ‘I’m particularly anxious to avoid him.’
‘Oh! very well,’ said the assistant, ‘he doesn’t come here often: I dare say you won’t meet him.’
More than once on the way home that day Mr Dunning confessed to himself that he did not look forward with his usual cheerfulness to a solitary evening. It seemed to him that something ill-defined and impalpable had stepped in between him and his fellow-men — had taken him in charge, as it were. He wanted to sit close up to his neighbours in the train and in the tram, but as luck would have it both train and car were markedly empty. The conductor George was thoughtful, and appeared to be absorbed in calculations as to the number of passengers. On arriving at his house he found Dr Watson, his medical man, on his doorstep. ‘I’ve had to upset your household arrangements, I’m sorry to say, Dunning. Both your servants hors de combat. In fact, I’ve had to send them to the Nursing Home.’
‘Good heavens! what’s the matter?’
‘It’s something like ptomaine poisoning, I should think: you’ve not suffered yourself, I can see, or you wouldn’t be walking about. I think they’ll pull through all right.’
‘Dear, dear! Have you any idea what brought it on?’ ‘Well, they tell me they bought some shell-fish from a hawker at their dinner-time. It’s odd. I’ve made inquiries, but I can’t find that any hawker has been to other houses in the street. I couldn’t send word to you; they won’t be back for a bit yet. You come and dine with me tonight, anyhow, and we can make arrangements for going on. Eight o’clock. Don’t be too anxious.’ The solitary evening was thus obviated; at the expense of some distress and inconvenience, it is true. Mr Dunning spent the time pleasantly enough with the doctor (a rather recent settler), and returned to his lonely home at about 11.30. The night he passed is not one on which he looks back with any satisfaction. He was in bed and the light was out. He was wondering if the charwoman would come early enough to get him hot water next morning, when he heard the unmistakable sound of his study door opening. No step followed it on the passage floor, but the sound must mean mischief, for he knew that he had shut the door that evening after putting his papers away in his desk. It was rather shame than courage that induced him to slip out into the passage and lean over the banister in his nightgown, listening. No light was visible; no further sound came: only a gust of warm, or even hot air played for an instant round his shins. He went back and decided to lock himself into his room. There was more unpleasantness, however. Either an economical suburban company had decided that their light would not be required in the small hours, and had stopped working, or else something was wrong with the meter; the effect was in any case that the electric light was off. The obvious course was to find a match, and also to consult his watch: he might as well know how many hours of discomfort awaited him. So he put his hand into the well-known nook under the pillow: only, it did not get so far. What he touched was, according to his account, a mouth, with teeth, and with hair about it, and, he declares, not the mouth of a human being. I do not think it is any use to guess what he said or did; but he was in a spare room with the door locked and his ear to it before he was clearly conscious again. And there he spent the rest of a most miserable night, looking every moment for some fumbling at the door: but nothing came.
The venturing back to his own room in the morning was attended with many listenings and quiverings. The door stood open, fortunately, and the blinds were up (the servants had been out of the house before the hour of drawing them down); there was, to be short, no trace of an inhabitant. The watch, too, was in its usual place; nothing was disturbed, only the wardrobe door had swung open, in accordance with its confirmed habit. A ring at the back door now announced the charwoman, who had been ordered the night before, and nerved Mr Dunning, after letting her in, to continue his search in other parts of the house. It was equally fruitless.
The day thus begun went on dismally enough. He dared not go to the Museum: in spite of what the assistant had said, Karswell might turn up there, and Dunning felt he could not cope with a probably hostile stranger. His own house was odious; he hated sponging on the doctor. He spent some little time in a call at the Nursing Home, where he was slightly cheered by a good report of his housekeeper and maid. Towards lunch-time he betook himself to his club, again experiencing a gleam of satisfaction at seeing the Secretary of the Association. At luncheon Dunning told his friend the more material of his woes, but could not bring himself to speak of those that weighed most heavily on his spirits. ‘My poor dear man,’ said the Secretary, ‘what an upset! Look here: we’re alone at home, absolutely. You must put up with us. Yes! no excuse: send your things in this afternoon.’ Dunning was unable to stand out: he was, in truth, becoming acutely anxious, as the hours went on, as to what that night might have waiting for him. He was almost happy as he hurried home to pack up.
