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    Archives for July 2019

    Can Democracy Work?

    July 30, 2019 by Will Morrisey

    James Miller: Can Democracy Work? A Short History of a Radical Idea, from Ancient Athens to Our World. New York: Farrar, Straus and Giroux, 2018.

     

    From his early writings on Rousseau and on America’s ‘New Left’ of the 1960s to his brilliant study of Michel Foucault [1], James Miller’s scholarship has had two characteristic features. One is ‘methodological.’  He seeks to understand political thinkers by combining textual exegesis with biographical research, titling his first book (for example) Rousseau, Dreamer of Democracy, not Rousseau’s Political Philosophy. He never reduces the thinker to the work or the work to the thinker, but presents both in one coherent picture. In this, he resembles Diogenes Laertius, whose Lives of the Eminent Philosophers he has indeed brought out in a beautiful new edition, complete with extensive notes and illustrations. Second, in terms of the substance or guiding principle of his work, he displays a commitment to justice understood ‘democratically,’ as equality. This centers his thought on democracy—both as a regime (as it has been understood by most writers) and as a social condition existing in the confines of the modern state. Democracy has remained ‘his’ theme, throughout his life in thought.

    But can democracy work? And what exactly is it? Something called democracy has proven persistent, if only “as an article of faith or a figment of modern ideology.” Indeed, “virtually every existing political regime today claims to embody some form of democracy”—from Putin’s Russia to Kim’s North Korea to our United States of America, whose current chief executive rode to victory on a wave of sentiment often described as populist.

    Given this wild diversity of opinions and definitions, Miller proceeds with a sort of Socratic combination of caution and daring, gathering the several most influential definitions of democracy and bringing them into dialectical confrontation with one another. Not for him are the illusions of historical dialectic, which bring scholars to imagine a gradual worldwide evolution of humanity toward democracy. To think of democracy that way is to succumb to moral complacency and intellectual laziness, expecting ‘history’ to do the work for you.

    With Aristotle, Miller identifies the underlying principle of democracy as equality, which may or may not associate itself with liberty. This begs the question of what equality is, or what kind of equality ‘democrats’ want. The natural equality of all human beings to certain unalienable rights? The economic equality of a communal life animated by the principle, ‘From each according to his ability to each according to his need? The social equality of a community in which there is no ‘ruling class’? The political equality of one citizen, one vote on public policies? Some combination of these? Consistent with his question concerning the practicability of democracy, Miller answers these questions not by theorizing but by consulting the historical practices of those who have called themselves democrats. “Democracy before the French Revolution was generally held to be a fool’s paradise, or worse.” It was the Jacobins, borrowing their theories from Rousseau, who implemented the first modern democracy in the form of “direct democracy in local assemblies, now and then augmented through armed insurrections.” The movement then split into what would turn out to be the two characteristic, rival variations on the democratic theme: representative democracy, roughly modeled on examples in the American states; and democratic dictatorship—purportedly temporary—intended “to preserve the possibility of building a more enduring form of representative democracy once the revolution was complete and law and order were restored.”

    Tocqueville famously registered this schism in the democratic movement in arguing that democracy—which he defined not as a regime so much as a social condition of equality (by which he meant a society without a ruling class)—could have one of two regimes—republicanism or despotism. Tocqueville saw American democracy as a political regime only in the small setting of the New England town meeting, within a large modern state but never its ruling form. This divergence between society and state, civil-social ‘regime’ and political regime, is the source of Miller’s question, Can democracy work, “especially in complex modern societies?” Today, although what’s been called ‘liberalism’ finds many challengers in and outside the commercial republics, “democracy as furious dissent flourishes as rarely before, in vivid and vehement outbursts of anger at remote elites and shadowy enemies.” Just about everyone this side of the Iranian mullahs “now claim to represent the will of a sovereign people” as the morally legitimizing principle of their claim to political authority.

    Miller very sensibly distinguishes democracy from liberalism, observing that “democracy, when it first appeared in Greece, had nothing to do, either in theory or in practice, with any such modern conception as liberalism.” Athenian democracy killed Socrates—the sort of thing liberalism was formulated to prevent. In addition to decriminalizing philosophy, modern liberalism inclined to locate the final moral-political authority in natural law and natural right; a liberal wants a political regime that secures the natural right to liberty, among other natural rights. But modern democracy pointed instead either to “Rousseau’s concept of the general will,” which “has no necessary connection to liberalism,” or, earlier, to sixteenth-century Protestant notions of popular sovereignty, based squarely on doctrines of right religion, not on religious toleration. “A majority of voters in a modern representative democracy may very well support policies that are explicitly illiberal, as some Americans fear had happened after the election in 2016 of Donald J. Trump as the forty-fifth president of the United States—and, it might be added, as some Americans fear when university administrators quail before the demands of the Leftist agitators who call Trump and his supporters fascists, a rhetorical move not unknown to both the Old and the New Left.

    Given these broils, Miller remarks, “I probably feel more proud of the American accomplishment in this context than I did as a young man” because “I have lived long enough to appreciate the fragility of political institutions that are responsible to citizens, however limited that responsiveness may currently be.” Representative or republican government instead of direct democracy; organized political parties; “the polyglot expansion of our citizenry as a whole”: All these features of the American regime make the United States “the world’s most striking ongoing experiment in cosmopolitan self-government.” There is something to the claim of ‘American exceptionalism,’ yet. Miller will not cede that claim to the ‘Right.’

    He devotes his next three chapters to three case studies, as it were, in democratic politics: ancient Athens, modern France, and the United States. Ruling a small place about the size of Rhode Island with a resident population of about 300,000, of which ten percent were citizens sharing rule (the politeuma, as Aristotle would say), ancient Athenian democracy saw direct and active participation on rule. Adult male citizens held forty Assembly meetings annually and all political offices were held by those citizens, selected not by voting but by lot—the most democratic means of election. What is more, the regime lasted for about a century, with one important interruption by the Thirty Tyrants; not internal faction (admittedly serious) but foreign conquest by Macedonia put the ax to it, and even then the name if not the practice of democracy survived well into the Hellenistic period. Miller suggests that it wasn’t democracy itself that weakened Athens sufficiently to leave it vulnerable to the Macedonians but a narrowing of the criteria for citizenship, which stoked factionalism.

    What were the features of this regime? Its founder, Cleisthenes, opened membership in the Ekklesia or Assembly to all “free-born males over the age of twenty-one, with a native Athenian father, no matter how poor.” Cleisthenes also took advantage of the modest size of Athens. He centralized political authority, weakened the “few wealthy families who worshiped a divine ancestor and controlled the relevant priestly offices,” and designed a set of ten civic units he called tribes. He gave each tribe a new divine hero to worship and drew the members of each tribe from the several geographical regions of Attica. Infantry troops were also organized according to these newly formed tribes, and all freeborn Athenian men were required to serve before they could take their place in the Assembly. As a check on popular-majoritarian passions, Cleisthenes instituted the Council of 500, in which all tribes were equally represented, which prepared the Assembly’s agenda and audited all city officials, awarded contracts for public works, and supervised Athenian finances, military forces, welfare system, coinage, weights and measures, capital criminal cases (tried by citizen-jurors unencumbered by debt), and foreign policy. Yet it too was elected by lot, and so remained democratic. “By the time that Pericles emerged as the city’s undisputed leader [in the mid-fifth century BC], Athens had amassed the eastern Mediterranean’s most feared military machine, an armada of battleships backed up by a large infantry.”