His friends, when they had time to take stock of him, were rather shocked at his lorn appearance, and did their best to keep him up to the mark. Not altogether without success: but, when the two men were smoking alone later, Dunning became dull again. Suddenly he said, ‘Gayton, I believe that alchemist man knows it was I who got his paper rejected.’ Gayton whistled. ‘What makes you think that?’ he said. Dunning told of his conversation with the Museum assistant, and Gayton could only agree that the guess seemed likely to be correct. ‘Not that I care much,’ Dunning went on, ‘only it might be a nuisance if we were to meet. He’s a bad-tempered party, I imagine.’ Conversation dropped again; Gayton became more and more strongly impressed with the desolateness that came over Dunning’s face and bearing, and finally — though with a considerable effort — he asked him point-blank whether something serious was not bothering him. Dunning gave an exclamation of relief. ‘I was perishing to get it off my mind,’ he said. ‘Do you know anything about a man named John Harrington?’ Gayton was thoroughly startled, and at the moment could only ask why. Then the complete story of Dunning’s experiences came out — what had happened in the tramcar, in his own house, and in the street, the troubling of spirit that had crept over him, and still held him; and he ended with the question he had begun with. Gayton was at a loss how to answer him. To tell the story of Harrington’s end would perhaps be right; only, Dunning was in a nervous state, the story was a grim one, and he could not help asking himself whether there were not a connecting link between these two cases, in the person of Karswell. It was a difficult concession for a scientific man, but it could be eased by the phrase ‘hypnotic suggestion’. In the end he decided that his answer tonight should be guarded; he would talk the situation over with his wife. So he said that he had known Harrington at Cambridge, and believed he had died suddenly in 1889, adding a few details about the man and his published work. He did talk over the matter with Mrs Gayton, and, as he had anticipated, she leapt at once to the conclusion which had been hovering before him. It was she who reminded him of the surviving brother, Henry Harrington, and she also who suggested that he might be got hold of by means of their hosts of the day before. ‘He might be a hopeless crank,’ objected Gayton. ‘That could be ascertained from the Bennetts, who knew him,’ Mrs Gayton retorted; and she undertook to see the Bennetts the very next day.
* * * * *
It is not necessary to tell in further detail the steps by which Henry Harrington and Dunning were brought together.
* * * * *
The next scene that does require to be narrated is a conversation that took place between the two. Dunning had told Harrington of the strange ways in which the dead man’s name had been brought before him, and had said something, besides, of his own subsequent experiences. Then he had asked if Harrington was disposed, in return, to recall any of the circumstances connected with his brother’s death. Harrington’s surprise at what he heard can be imagined: but his reply was readily given.
‘John,’ he said, ‘was in a very odd state, undeniably, from time to time, during some weeks before, though not immediately before, the catastrophe. There were several things; the principal notion he had was that he thought he was being followed. No doubt he was an impressionable man, but he never had had such fancies as this before. I cannot get it out of my mind that there was ill-will at work, and what you tell me about yourself reminds me very much of my brother. Can you think of any possible connecting link?’
‘There is just one that has been taking shape vaguely in my mind. I’ve been told that your brother reviewed a book very severely not long before he died, and just lately I have happened to cross the path of the man who wrote that book in a way he would resent.’
‘Don’t tell me the man was called Karswell.’
‘Why not? that is exactly his name.’
Henry Harrington leant back. ‘That is final to my mind. Now I must explain further. From something he said, I feel sure that my brother John was beginning to believe — very much against his will — that Karswell was at the bottom of his trouble. I want to tell you what seems to me to have a bearing on the situation. My brother was a great musician, and used to run up to concerts in town. He came back, three months before he died, from one of these, and gave me his programme to look at — an analytical programme: he always kept them. “I nearly missed this one,” he said. “I suppose I must have dropped it: anyhow, I was looking for it under my seat and in my pockets and so on, and my neighbour offered me his, said ‘might he give it me, he had no further use for it,’ and he went away just afterwards. I don’t know who he was — a stout, clean-shaven man. I should have been sorry to miss it; of course I could have bought another, but this cost me nothing.” At another time he told me that he had been very uncomfortable both on the way to his hotel and during the night. I piece things together now in thinking it over. Then, not very long after, he was going over these programmes, putting them in order to have them bound up, and in this particular one (which by the way I had hardly glanced at), he found quite near the beginning a strip of paper with some very odd writing on it in red and black — most carefully done — it looked to me more like Runic letters than anything else. “Why,” he said, “this must belong to my fat neighbour. It looks as if it might be worth returning to him; it may be a copy of something; evidently someone has taken trouble over it. How can I find his address?” We talked it over for a little and agreed that it wasn’t worth advertising about, and that my brother had better look out for the man at the next concert, to which he was going very soon. The paper was lying on the book and we were both by the fire; it was a cold, windy summer evening. I suppose the door blew open, though I didn’t notice it: at any rate a gust — a warm gust it was — came quite suddenly between us, took the paper and blew it straight into the fire: it was light, thin paper, and flared and went up the chimney in a single ash. “Well,” I said, “you can’t give it back now.” He said nothing for a minute: then rather crossly, “No, I can’t; but why you should keep on saying so I don’t know.” I remarked that I didn’t say it more than once. “Not more than four times, you mean,” was all he said. I remember all that very clearly, without any good reason; and now to come to the point. I don’t know if you looked at that book of Karswell’s which my unfortunate brother reviewed. It’s not likely that you should: but I did, both before his death and after it. The first time we made game of it together. It was written in no style at all — split infinitives, and every sort of thing that makes an Oxford gorge rise. Then there was nothing that the man didn’t swallow: mixing up classical myths, and stories out of the Golden Legend with reports of savage customs of today — all very proper, no doubt, if you know how to use them, but he didn’t: he seemed to put the Golden Legend and the Golden Bough exactly on a par, and to believe both: a pitiable exhibition, in short. Well, after the misfortune, I looked over the book again. It was no better than before, but the impression which it left this time on my mind was different. I suspected — as I told you — that Karswell had borne ill-will to my brother, even that he was in some way responsible for what had happened; and now his book seemed to me to be a very sinister performance indeed. One chapter in particular struck me, in which he spoke of “casting the Runes” on people, either for the purpose of gaining their affection or of getting them out of the way — perhaps more especially the latter: he spoke of all this in a way that really seemed to me to imply actual knowledge. I’ve not time to go into details, but the upshot is that I am pretty sure from information received that the civil man at the concert was Karswell: I suspect — I more than suspect — that the paper was of importance: and I do believe that if my brother had been able to give it back, he might have been alive now. Therefore, it occurs to me to ask you whether you have anything to put beside what I have told you.’
By way of answer, Dunning had the episode in the Manuscript Room at the British Museum to relate.
‘Then he did actually hand you some papers; have you examined them? No? because we must, if you’ll allow it, look at them at once, and very carefully.’
They went to the still empty house — empty, for the two servants were not yet able to return to work. Dunning’s portfolio of papers was gathering dust on the writing-table. In it were the quires of small-sized scribbling paper which he used for his transcripts: and from one of these, as he took it up, there slipped and fluttered out into the room with uncanny quickness, a strip of thin light paper. The window was open, but Harrington slammed it to, just in time to intercept the paper, which he caught. ‘I thought so,’ he said; ‘it might be the identical thing that was given to my brother. You’ll have to look out, Dunning; this may mean something quite serious for you.’
A long consultation took place. The paper was narrowly examined. As Harrington had said, the characters on it were more like Runes than anything else, but not decipherable by either man, and both hesitated to copy them, for fear, as they confessed, of perpetuating whatever evil purpose they might conceal. So it has remained impossible (if I may anticipate a little) to ascertain what was conveyed in this curious message or commission. Both Dunning and Harrington are firmly convinced that it had the effect of bringing its possessors into very undesirable company. That it must be returned to the source whence it came they were agreed, and further, that the only safe and certain way was that of personal service; and here contrivance would be necessary, for Dunning was known by sight to Karswell. He must, for one thing, alter his appearance by shaving his beard. But then might not the blow fall first? Harrington thought they could time it. He knew the date of the concert at which the ‘black spot’ had been put on his brother: it was June 18th. The death had followed on Sept. 18th. Dunning reminded him that three months had been mentioned on the inscription on the car-window. ‘Perhaps,’ he added, with a cheerless laugh, ‘mine may be a bill at three months too. I believe I can fix it by my diary. Yes, April 23rd was the day at the Museum; that brings us to July 23rd. Now, you know, it becomes extremely important to me to know anything you will tell me about the progress of your brother’s trouble, if it is possible for you to speak of it.’ ‘Of course. Well, the sense of being watched whenever he was alone was the most distressing thing to him. After a time I took to sleeping in his room, and he was the better for that: still, he talked a great deal in his sleep. What about? Is it wise to dwell on that, at least before things are straightened out? I think not, but I can tell you this: two things came for him by post during those weeks, both with a London postmark, and addressed in a commercial hand. One was a woodcut of Bewick’s, roughly torn out of the page: one which shows a moonlit road and a man walking along it, followed by an awful demon creature. Under it were written the lines out of the “Ancient Mariner” (which I suppose the cut illustrates) about one who, having once looked round —
The other was a calendar, such as tradesmen often send. My brother paid no attention to this, but I looked at it after his death, and found that everything after Sept. 18 had been torn out. You may be surprised at his having gone out alone the evening he was killed, but the fact is that during the last ten days or so of his life he had been quite free from the sense of being followed or watched.’