    This was anything but a regime dedicated to the protection of individual liberty. Miller quotes the noted historian M. I. Finley: “Freedom meant the rule of law and participation in the decision-making process, not the possession of inalienable rights.” Such critics as Plato and Thucydides charged that democracy in Athens consisted of “a collective tyranny of the majority”—a majority, moreover, swayed by flattering demagogues and swaggering military chieftains who captured the imagination and fired the indignation of the citizenry. Although “the rise of democracy in Athens coincided with the birth of philosophy as a distinctive way of life,” that same democracy threatened philosophers with exile or death if they offended the politeuma. With its carefully managed civil religion and resultant homonomia or like-mindedness, ‘the many’ were entirely capable of moving against such an odd fellow as Socrates. The gods of the city were not to be mocked, and neither were the gods’ human devotees. “Aristotle’s famous assertion that man is a political animal certainly applied to the citizens of fourth-century Athens.”

    As a member of the Students for Democratic Society in the 1960s, Miller found in “this active and direct form of democracy” an inspiring alternative to American representative government, especially as then weighed down by bureaucracies military and civil. “A wish for a more perfect democracy was part of what first inspired my interest in both radical activism and political philosophy.” He continues to esteem the importance of citizen participation in government as a means of “forg[ing] a shared civic culture,” but he also now recognizes that such a culture in no way precludes stasis—conflicts yielding”faction, sedition, even civil war.” A politeuma consisting of ex-soldiers may result in “a certain fear of non-conformity” and in foreign war and imperial ambition. There’s a thing or two to be said in favor of James Madison and the republican regime he helped to design.

    Democracy as a political regime can survive and even thrive for a fairly long time in a small political community, a polis or ‘city-state.’ There, centralization of political authority need not lead to a substantial bureaucracy, an oligarchy claiming to rule on the basis of its status as a sort of aristocracy or ‘meritocracy.’ In the much larger modern state, centralization exerts pressure to bureaucratize authority, and thus to compromise democracy. And of course a truly democratic (as distinct from republican/representative) ‘national’ assembly becomes physically impossible in a large place; even today, a ‘virtual’ assembly, constructed on the Internet, might raise many reasonable suspicions, and in any case could hardly capture the personal, ‘face-to-face’ ethos of democracy in Athens, where even philosophers were known by name, for better or for worse. Here the French experience proves (as any child of the American ‘Sixties might say) relevant.

    In politics, spontaneity is a scarce commodity, and democratic politics are no exception. ‘Flash mobs’ don’t happen in a flash. Despite the claim of the marvelous Romantic Jules Michelet in his buoyant mid-nineteenth-century History of the French Revolution, the Paris insurrection of August 1792 was openly and indeed carefully prepared. A network of self-organized neighborhood assemblies, verbally whipped into action by militants invoking the very reasonable fear of an invasion by Prussian troops commanded by the Holy Roman Emperor, in collusion with Louis XVI himself. The newly-redesigned constitutional monarchy—really a republic with an elected Legislative Assembly “represent[ing] the people as a whole”—had been structured to limit democratic neighborhood assemblies to control of municipal affairs, only. Those assemblies fit Aristotle’s precise definition of democracy as rule by the many who are poor. To the radical democrats, the national regime was republican, all-too-republican, and therefore insufficiently democratic—especially given its monarchic executive. The Communards, as the municipal rulers were called, insisted that “Popular sovereignty was ‘an indefeasible right, an inalienable right, a right that cannot be delegated'” to king or even to representatives. “Out of this explosive melee of political passions and interests there appeared a critical mass of people fiercely devoted to forging a radically egalitarian new form of self-government,” for “the first time since ancient Athens.” No ‘mixed regime’ could satisfy the democrats of Paris; They took their bearings not from Aristotle or Cicero, not from Machiavelli or even the American Founders, but from Rousseau, who had “redefined sovereignty in terms of democracy” in the form of the “general will,” defined as only those “wants and interests that all individuals in a group happen to share.” According to Rousseau, the general will, if enacted, maximizes liberty and equality at the same time. Rousseau’s fellow-citizens in republican Geneva considered such a notion “destructive of society and of all government, and very dangerous for our Constitution.” The Parisian democrats, however, proclaimed them as rights of men (human beings as such) and citizens (members of this particular civil society). Calling themselves the Jacobins, after the Jacobin monastery where they met, the biggest of the democratic political clubs organized affiliates throughout the country. “The views of the club’s dominant members grew fiercer and its national appeal narrowed, even as its political power in Paris slowly expanded.” That proved sufficient to topple the regime because France, as a centralized modern state, could be revolutionized and ruled by anyone who controlled the capital city. That is, a modern state can be democratized, after a fashion, if democrats rule its central nervous system, although those same democrats might amount to a rather small minority of the national citizenry.

    The impassioned fears and ambitions in this face-to-face regime turned toward phantasmagoria. “The most radically democratic phase of the French Revolution began with a carnival of atrocities.” Indeed, “the threat of violence gave ordinary citizens an unfamiliar, and therefore intoxicating, power to challenge constituted authority”; it’s a mistake to assume that “the ardent desire of ordinary people for public freedom can be separated, in fact, from their willingness to use force in its pursuit.” Democracy not fails to offer any guarantees against fanaticism but may well gin it up. Although Robespierre wanted to rid France of the Legislative Assembly altogether, most Jacobins preferred to call a constitutional convention “tasked with creating a new, truly democratic constitution, to replace the mixed, but still monarchic, constitution of 1791.” Such a constitution of course “would have to square a circle, somehow reconciling the demands of the sectional assemblies for a direct expression of popular sovereignty with the needs of governing a large nation”—that is, a modern state—”that consisted of citizens holding diverse—and even divergent—views about what a good society should look like.” How could a large modern state, with a population consisting mostly of more or less pious Roman Catholic peasants, rule itself as if it were a giant Paris commune? The Convention’s drafting committee made a brave try.

    The proposed constitution eliminated the monarchy and established a unicameral legislature consisting of ‘instructed’ delegates—persons entitled only to vote for policies approved in advance by their constituents. Thus they could be said to embody the General Will, somewhat redefined by mathematics-mad drafting committee member Nicolas de Condorcet as what’s left over when you remove contradictory opinions from the sum of all opinions. Meanwhile, the decidedly contradictory head of Louis XVI was subtracted from his body in January 1793.

    The efforts of Condorcet and his colleagues went for nothing, as the radical democrats from Paris saw the proposed constitution as an attempt to bridle the power of the Paris communes. The Convention itself now became “the scene of a pitched power struggle between rival factions,” with “the constitution itself [as] a bone of contention.” Robespierre’s rhetoric eventually carried the day. Arguing from his central claim, that “the interest of the office holder” always remains private but “the interest of the people is the public good,” Robespierre sought to overcome the basic institutional dilemma, that a modern state is much bigger than an ancient polis, by declaiming his way out of it. “While it was obviously impossible for the people of France to assemble as a whole, as the people of Athens had assemble, Robespierre proposed, as an approximation to the ideal, that the republic build ‘a vast and majestic edifice, open to twelve thousand spectators,” who in this way would monitor meetings of the National Assembly.” No corruption, intrigue or perfidy would “dare show itself,” he claimed, and “the general will alone shall be consulted, the voice of reason and the public interests shall alone be heard.”

    All of this turned out not to matter, as the Jacobin constitution, though ratified, was “set aside indefinitely on October 10, 1793, when a ‘Revolutionary Government,’ endowed with extraordinary powers to repress ‘counterrevolutionaries,’ was declared, thus beginning the Reign of Terror. France had become “a kind of dictatorship.” The consequent bloodshed sobered even Citizen Robespierre, who came to see the virtue of representative government, albeit atop of a democratic electorate, a national government not dominated by Parisian activists. For his heresy he was executed. “The French Revolution had produced a new understanding of democracy—and a hecatomb on a grand scale.”

    By contrast, the Americans chose representative government from the start. Miller quotes Benjamin Rush: “All power is derived from the people,” but “they possess it only on the days of their elections. After this, it is the property of their rulers, nor can [the people] exercise or resume it, unless it is abused.” Government by consent of the governed in this sense “didn’t exist in the classical world” because it didn’t need to; the democratic poleis were not big enough to have a state-civil society dichotomy. As in those poleis, the rule of the many didn’t mean the rule of the majority; as in Athens, women and slaves could not vote. This notwithstanding, the American republic had established ruling institutions that induced ambitious men to reach out to “ordinary people to settle disputes among rival elite factions”—with the elites themselves, it might be added, hardly qualifying as elites at all in the eyes of the dynasts and aristocrats of Europe. To Europeans, all Americans were commoners.

    Out of such a motley crew, new oligarchs might arise, particularly in the financial sector of the American economy. In the next generation, Andrew Jackson took due advantage of such men, riling democratic sentiments against the Monster Bank and swamping his opponents at the polls. Greatly aided by his ally, the organizational genius Martin Van Buren, Jackson organized the first recognizably ‘modern’ political party in America and found his own way to bridge the state-civil society divide by appointing his key party organizers to positions in his administration. Tocqueville identified the ideational limit on this kind of popular sovereignty: the principles of the Declaration of Independence, which he heard recited at a Fourth of July celebration in Albany in 1831, entwined with a “Christianity that [as Tocqueville wrote] can best be described as democratic and republican.” “According to Tocqueville, democracy denoted not merely a form of government but, in addition, and more important still, a new kind of society, in which the principle of equality was pushed to its limits”—those limits being demarcated by the laws of nature and of nature’s God, in principle, but also by the aberrant phenomenon of slavery, in practice, as well as by property qualifications that disqualified the landless poor from voting. Dorr’s Rebellion in Rhode Island in 1842 aimed at expanding the suffrage, but balked at any restriction of the Atlantic slave trade, and also at the possibility of extending the franchise to black men. The rebellion failed after its leader, Thomas Dorr, led a “botched assault” on the Rhode Island state armory. He triumphed post mortem; as decades passed, the franchise was indeed extended, not only in Rhode Island but throughout the country.

    As a noted historian of rock-and-roll, Miller doesn’t neglect the effects of democratic civil society on what we have come to call, democratically enough, ‘popular culture.’ Ralph Waldo Emerson “became the architect of a popular philosophy for the new nation by lecturing on the Lyceum circuit of organizations that sponsored public events meant to promote ‘the universal diffusion of knowledge’ to the general public.” The content of this ‘philosophy’ was the notion of self-reliance, which Miller rightly considers a forerunner of Nietzscheism. (Nietzsche himself sighed, “In Emerson, we lost a philosopher,” meaning that Emerson might have attained Nietzsche’s own intellectual heights had he only undergone a really rigorous education at a European university). Also rightly, Miller remarks that such “a quasi-religious sanction for the American cult of individualism” tended more to civil disobedience (as in Emerson’s friend, Thoreau) than to serious political construction or reconstruction. Harriet Beecher Stowe’s coruscantly popular novel, Uncle Tom’s Cabin, inspired ardent sentiments against slavery, but little in the way of suggestions as to what American might do to re-found the regimes of Southern states, were slavery to be abolished. In music, Stephen Foster became “the first popular musician to achieve global fame, through the international sale of sheet music”—it was a commercial as well as a democratic republic, after all—and the minstrel shows for which he wrote eventually produced the musical foundation “for almost all subsequent forms of African American musical entertainment, from ragtime to blues to jazz.” Miller points out that the earliest minstrel shows consisted of white performers in blackface, acting out an American form of bohemianism last exemplified by Al Jolson; at the same time, black entertainers did their own minstrel shows, transforming the music from sweet, nostalgic Foster tunes to the harder-edged ‘urban’ sounds and lyrics of the twentieth century. One might conclude that democracy meets with its greatest success on the civil-social level of the modern state—that is, on the most democratic level of that state.

    Oddly, Miller misses the point of Tocqueville’s famous critique of democracy gone wrong in the second volume of Democracy in America. Tocqueville’s dystopian vision of a no-longer-civil society consisting of “an innumerable multitude of men, alike and equal, circling around in pursuit of the petty and banal pleasures with which they glut their souls” in “orderly, gentle, peaceful slavery,” does not indicate that he regarded American culture as likely to “prove more significant than its political institutions for determining the future of democracy in America.” Tocqueville rather fears that a democratic society might readily come to accept a bureaucratic elite which keeps it safe and stupefied at the cost of popular withdrawal from the sterner tasks of self-government. This would be one way in which a democracy (that is, an egalitarian civil society) might succumb not only to a Napoleonic or czarist despotism but to oligarchy, even as it might also succumb to an oligarchy founded on industrial capitalism. That is, Tocqueville foresaw both the bugbear of twentieth-century Left and the bugbear of the twentieth-century Right in America. Very often, each faction ignores the oligarchy that’s on its side, but Tocqueville worked under no such partisan illusions.

    Miller next discusses four democratizing movements in Europe during the century following the American and French revolutions: Chartism, Marxist socialism, Mazzini’s republicanism, and the Paris Commune. In England, the Chartists sought to accelerate the widening of the franchise initiated by the Reform Act of 1832. Hoping for improved wages and working conditions, urban factory workers organized the General Convention of the Industrious Classes at the end of the decade, aiming not only at the enfranchisement of all male adults but at a secret ballot (to prevent employers from intimidating voters) and at coupling elimination of property qualifications for those who served in Parliament  with salaries for MPs, which would allow citizens of low income to take seats there. Perhaps unfortunately, Chartists “treat[ed] the Jacobin constitution of 1793 as sacred scripture” and “idolized Robespierre”; this could only make their fellow-Brits a bit nervous. Sure enough, the Chartists split over the question of using physical force to advance their cause, “promis[ing] a restoration of harmonious social relations” while “simultaneously rais[ing] the prospect of a civil war.”