The end of the consultation was this. Harrington, who knew a neighbour of Karswell’s, thought he saw a way of keeping a watch on his movements. It would be Dunning’s part to be in readiness to try to cross Karswell’s path at any moment, to keep the paper safe and in a place of ready access.
They parted. The next weeks were no doubt a severe strain upon Dunning’s nerves: the intangible barrier which had seemed to rise about him on the day when he received the paper, gradually developed into a brooding blackness that cut him off from the means of escape to which one might have thought he might resort. No one was at hand who was likely to suggest them to him, and he seemed robbed of all initiative. He waited with inexpressible anxiety as May, June, and early July passed on, for a mandate from Harrington. But all this time Karswell remained immovable at Lufford.
At last, in less than a week before the date he had come to look upon as the end of his earthly activities, came a telegram: ‘Leaves Victoria by boat train Thursday night. Do not miss. I come to you to-night. Harrington.’
He arrived accordingly, and they concocted plans. The train left Victoria at nine and its last stop before Dover was Croydon West. Harrington would mark down Karswell at Victoria, and look out for Dunning at Croydon, calling to him if need were by a name agreed upon. Dunning, disguised as far as might be, was to have no label or initials on any hand luggage, and must at all costs have the paper with him.
Dunning’s suspense as he waited on the Croydon platform I need not attempt to describe. His sense of danger during the last days had only been sharpened by the fact that the cloud about him had perceptibly been lighter; but relief was an ominous symptom, and, if Karswell eluded him now, hope was gone: and there were so many chances of that. The rumour of the journey might be itself a device. The twenty minutes in which he paced the platform and persecuted every porter with inquiries as to the boat train were as bitter as any he had spent. Still, the train came, and Harrington was at the window. It was important, of course, that there should be no recognition: so Dunning got in at the farther end of the corridor carriage, and only gradually made his way to the compartment where Harrington and Karswell were. He was pleased, on the whole, to see that the train was far from full.
Karswell was on the alert, but gave no sign of recognition. Dunning took the seat not immediately facing him, and attempted, vainly at first, then with increasing command of his faculties, to reckon the possibilities of making the desired transfer. Opposite to Karswell, and next to Dunning, was a heap of Karswell’s coats on the seat. It would be of no use to slip the paper into these — he would not be safe, or would not feel so, unless in some way it could be proffered by him and accepted by the other. There was a handbag, open, and with papers in it. Could he manage to conceal this (so that perhaps Karswell might leave the carriage without it), and then find and give it to him? This was the plan that suggested itself. If he could only have counselled with Harrington! but that could not be. The minutes went on. More than once Karswell rose and went out into the corridor. The second time Dunning was on the point of attempting to make the bag fall off the seat, but he caught Harrington’s eye, and read in it a warning.
Karswell, from the corridor, was watching: probably to see if the two men recognized each other. He returned, but was evidently restless: and, when he rose the third time, hope dawned, for something did slip off his seat and fall with hardly a sound to the floor. Karswell went out once more, and passed out of range of the corridor window. Dunning picked up what had fallen, and saw that the key was in his hands in the form of one of Cook’s ticket-cases, with tickets in it. These cases have a pocket in the cover, and within very few seconds the paper of which we have heard was in the pocket of this one. To make the operation more secure, Harrington stood in the doorway of the compartment and fiddled with the blind. It was done, and done at the right time, for the train was now slowing down towards Dover.
In a moment more Karswell re-entered the compartment. As he did so, Dunning, managing, he knew not how, to suppress the tremble in his voice, handed him the ticket-case, saying, ‘May I give you this, sir? I believe it is yours.’ After a brief glance at the ticket inside, Karswell uttered the hoped-for response, ‘Yes, it is; much obliged to you, sir,’ and he placed it in his breast pocket.