    By the 1840s, London provided a home for radicals exiled from several continental countries. Among these, Karl Marx would have the most lasting effect on European and indeed world politics. Miller provides an excellent, succinct summary of Marx’s theory, observing that he took Hegel’s historicist doctrine of dialectical struggle among persons, ideas, and nations and pared it down to a materialist dialectic centered on struggle between socioeconomic classes. Far from peaceful, this struggle had been and would continue to be violent: “Marx represented the laboring class as a historical agent seething with violence,” spoiling for battle against the bourgeoisie and its capitalist system. A final “collective act” of what Marx himself called “overthrow and dissolution” would wipe out the bourgeois state and clear the way, first for a socialist state and then (in Lenin’s famous phrase), the withering away of that state, as well, leaving only peaceful, egalitarian, and communal civil societies, worldwide.

    This is indeed a democratic telos, but, as Miller tellingly observes, “Fraternity was hard to sustain among the revolutionary sects vying for preeminence in the late 1840s” and, as he knows, would continue to be hard to establish, much less sustain, at any subsequent time or in any other place. Marxian socialism has never quite worked its way out of the ‘dialectical’ phase of ‘History.’ The Communist Manifesto “predicted an end to all social divisions but clinched the argument with a barrage of insults aimed at rival groups,” a habit that has persisted ever since. Part of the problem may be the underlying notion of historical progress itself. If ‘History’ proceeds dialectically toward the telos, communism, then claims to rule made by men and women before the ‘end time’ will derive from their self-asserted position on the ‘cutting edge’ of that historical progress. ‘Top-down’ elitism may disappear, at least in theory, only to be replaced by a ‘horizontal’ elitism; ‘statesmanship’ may go away, swapped out for ‘leadership.’ And of course the would-be leaders will fight among themselves. Marx and his followers assumed that all this would sort itself out in the end, but that’s all they had: a wishful thought wrapped in a rhetoric of scientism.

    A Christian democrat from Genoa, Giuseppe Mazzini presents a more appealing face for egalitarianism than Marx ever did. Animated by “a redemptive new social gospel,” in 1831 he founded “Young Italy,” a secret society dedicated to the founding of a unified, democratic nation-state. He returned to Italy from his London exile in the annus-not-quite-mirabilis 1848, exhilarated by the newly-formed, but also short-lived, Roman republic. It soon became “clear that most people didn’t yearn for democracy, as Mazzini did, as a sacred end in itself,” and that, even more disappointingly, Italian democracy found no favor with God, at least in terms of some such earthly reward as longevity. Providence as interpreted by Mazzini proved no more reliable than History as interpreted by Marx. (It might be recalled that the God of the Bible acts on His own timetable, not ours.) “Mazzini, in defeat more famous than ever, returned to London,” where he exchanged rhetorical barbs with the Marxists over questions of idealism versus realism, Christianity versus atheism, nationalism versus internationalism, the modern state versus communism.

    The Paris Commune of 1871 renewed democratic hopes once more, and ended in similar disappointment. Once again, the city’s democrats manned the barricades, attempting “simultaneously to form a new municipal government, draft new policies to regulate the economy and society, and raise an armed force able to wage and win a civil war with a hostile but duly elected provisional government,” which had taken hold after Emperor Napoleon III had proven himself less-than-imperial in his war with Prussia. The Commune ended quickly and violently, but not without winning the accolades of Marx, who saw in it a “working class government,” the “political form at last discovered under which to work out the economic emancipation of labor”—a brief glimpse, if a failed experiment, in the egalitarian communalism the iron laws of History were sure to deliver, someday. Rosa Luxemburg put the very best face on things when she asked, rhetorically, “Where would we be today without those ‘defeats,’ from which we draw historical experience, understanding, power and idealism?” ‘Another day older and deeper in debt,’ a less enthusiastic observer might reply, but Marxian socialists soldiered on, millennial hopes undimmed. Miller astringently remarks, “Such a veneration was jarringly at odds with the realism and other tough-minded radical democrats championed in other contexts,” and indeed, such “quixotic myth-mongering also encouraged zealots to use self-defeating tactics in quest of unworkable goals, and this would become a defining feature of many modern experiments in radical democracy.”

    What such uprisings did accomplish was to strike a sort of salutary fear into monarchist and aristocratic elements, who began to cooperate with middle-class reformers to extend the franchise to workers (if not yet to women) and to tolerate “a new kind of political pluralism in Europe”—an ideological version of the religious pluralism liberalism had established. Europeans began to imitate none other than Andrew Jackson, at least respecting his interest in establishing popularly based political parties, competing more or less peacefully for votes registering the consent of the governed. This modus vivendi remained uneasy, however, with Marxists themselves splitting into the parliament-oriented Social Democrats and the harsher elements who insisted on retaining the option of bullets as well as ballots. In Russia, the latter form of soi-disant democracy prevailed, with consequences that would remain bloody long after the revolution itself was over.

    Such discouraging results may have led the sociologist Robert Michels to formulate what he called “the iron law of oligarchy,” holding that “a tiny minority of business and political leaders wield power regardless of a state’s ostensibly democratic political practices.” What Tocqueville saw at its beginning Michels and his contemporary Max Weber saw in its better-elaborated form, some seventy years later. The two scholars disagreed only on Michels’s residual Rousseauian longings, which Weber dismissed as utopian. Democracy remained for Michels “not a fiction but an inviolable matter of faith, precisely in Martin Luther’s sense (‘Here I stand, I can do no other.’)” Weber conceded to democracy only the possibility of a kind of benign demagoguery, which might “harness productively the otherwise dangerous passions of unruly and uninformed citizens” while the oligarchs ruled quietly behind their backs.

    Michels enjoyed no such luck. He lived long enough to see the rise of Mussolini, whom he mistook as the charismatic ‘leader’ Weber had described. He hoped (again remaining more utopian than his friend) that “a charismatic leader like Il Duce could help counteract the bureaucratic inertia of normal politics.” And moreover, Michels imagined, Mussolini could overcome that inertia in a democratic direction, as averred by the ‘philosopher of Fascism’ Giovanni Gentile, who proclaimed the Fascist State “a people’s state, and, as such, the democratic state par excellence,” a state in which the relation between state and citizen becomes “so intimate that the State exists only as, and in so far as, the citizen causes it to exist.” Under Gentile’s spell, one expects a modern state to mimic an ancient polis—somehow. To his credit, Michels remained a bit more sober, concluding that democracy and oligarchy will struggle to the end of time, and that ‘History’ goes nowhere, except in circles.

    A similar dynamic may be seen in the major ‘Left’ alternatives to fascism: progressivism and communism. Woodrow Wilson advanced the ‘leadership principle,’ making him seem to Miller closer to John Adams’s “natural aristocracy” than to Jackson’s “plebeian democracy.” However, it should be noted, Wilson’s aristoi think not in terms of natural virtues and talents but in terms of historical consciousness. This enabled Wilson to make his leadership principle consistent with his early work on the administrative state; no feature of progressivist historicism seeks to fulfill human nature so much as to master it, to conquer nature in the name of freedom. To Wilson, democracy inheres in a people made progressively more equal among themselves, not a people untutored by leaders and administrators. It is, as Miller observes reminiscent of Weber’s Führerdemokratie.

    Lenin took historicist Führerdemokratie in a more violent and tyrannical direction, undertaking to “smash” (as he put it) not only the bureaucratic-military machine of Czarism but also the bourgeois class, worldwide. ‘The few,’ strictly subordinate to ‘the one,’ both intending to level the social and economic conditions of ‘the many,’ formed a party that seized control of the existing state, transforming it after its own image under the slogan of “democratic centralism.” Where Wilson relied upon administrators, Lenin relied upon party militants. It might be added that Wilson also depended upon elections, assumed generally to register the ever-advancing leadership of ‘progressives,’ whereas Lenin felt no need for such things.

    Miller accordingly examines Walter Lippmann’s work on public opinion with some care, inasmuch as the progressive Lippmann came to doubt “the capacity not just of ordinary citizens but also of their elected leaders to meet the challenges of governing a complex society.” As a journalist, Lippmann knew already what men like Donald Trump thunder about: the citizenry have come to need news media to provide information about such a society, to organize the information, to highlight what’s important, what deserves citizens’ attention. Yet the minds of journalists think as wishfully and fearfully as everyone else’s minds do. ‘Fake news’ may be deliberately crafted, but it also can be the result of ordinary moral failings leading to intellectual failings, to failings of both perception and of judgment. To this, the people add their own passions, stereotypes, and misconceptions. Whereas “a simple, self-contained community”—a polis—might be understandable to its citizenry, more often than not, a modern state is too big and complicated for such comprehension, especially given its situation among many other modern states, equally complex and working at cross-purposes. Lippmann concluded that the common interests of democratic citizens must be, as he put it “managed” by a “specialized class” consisting of well-trained administrators and wise-man commentators such as himself. A few decades later, the Washington Post journalist and ‘insider’ Douglas Cater would publish a book describing elite journalists as “the fourth branch of government.” [2]

    In this sense, today “democracy as a form of government in most actually existing regimes is more or less a sham”—a fake regime in which fake news has taken its rightful place, so to speak. Yet paradoxically, in the twenty-first century “very few regimes, unlike most of those that existed in the early eighteenth century”—that is, before the American and French revolutions—”can rule over a subject population with impunity.” Rulers still need to account for the passions of voters, and indeed for the passions of non-voters in the more oppressive regimes. The many may not rule, but they set limits on the rule of the few.

    Miller concludes with a discussion of democratic prospects. Citing the later works of Samuel P. Huntington– particularly his The Clash of Civilizations (1996) and Who Are We? (2004)—he appreciates the sobriety of a thinker who puts the basic issue of social and political order—”Does anyone govern?”—prior to the question of the regime itself. “For the many peoples around the world in the last century who have had to endure massacres and famines in failed states, these are not academic questions”; while it is true that the worst tyrannical regimes have massacred and starved millions (causing even more deaths than wars, themselves often initiated by such regimes), even despots and imperialists sometimes prevent inter-communal slaughter.

    Miller also acknowledges Huntington’s recommendation to accept the diversity in a multicivilizational world: “A multicultural world is unavoidable because global empire is impossible.” Expectations of inevitable historical progress towards ‘one world’ have been greatly exaggerated, although they’ve not necessarily abated, however, as both Chinese and Islamist ambitieux will tell you.

    If so, Americans will continue to need to define themselves clearly. Huntington posits “four main components of American identity”: race, and specifically white supremacy (“the first and most important”); ethnicity (Anglo-Saxons as distinguished from other ‘whites’); religiosity, particularly Protestantism; and “ideology” (the “American Creed” expressed in the Declaration of Independence). There are some serious problems with this formulation. By putting race, ethnicity, and religiosity before the “Creed,” Huntington centers his analysis on conflict. But given the endurance of the American political union for nearly 250 years, this makes little sense. Something must be holding the country together; if Huntington means to say that our social bonds have consisted of white, Anglo-Saxon, Protestant domination, one must be at a loss to explain the Declaration of Independence itself, the United States Constitution, and the Union victory in the Civil War. The conflicts in all of those instances involved white, Anglo-Saxon Protestants struggling with other white, Anglo-Saxon Protestants over the questions concerning not only the regime, not only the conditions of civil peace, but the definition of what it means to be human, and not only over what it means to be ‘white,’ Anglo-American, or Christian. Huntington’s formula additionally fails to register a principal (and principled) conflict of the past century or so: the challenge American Progressives mounted to the moral foundation of the ‘old’ republic. To locate right in ‘History’ is to break radically with a regime that had located right in the laws of nature and of nature’s God. If right is said to change in the course of time, then no right can be unalienable. Rulers are no longer adjured to secure rights but to invent them. Government powers no longer need to be limited by and enumerated in a written constitution; they need to be expanded, elaborated, on no foundation in nature but on a purportedly progressive economic, social, and political evolution defined by the ‘leaders’ and administrators who run the new and far more ‘statist’ regime. Miller’s sensible question—”Why should Americans assume that their version of democratic idealism would prove any more resilient” than the regime of the late and unlamented Soviet Union “if put to the test by white nativism?”—becomes harder to answer if one defines America in Huntington’s ‘cultural’ terms, or the Progressives’ historicist ones.

    Looking back on his own instructive political experience, Miller sees in the recent “Occupy Wall Street” movement an echo of “my own experiments in radical democracy,” which also “quickly fell apart.” Both efforts collided with two problems: “the incompatibility of rule by consensus with accountable, responsible, government in a large organization” and with factions within small groups of person “with divergent interests and a limited patience for endless meetings.” Max Weber, meet Oscar Wilde. At the same time, Miller insists that “the search for a democracy of individual participation” lastingly changes one’s “sense of what politics can mean.” Yes: recovering some sense of the experience of the ancient polis—however attenuated that experience will be, given ‘modern’ (and indeed supposedly ‘postmodern’) assumptions and habits—cannot but give a thoughtful participant in such a recovery a more lucid perspective on political life itself.

    Miller thus looks with strengthened appreciation at the achievement of the American Founders, who combined democracy understood as popular sovereignty with the regime of republicanism and a federal state. This may be the best practical answer to those who wonder how some vestiges of small-scale local self-government can survive in the modern world of large, centralized states—states designed to crush small city-states and loosely-organized feudal states. Among his contemporaries, he admires Václav Havel, who carried many of these institutional structures into his Czechoslovakia, newly liberated from oligarchy and empire. To appreciate the achievement of the Americans and the Czechs can initiate consideration of the moral foundations of their regimes, neither of which make sense as ‘ideologies’ animated by the valorization of historical change for the sake of some imagined paradise-on-earth.

     

    Notes

    1. James Miller: The Passion of Michel Foucault. Cambridge: Harvard University Press, 1993.
    2. Douglass Cater: The Fourth Branch of Government. New York, Houghton Mifflin Company, 1959.

     

     

     

     

     

    Filed Under: Nations

    Gentlemen and Gentlemanliness According to Shakespeare

    July 19, 2019 by Will Morrisey

    William Shakespeare: The Two Gentlemen of Verona.

    Performed at the Michigan Shakespeare Festival, July 13, 2019.

     

    What is a gentleman? Are these two Veronese gentlemen true gentlemen? Why Veronese gentlemen, and not gentlemen from some other city? Why bring them to Milan?