Even in the few moments that remained — moments of tense anxiety, for they knew not to what a premature finding of the paper might lead — both men noticed that the carriage seemed to darken about them and to grow warmer; that Karswell was fidgety and oppressed; that he drew the heap of loose coats near to him and cast it back as if it repelled him; and that he then sat upright and glanced anxiously at both. They, with sickening anxiety, busied themselves in collecting their belongings; but they both thought that Karswell was on the point of speaking when the train stopped at Dover Town. It was natural that in the short space between town and pier they should both go into the corridor.
At the pier they got out, but so empty was the train that they were forced to linger on the platform until Karswell should have passed ahead of them with his porter on the way to the boat, and only then was it safe for them to exchange a pressure of the hand and a word of concentrated congratulation. The effect upon Dunning was to make him almost faint. Harrington made him lean up against the wall, while he himself went forward a few yards within sight of the gangway to the boat, at which Karswell had now arrived. The man at the head of it examined his ticket, and, laden with coats he passed down into the boat. Suddenly the official called after him, ‘You, sir, beg pardon, did the other gentleman show his ticket?’ ‘What the devil do you mean by the other gentleman?’ Karswell’s snarling voice called back from the deck. The man bent over and looked at him. ‘The devil? Well, I don’t know, I’m sure,’ Harrington heard him say to himself, and then aloud, ‘My mistake, sir; must have been your rugs! ask your pardon.’ And then, to a subordinate near him, ‘‘Ad he got a dog with him, or what? Funny thing: I could ‘a’ swore ‘e wasn’t alone. Well, whatever it was, they’ll ‘ave to see to it aboard. She’s off now. Another week and we shall be gettin’ the ‘oliday customers.’ In five minutes more there was nothing but the lessening lights of the boat, the long line of the Dover lamps, the night breeze, and the moon.
Long and long the two sat in their room at the ‘Lord Warden’. In spite of the removal of their greatest anxiety, they were oppressed with a doubt, not of the lightest. Had they been justified in sending a man to his death, as they believed they had? Ought they not to warn him, at least? ‘No,’ said Harrington; ‘if he is the murderer I think him, we have done no more than is just. Still, if you think it better — but how and where can you warn him?’ ‘He was booked to Abbeville only,’ said Dunning. ‘I saw that. If I wired to the hotels there in Joanne’s Guide, “Examine your ticket-case, Dunning,” I should feel happier. This is the 21st: he will have a day. But I am afraid he has gone into the dark.’ So telegrams were left at the hotel office.
It is not clear whether these reached their destination, or whether, if they did, they were understood. All that is known is that, on the afternoon of the 23rd, an English traveller, examining the front of St Wulfram’s Church at Abbeville, then under extensive repair, was struck on the head and instantly killed by a stone falling from the scaffold erected round the north-western tower, there being, as was clearly proved, no workman on the scaffold at that moment: and the traveller’s papers identified him as Mr Karswell.
Only one detail shall be added. At Karswell’s sale a set of Bewick, sold with all faults, was acquired by Harrington. The page with the woodcut of the traveller and the demon was, as he had expected, mutilated. Also, after a judicious interval, Harrington repeated to Dunning something of what he had heard his brother say in his sleep: but it was not long before Dunning stopped him.
Mon, 27 October 2014
Courtly political rhetoric
Today we continue our month-long celebration of deliberative rhetoric by looking back half a millennium to the European Renaissance.
Back in the European Renaissance, politics looked different. There were no brightly colored billboards along the side of the freeway on-ramp, no official newspaper endorsements of candidates, no candidate debates. There were, in fact, no candidates. That is not to say that there was no politics. Instead of working to get the vote of the average Joe, those who aspired to political power had to work another angle—they had to work the court.
Royal courts were the nexis of political life in the Renaissance. There were smaller courts for smaller authorities, but the courts of say, the king of France or the Queen of England might include thousands of people. Courtiers, these court members, could have their fortunes made because of the favorable impressions they made at court. There were offices of the court, including such fantastic positions as Gentleman of the Bedchamber, Doorward, and Groom of the Stool, which did, in fact, mean “stool” in two senses of the word. These were important positions that could secure your family’s influence for generations. Everyone was competing for these positions, so it became brutally important to make the right impression. You didn’t want to lose your chance to be Groom of the Stool. On the other hand, say or do the wrong thing and you could be exiled from court or from the country or worse. Many of the monarchs who were insecure had reasons to distrust the insubordinate at court and could punish absolutely anyone who undermined their authority at court. You don’t want to make a major social gaffe when you could literally lose your head for it.