    And while we’re at it, Shakespeare concludes his comedy with a reconciliation scene that we now find utterly implausible, even for a comedy. What was he thinking? Is the fault in the stars, in the brilliant Shakespearean constellation, or in ourselves?

    In the 1590s, when Shakespeare wrote, Verona was ruled by commercial-republican Venice. It may have been known as a city of romance; Shakespeare set Romeo and Juliet there, and it has surely been known as such ever since. So, gentlemen of Verona may be expected to be looking for love, for girls happily to wed. For gentlemen, marriage matters politically; aristocratic households not only possess wealth, they rule. Good marriages perpetuate aristocratic regimes, bad marriages ruin them. All regimes concern themselves with the problem of continuity, with the transfer of authority from one generation to the next. Monarchies see dynastic struggles and fear imbecile heirs to the throne, and in the American republic young Lincoln lectured schoolboys on “the perpetuation of our political institutions, as the founding generation passed from the scene.

    Milan has another regime, under another imperial ruler. Conquered by the Romans in the third century BC, Milan served as capital of the Western Roman Empire, beginning in third century AD. There the Emperor Constantine issued the Edict of Milan in 313, granting religious toleration throughout the empire and thereby enabling Christianity to spread unimpeded. The Roman aristocracy would need to adjust to the new religion, now, just as the modern European aristocracy would need to adjust to commerce and democracy, centuries later.

    In modern times, the Christian ruler of Milan, Ludovico il Moro, committed a notorious mistake. Needing an ally against rival, ever-squabbling Italian city-states in the 1490s, when other enterprising Italians were sailing the ocean blue for the New World, he called the king of France Charles into Italy. In 1500, Charles VII returned, this time to stay and to rule—an example of misguided policy by a Christian Italian prince Machiavelli would later deplore. In 1525, Hapsburg Spain took over, and in Shakespeare’s time Milan was part of the Holy Roman Empire.

    For centuries, Roman gentlemen knew exactly who they were, and what a gentleman was. But if the Empire becomes holy, at least in name, possibly in aspiration and even a bit in fact, what is a gentleman then, and who is one? ‘We democrats’ of later modernity miss the point of the play if we do not see that it’s about those questions, about aristocracy, the regime that claims to be the rule of the few who are best, men and women who claim the right to rule on the basis of their excellence—whether of virtue (as in Aristotle), ‘birth’ (social rank), wealth, or some combination thereof. In modernity, aristocracy often founds its claim on knowledge or expertise, calling itself ‘meritocracy’; traditionally, another sort of learning, learning in the liberal arts, enhanced a young man’s eligibility for positions of authority. Christians are numbered among ‘the elect’—a new sort of aristocracy, chosen not on the basis of virtues natural or conventional but by God, gratuitously.

    Given these cross-cutting, sometimes contradictory claims to rule by self-styled aristocrats, what is a young gentleman of Verona to do, and to think? Proteus, named for the classical world’s legendary changeling, who wrestled with Odysseus, intends to stay in his native city, close to his honorable beloved.  Valentine, whose name means “as one containing valor,” has no beloved. He prepares instead for an odyssey, intending to leave Verona, “To see the wonders of the world abroad” (I.i.6). Valentine criticizes love as a dubious investment of sentiment (“If haply won, perhaps a hapless gain”) and intellect (“a folly bought with wit, / Or else a wit by folly vanquished”) (I.i.32-35). If Valentine is an Odysseus and Proteus a Proteus, they will square off, someday (and Homer’s readers won’t put their money on Proteus). Now, however, they part as friends, agreeing to correspond. Proteus thinks Valentine seeks not so much the wonders of the world as honor, traditionally the aristocrat’s passion par excellence, the ruling passion of the noblest minds, as Publius would call it, nearly two centuries later. For the moment, Proteus’ mind is closed to wonder, his love for Julia having “metamorphis’d” him (he soliloquizes, recalling his Ovid), causing him to “neglect my studies, lose my time, / War with good counsel, set the world at nought,” making his “wit with musing weak, heart sick with thought” (I.i.63-69). His immediate worry is Julia’s failure to answer his most recent missive.

    Julia asks her lady-in-waiting, Lucetta (“light”), if she would “counsel me to fall in love” and, if so, with which of her suitors. Lucetta recommends Proteus but has “no reasons” for her recommendation “but a woman’s reason; I think him so because I think him so” (I.ii.23-24). This unilluminating counsel fails to impress Julia; Proteus “has never moved me” because in “little speaking [he] shows his love but small” (I.ii.29). Lucetta then produces the letter, which Julia pretends to scorn but delights in, tears up, then attempts to reassemble. Lucetta isn’t fooled, knowing that her mistress has made up her mind. But Julia’s initial concern will prove just.

    Proteus’s father, Antonio, also receives advice from a servant, or rather from his brother, a priest, who conveys it through his servant. Why does his lordship allow Proteus to stay at home, “While other men, of slender reputation, / Put forth their sons to seek preferment out,” whether to war, to voyages of discovery, or to “the studious universities” (I.iii.5-10). Antonio confesses to having thought the same thing: His son “cannot be a perfect man,” a man with a just claim to rule, without “being tried and tutor’d in the world: / Experience is by industry achiev’d, / And perfected by the swift course of time,” which his son is now wasting in Verona, Venice’s subordinate, while his friend Valentine is off (as servant Panthino reminds him) to the Holy Roman Emperor’s court in Milan (I.ii.20-23). When Proteus enters, reading Julia’s return letter, he lies to his father about its sender, telling him it’s from Valentine. This only confirms Antonio’s intention to send Proteus to the imperial city; after all, he will be reuniting the young man with his friend. In lying, Proteus tells himself, “I shunn’d the fire for fear of burning,” only to drench himself “in the sea, where I am drown’d” (I.iii.78-79). This hard lesson will not prevent him from lying many more times, however, with Protean abandon.

    At the Duke’s palace in Milan, Valentine’s servant, Speed, baits his master, who has reversed his opinion of love, having fallen for the Duke’s daughter, Silvia. Valentine has been so profoundly “metamorphosis’d” by love that “I can hardly think you my master” (II.i.26-27). For his own sport, Speed takes up Valentine’s former critique: “If you love her, you cannot see her” because “Love is blind” (II.i.61-63). With both Lucetta and Speed, the servant attempts to moderate a young boss. Valentine differs from Julia, however, because he makes no attempt to deceive him respecting his correspondence with Silvia; he chaffs Speed right back. Having no need of maidenly modesty, he has no need of maidenly secrecy. The crucial question will be whether an ‘Ovidian’ metamorphosis effected by love is merely ‘Protean,’ or does it instead bring out the nature of the lover, a nature that can remain faithful, unchanging?

    Being a maid, Silvia does have need of a ruse. Valentine has been gazing at her at table, and no woman in the world who isn’t blind as Love wouldn’t notice such behavior.  She has charged him with writing a letter to her (supposed) beloved, and she has come to tell him that “I would have had them writ more movingly” (II.i.117). She will permit him to revise and resubmit. “O excellent device!” Speed exclaims (II.i.128); the lady flirts well, having “taught her love himself to write unto her lover,” whom he now sees to be Valentine (II.i.156)—as he explains to his uncomprehending, disbelieving, love-tortured master. Is his servant in earnest but wrong, in earnest and right, or deliberately wrong and still baiting him, as his wont? Love is a chameleon, as Speed now and Valentine soon will remark, living on air (as chameleons were said to do)—that is to say, on hope—and changing colors in its blushes, its excitation, its jealous rages.

    Changeling Proteus implausibly pledges his constancy to Julia and then heads to Milan, where Valentine lauds his character to the Duke when told of his impending arrival. Proteus, Valentine avers, is a man of ripe judgment and “all good grace to grace a gentleman” (II.iv.70). So trusting, he does not hesitate to tell Proteus of his beloved, to extol her beauty and saintliness, and to introduce her to him. Between now and the flirtation over the letter, Speed has been proven correct; the couple are betrothed, and plan their elopement. Proteus now has other plans, having instantly conceived a passion for Silvia. His love, “like a waxen image ‘gainst a fire / Bears no impression of the thing it was. / Methinks my zeal to Valentine is cold, / And that I love him not as I was wont. / O! but I love his lady too much…” (II.iv.197-201). As for Julia, he has “quite forgotten her” (II.iv.191)—a Proteus of love, indeed. “If I can check my erring love, I will; / If not, to compass her I’ll use my skill” (II.iv.209-210). It doesn’t take him long to logic-chop his way to the latter course. He even concludes his ‘reasoning’ with a prayer, a prayer to Love: “Love, lend me wings to make my purpose swift, / As thou has lent me with to plot this drift” (IV.vi.42-43). Back in Verona, meanwhile, Julia tells Lucetta that Proteus’s “words are bonds, his oaths are oracles, / His love sincere, his thoughts immaculate,” and so on (II.vii.75-76). She plans to disguise herself as a man and run off to Milan to be with him. Sensible Lucetta doubts her mistress’s faith to be well-placed but, loyal herself, will not betray her plan.

    Proteus easily frustrates the elopement by disclosing Valentine’s plot to the Duke, who banishes the plotter. The Duke would marry his daughter to the wealthy Thurio, a Thor in name only—vain, cowardly, and blustering, a Thor of big thunder and small hammer, despised by prudent Silvia. For his part, Proteus offers ‘friend’ Valentine mock-moderate advice: “Cease to lament for that thou canst not keep” (III.i.241); trust to time. Write to Silvia and send your letters through me, as I shall deliver them faithfully. As it happens, Proteus’s servant, Launce, has formed a better estimate of Proteus than Valentine has done; “I am but a fool, look you, and yet I have the wit to think my master is a kind of a knave” (III.i.261-262). He suspects his master of being willing to launce, a lot.

    In this comedy, then, it is usually the case that the servants are smarter than their masters and mistresses. Even Launce’s dog, subordinate of a subordinate, routinely outwits his master, puts him to shame, induces his master to serve him. [1] This is Christianity ill-conceived, a Christianity in comical abdication of political responsibility, mock-Christian misrule. Who, then, are the true aristocrats? How will the aristocrats-by-convention improve themselves, become worthy of the authority they claim?

    The Duke isn’t doing so well, in that regard. His purpose as an aristocratic father with an eligible daughter is to choose a worthy suitor and so to continue his line, assuring that his family will continue to rule in the next generation. He too trusts Proteus, asking him his counsel on how to make Silvia forget Valentine and love Thurio. Proteus is more than happy to oblige, and to use what there is of the Duke’s prudence for his own advantage and against the Duke’s intention. Slander Valentine, the would-be Machiavel thoughtfully advises, “with falsehood, cowardice, and poor descent— / Three things that women highly hold in hate” (III.ii.32-33). Yes, but I cannot deliver such a message, the Duke calculates; it must come from the one “she esteemeth as his friend” (III.ii.37). Needless to say, Proteus promises to undertake the task, adding that he shall praise Thurio in the bargain, as Thurio himself is the first to suggest. The Duke and Thurio can trust Proteus, the Duke explains, because Proteus is “already Love’s firm votary / And cannot soon revolt and change [his] mind” concerning his lovely Julia (III.ii.58-59). That Proteus has already revolted and changed his mind, that his quick betrayal of Valentine proves him capable of doing just that, does not occur to the Duke or to Thurio. Milan’s rulers are misfits, aristocrats in name only. As for Proteus, he puts his faith in the power of poetry to persuade Silvia, and again the Duke concurs: “Much is the force of heaven-bred poesy” (III.ii.72). Proteus knows that not all poesy need be heaven-bred, but he does trust in its power; he trusts in what he knows to be human artifice, not in nature and not in God. Shakespeare also knows that not all poesy is heaven-sent, and wants his hearers to know it. He also knows the power of some poetry, but prefers to use it to illuminate and not to deceive. Hilariously, he has dolt Thurio choose to write the sonnet.

    A natural aristocrat will find his way to rule in nature itself. So we see when Valentine, self-exiled from Verona and banished from Milan, meets a gang of outlaws in a forest on the frontiers of Mantua. To win their esteem, along with his own and his servant’s safety, he tells them a prudent if not noble lie—that he was banished for killing a man, although “without false vantage or base treachery,” there being honor among killers as well as thieves (IV.i.29). Suitably impressed, upon learning that Valentine also possesses a useful knowledge (foreign languages) as well as the requisite virtù, they will have him for their king. “Some of us are gentleman,” one of their number explains, outlaws only because they committed murder and “such-like petty crimes” in “the fury of ungovern’d youth” (IV.i.44-45). It should be remarked that aristocratic regimes that fail to govern their youth, whether in love or in anger, cannot last long. Valentine agrees “to make a virtue of necessity” (as one outlaw puts it); in return, they will “do thee homage, and be rul’d by thee, / Love thee as our commander and our king,” albeit upon pain of death if he demurs (IV.i.62, 66-67). Judging that these new outlaw-allies may be more honest than some of those he has known in civil society, Valentine consents, “Provided that you do no outrages / On silly women or poor passengers” (IV.i.71-72). Of course not. Being gentlemen manqué, “We detest such vile base practices” (IV.i.73).

    As Proteus’s servant serves, doglike, a dog, so (Proteus admits), “spaniel-like,” the more Silvia “spurns my love / The more it grows and fawneth on her still” (IV.ii.14-15). Thurio arrives beneath Silvia’s room, where the Duke has confined her, with sonnet in hand and musicians in his train. Julia is there, too, disguised as a boy, listening to the preposterous serenade. Proteus’s betrayal stands exposed after Thurio gives up and Proteus makes another try at winning Silvia. More lies follow: Julia is dead, so he’s free to court another; Valentine is, too, so Silvia is equally free. After her scornful rejection, he begs for her picture as a consolation, which she promises to send in the morning, “loath” though she is “to be your idol” (IV.ii.124).