In the context of the high stakes of court living, handbooks of behavior began to appear so that social climbers could politic their way to the top without doing anything stupid. These handbooks could be subtitled “How to Win Friends and Ingratiate People.” Giovanni Della Casa’s courtusie book, for example, gives the gentle reader the advice that it’s an “unmannerly part, for a man to lay his nose upon the cup where another must drink, or upon the meate another must eate, to the end to smell unto it” because, in a horrifying gaffe, “it may chance there might fall some droppe from his nose, that would make a man loath to it.” (qtd Richards 479). Ew. That would be so embarrassing.
But the master of masters of the hunt, the main man of gentle men was Baldassare Castiglione. Besides having an embarrassing first name, Castiglione was a courtier at the court of the Duke of Urbino, in Italy, where he was a poet, religious leader, soldier and all-around man around court. He wrote the most famous handbook of the Renaissance “The Courtier.” The Courtier is a dialogue, like the other text that it most resembles, Cicero’s De Oratore. It addresses the question of what makes the ideal Renaissance gentleman and the dialogues in it take place over several days, with multiple figures putting in their two cents, changing their minds and coining new terms to describe how to best do polite politics at court.
One of the most important of these terms was Sprezzatura. Sprezztura refers to making something difficult seem easy. As Castiglione’s character puts it, “I have found quite a universal rule which in this matter seems to me valid above all other, and in all human affairs whether in word or deed: and that is to avoid affectation in every way possible as though it were some rough and dangerous reef; and (to pronounce a new word perhaps) to practice in all things a certain sprezzatura [nonchalance], so as to conceal all art and make whatever is done or said appear to be without effort and almost without any thought about it.”
This idea, to make whatever is done or said to appear as if it took no effort and no thought is one that has been valued in rhetoric for years. Cicero, in De Oratore, points out the values of “orations [that] were composed very simply” as if they sprang up from “nature and truth [rather] than from study and art.” (1.26).
For Castiglione and his fellow courtiers, sprezzatura, or nonchalance, was able to conceal
the art, the work that went into appearing witty, or poetic. One translation describes it as “an art without art, a negligent diligence, an inattentive attention” (Saccone 57). It’s the rhetorical equivalent of “oh this old thing?” Daniel Javitch, a 20th century scholar, defines Sprezzatura as “at once artifice made to seem natural and a seemingly effortless resolution of difficult. (56). If your excellent speech looks like it took a lot of time and effort, then you look like someone who takes a lot of time and effort, but if your excellent speech looks like you took no time at all, then you look like a genius.
One figure in the Courtier, Canossa, describes how this nonchalance can improve the practice of rhetoric: “I remember having read of some excellent orators … who endeavored to make everyone believe that they were ignorant of letters and, dissembling their knowledge, gave the impression that their speeches were made very simply, as if they had been prompted by nature and truth rather than study or artifice” (53).
Junior high kids get this. Remember the archetype of the slacker genius? We all knew one, or aspired to be one. The kid who sits in the back of class, playing tetris on her phone, until the most difficult math problem stumps the whole class and she’s the only one who solves it, or the guy who cuts class every day, but then turns in a final paper that wows the teacher into giving him an A. There’s something mystical about the idea that some people can skip all the work and still succeed.
This idea was all the more important in rhetoric, because if you labored over your work, not only did it look like you were not just naturally brilliant, but it might look like you weren’t sincere. We still kind of dislike the idea of the speechwriter in politics, who is crafting just the right words to make the voters feel outrage or sympathy on behalf of the politician. But if the politician appears to be speaking words that flow out naturally from the power of the moment filtered through a great and sensitive mind, we feel inspired rather than manipulated.
There is, perhaps, something dishonest in the idea of sprezzatura, but the figure of Canossa insists that it’s something that can’t be taught. Much like in De Oratore, there is a question in the courtier about how much any of this can be taught and how much is just something that you’re born with, a natural grace that accompanies everything you do.
The Book of the Courtier itself seemed to be charmed with natural grace. It was translated widely, most notably for English speakers, by Thomas Hoby, where it came to define manners and ideals in the age of Elizabeth and Shakespeare.
In fact, you can find traces of Castiglione in several of Shakespeare’s plays, especially those that take place in court, like Pericles who was, himself, a remarkable example of a courtier who sings, jousts, writes love poetry, and negotiates treacherous courts. Pericles’ daughter, Marina, is even more so the naturally talented courtier: she almost can’t help it how artistic, beautiful and smart she is, and though it gets her into trouble, it gets her out again. The talent that saves Marina, actually, is her rhetorical prowess. When she is sold to a brothel, She financially ruins the pimps when time and time again, she persuades the men who would take advantage of her to choose virtue over vice. This includes, as it would for a true courtier, when she must gently persuade those in positions of power. “Let not authority, which teaches you to govern others, be the means to make you misgovern much yourself,” she says to a lusty governor named Lysimachus, “If you were born to honor, show it now; If put upon you, make the judgment good that thought you worthy of it.”
Whether skill of the courtier comes from training or from inborn ability, it is crucial for courtiers like Pericles and Marina. This is the politics of the royal court, which seeks to cajole and charm those in power, so that they will say as Lysimachus did to Marina, “Thou art a piece of virtue, the best wrought up that ever nature made and I doubt not thy training hath been noble […] Hold, here’s more gold. If thou dost hear from me, it shall be for thy good.”
If you hear from me, in the future, I hope that it’s for your good as well. I’d love to hear from you. Contact us through our email mererhetoricpodcast, or check out on Twitter at mererhetoricked to make comments or suggestions for future podcasts. As a matter of fact, today’s podcast was the suggestion of an old classmateVincent Robert-Nicoud, who is not only a heck of a great Renaissance scholar, but he also always opened the door for me, which is an awful gentlemanly thing to do. He can have any office at my court that he wants—Grand Squire, Master of the Hunt. Only not the Gentleman of the Stool.
Sat, 18 October 2014
Welcome to Mere Rhetoric a podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I’m Mary Hedengren.
Last week we continued our conversation of deliberative rhetoric by talking about Saving Persuasion, a contemporary book about how rhetoric doesn’t have to be rhetortricky. Today we’re going to talk about one of the figures in political rhetoric who was really, really good at what he did and that made everyone around him very nervous. I’m talking about one of the most engaging political figures of ancient Athens: Demosthenes.
That name may sound vaguely familiar to those of you who are regular listeners because we mentioned Demosthenes as one of the great orators who got his start in logography. Logographers, as some of you might recall, were the pre-lawyer lawyers. They could be hired to write speeches for people going to court. They had to be savvy about what the jury would respond to and they had to write in a way that would represent their client. What they didn’t have to do, though, was deliver the speech.
We also mentioned that Demosthenes was all about delivery when we talked about the canons of rhetoric [canon boom] Really? Well, when we talked about the canons of rhetoric, one of the last ones was delivery, and Demosthenes reportedly thought delivery was the most important. He had an unnatural time at it, though, because he was allegedly born with a serious speech impediment. Plutarch says that Demosthenes had “a perplexed and indistinct utterance and a shortness of breath, which, by breaking and disjointing his sentences much obscured the sense and meaning of what he spoke.” More likely, Demosthenes said his “r”s like “l”s. I have a lot of sympathy for this, as someone who went to speech therapy herself until she was in junior high. I also had problems with my r’s and l’s and on top of it, I had a retainer. My mom, a writing teacher, thought this was fantastic, because Demosthenes learned to over come his speech impediment by way of—not a retainer—but pebbles in his mouth. As he learned to talk around the pebbles in his mouth, he became hyper aware of his diction and became a great orator. All of this is cold comfort to a twelve-year-old with orthodonty, but it worked out well for Demosthenes.
Really well. Demosthenes, who had been taking a sort of back-seat position as a logographer began to get more of a toehold in politics, by way of taking on “public” cases. You see, if you hated someone’s politics, you could sue them. Remember how some Republicans were going to sue Obama for abuse of power? It was like that. All. The. Time. So Demosthenes gets more into politics and begins writing public speeches like Against Androtion and Against Leptines and then Against Timocrates and Against Aristocrates Are you noticing a theme in these titles? Demosthenes was really taking to town all of the politicians who were allegedly corrupt and politics in ancient Athens were always personal. “Pretty much you try to paint the other guy as a villain beyond all villainy. Athens did smear campaigns better than anyone who ever put their opponent in grainy, slow-mo footage. Here’s a taste of Demosthenes’ accusations: “For on many occasions, men of Athens, the justice of the case has not been brought home to you, but a verdict has been wrested from you by the clamor, the violence and the shamelessness of the pleaders. Let not that be your case today, for that would be unworthy of you.” “In this court Leptines is contending with us, but within the conscience of each member of the jury humanity is arrayed against envy, justice against malice, and all that is good against all that is most base.” “do not think, gentlemen of the jury, that even Timocrates can lay the blame of the present prosecution upon anyone else: he has brought it on himself. Moved by desire to deprive the State of a large sum of money, he has most illegally introduced a law which is both inexpedient and iniquitous.”
These are awesome. But as anyone running a good campaign knows, it’s not enough just to slam the opponent; you also need to make a few campaign promises yourself. In 354 BC, Demosthenes outlined his policy of moderation and a scheme for financing in his first political oration, On the Navy, which is not to be confused with the Village People’s immortal classic, In the Navy. [sound bite, maybe]. With this speech, first of many, Demosthenes launched his political career in earnest. But what really drove Demosthenes’ career was a great opponent and that he had in Philip II of Macedon. As you might infer from the name, Philip II wasn’t an Athenian, but a Macedonian who was taking over other city states that were alarmingly proximate to Athens. Demosthenes saw Philip as a huge threat and warned the Athenians in his rousing First Phillipic. Unfortunately, Philip still conquered Athens.
This led to Demosthenes being able to give the second and third Phillipic, criticizing the attacker of his city and declaring it "better to die a thousand times than pay court to Philip." The Third Phillipic was his magnum opus in a lot of ways.
“But if some slave or superstitious bastard had wasted and squandered what he had no right to, heavens! how much more monstrous and exasperating all would have called it! Yet they have no such qualms about Philip and his present conduct, though he is not only no Greek, nor related to the Greeks, but not even a barbarian from any place that can be named with honor, but a pestilent knave from Macedonia, whence it was never yet possible to buy a decent slave.” Ooh, that’s good.
Philip did conquer Athens. But then he died. Demosthenes loved that. After Philip’s assassination, Demosthenes put a “garland on his head and white raiment on his body, and there he stood making thank-offerings, violating all decency” according to one account. In fact, after Philip was assassinated, Demosthenes’ classy rhetoric led an uprising of Athenians to finally break the Macedon army. It wasn’t successful and Philip’s son Alexander was in charge and—big surprise—Demosthenes hated him too. It was mutal. Alexander demanded the exile ofDemosthenes.
But the Athenians still loved him and he loved the people. “A project approved by the people is going forward,” he wrote in a public speech commemorating the defeat of his political enemy. Because of the way that Demosthenes had opposed kings and led the people into riot, he became vilified by all good monarchists for centuries. Here was this sneaky demagogue who could manipulate the people into rebellion.
If political types were antsy about Demosthenes, rhetoricians adored him, especially those with a republican bent. Cicero idealized Demosthenes’ orataional and political career, and Longinus and Juvenal praised him highly. Renaissance rhetoricians who were comfortable with his anti-monarach stance loved him too—John Jewel and Thomas Wilson. John Jay, Hamilton and Madison, the American founding fathers and authors of Federalist papers, also admired Demosthenes’ style. So if you like people and rhetoric, chances are, you’ll like Demosthenes.
In some ways, Demosthenes was an orator of the people all along. His style is relative plainspoken, abrupt and built on the assumption of sincerity. As Harry Thurston Peck puts it, Demosthenes "affects no learning; he aims at no elegance; he seeks no glaring ornaments; he rarely touches the heart with a soft or melting appeal, and when he does, it is only with an effect in which a third-rate speaker would have surpassed him. He had no wit, no humour, no vivacity, in our acceptance of these terms. The secret of his power is simple, for it lies essentially in the fact that his political principles were interwoven with his very spirit.” But even though Demosthenes gave the appearance of speaking out of the conviction of his soul 100% of the time, allegedly, he refused to speak off the cuff. He put a lot of work into making his words seem artless.
And that’s what our topic for next week is going to be—Sprezzatura, the art of making what you say seem artless. It’s a prime skill for politicians in our day as well as back in the Renaissance where the term was coined. We’ll talk about why the idea of pretending that you haven’t worked on your speech is so important again in this age of sincerity. If you have things that you’re sincerely interested in, why not write to us at email@example.com? You can send us ideas for podcasts, feedback or stories of your own orthodonticure. And until new week, happy political season!
Fri, 10 October 2014
Today we continue our month-long festival of all things deliberative rhetoric with a discussion of Saving Persuasion by Bryan Garston.