    Rid of him, she spins a counterplot with her friend Eglamour, whose name Shakespeare has borrowed from a hero of a medieval romance. Sir Eglamour of Artois is a Christian Hercules, performing heroic deeds in a story of courtly love that, counter to convention, leads to marriage and family. A good name, indeed, and Silvia knows him as “a gentleman”—”valiant, wise, remorseful [i.e., compassionate], well accomplished” (IV.iii.11-13). Like Julia, she would escape her father’s injustice and seek her beloved. She will need no protective disguise, as Julia did, because Eglamour consents to accompany her, although this will put him at odds with the Duke. His compassion or pity, consonant with both nature and Christianity, brings him to agree to guard her. Apart from Valentine, he is the only real gentleman in the play, although, being human and no demi-god, he will defend her in a less-than-Herculean way.

    Disguised Julia calls herself “Sebastian,” recalling the saint martyred after attempting to persuade the Roman Emperor Diocletian from persecuting Christians. “Sebastian” means “be ashamed,” and Proteus, who doesn’t recognize her in disguise, shows no more shame at his betrayals than the Emperor did at killing saints.  Having judged his own dog-serving servant unreliable, he asks her to deliver a ring to Silvia, which of course is the same ring Julia had given to him at the time they pledged mutual fidelity. Unlike Proteus, who uses deception to betray his friend, Julia will faithfully offer the ring to Silvia. “I am my master’s true confirmed love, / But cannot be true servant to my master / Unless I prove false traitor to myself. / Yet will I woo for him but yet so coldly / As, heaven it knows, I would not have him speed” (IV.iv. 98-102). Silvia unwitting proves more faithful to Julia than Proteus, plotting, saying, “Tell him from me, / One Julia, that his changing,” Protean, “thoughts forget, / Would better fit his chamber than this shadow,” the picture of herself that he wants her to exchange for the ring, which Silvia rejects because her finger “would not do his Julia so much wrong” (IV.iv.133). “Sebastian” reveals herself not as Julia but as Julia’s servant, whom Silvia accordingly rewards with a token of respect for her loyalty. Having proved herself good and faithful, Julia also proves vulnerable to a touch of jealousy; left with the picture of Silvia, she supposes herself no less lovely than her rival, concluding that Love is indeed “a blinded god” (IV.iv.193). In judging, justice is blind to persons; in pursuing, Love is blind to judgment. To found a just regime, men and women will need to learn to love prudently and to judge justly, forming families aristocratic in the natural sense of the word, the rule of those best by nature, as guided by God. Before leaving in search of Valentine, Silvia goes to confession.

    Before Thurio left Silvia, Proteus told him to meet him the next morning at St. Gregory’s well. It is an unwittingly ironical choice, as St. Gregory was the man who sent Christian missionaries to England, where they led the Anglo-Saxons to conversion. Proteus intends no such holy purpose, but his mission will soon come to an end. By the next day, the Duke has discovered Silvia’s escape, correctly guessing that she’s left in search of Valentine. All parties will soon converge in the forest, in nature, outside the city and its conventions, where a re-founding of the Milanese regime may occur rightly, by the light of natural justice.

    An outlaw intercepts Silvia; Eglamour’s disappearance will remain unexplained, and he will not return. However things may have gone, the outlaw faithfully brings the lady to his captain, even assuring her: “Fear not, he bears an honorable mind, / And will not use a woman lawlessly” (V.iii.12-14). His fidelity to his promise not to harm women will serve him well, in the end. Valentine already knows that his men “love me well; yet I have much to do / To keep them from uncivil outrages” (V.iv.16-17). But he hides, seeing intruders in the forest.

    They are not strangers. Proteus, Julia/Sebastian are with Silvia, whom Proteus has seized from the outlaws; hoping to put her in his debt, he insists that they “would have forc’d your honor and your love” (V.iv.21). “How like a dream is this I see and hear!” Valentine thinks; like Proteus, he prays to Love, not for swiftness in the execution of a plot, as Proteus had done, but for exactly the opposite, for the “patience to forbear awhile” (V.iv.26-27). Valentine’s love is Christian, agapic not erotic: “Agape suffereth long and is kind; agape envieth not, agape vaunteth not itself” (I Corinthians 13:4). Christian love is patient, not protean,. Christian love enables not only the innocence of doves but the prudence of serpents. In terms of the names in the play, “Speed” is a servant for Valentine, a person under his rule; Proteus imagines speed a virtue, and his servant is a clown.

    Fortified with this loving patience, Valentine listens as Silvia laments her misery in having been rescued by “false Proteus,” exactly the sort of man to whom she would never want to be obliged (V.iv.35). He listens as she adds, “O, heaven be judge how I love Valentine, / Whose life’s as tender to me as my soul!” (V.iv.36-37). And he hears his beloved reveal not only her faithful heart but her clear mind, as when Proteus complains of “the curse in love” (Love’s final answer to his evil, impatient prayer), that “women cannot love where they’re beloved,” she rejoins with crushing logic that “Proteus cannot love where he’s beloved!”—in Verona, by Julia (V.iv.43-45). The Protean soul contradicts itself by rending its faith “into a thousand oaths,” by committing perjury, by saying two opposite things at once (V.iv.48). “Thou has no faith left now, unless thou’st two, / And that’s far worse than one,” making him a “counterfeit,” a false double, “to thy true friend!” (V.iv.50-53). This reduces Proteus first to appealing to convention masquerading as nature (“In love, / Who respects friend?”); when Silvia refutes this (“All men but Proteus”) he threatens to “love [her] ‘gainst the nature of love—force ye”—the very act he had begun by praising himself for saving her from (V.iv.50-54). Unblessed or even cursed by nature, or by the goddess Love, he would treat her as Machiavelli urges the prince to treat the protean, faithless lady Fortuna, to master her by force. “I’ll force thee to yield to my desire” (V.iv.59). The source of Proteus’s proteanism is the disorder of his soul, which he has turned in precise contradiction to its natural order. His reason serves his desires, and when reasoning fails to get him what his desires want, he resorts to spiritedness, to angry threats of force. Since (as Socrates observes in the Republic) the desires or appetites are foolish and inconstant counselors, he constantly bends himself out of shape.

    Valentine, whose soul is so ordered that his reason contains his valor, now puts that virtue to use, commanding Proteus to “let go that rude uncivil touch” (V.iv.60). In the wild, natural forest, outside civil society, his mind and heart command civility, speech over touch. Machiavelli teaches that one learns best not through hearing or faith, not through seeing or reason, but through the sense of touch—touch, which caresses or annihilates, mastering Fortuna. Valentine doesn’t need force to defeat the astonished Proteus; he need only address him as “Thou common friend, that’s without faith or love” (V.iv.63). Common: That is to say, he reveals Proteus as a commoner, not an aristocrat at all, unworthy of ruling anyone because incapable of ruling himself as a human being should do, if fully human. “Proteus, / I am sorry I must never trust thee more, / But count the world a stranger for thy sake. / The private wound is deepest” (V.iv.68-71). Valentine’s own status as a ruler crumbles if civil and even personal friendship disintegrates. Aristocracy requires the virtues of courage, moderation, justice, prudence, fidelity in friendship and in love. For an aristocrat to be a counterfeit, aristocratic in convention, in title or appearance only, ruins aristocracy, makes the world itself a stranger, which is to say a foreigner, not merely an illegal but a natural alien. Machiavellianism alienates nature, and in so doing destroys not only conventional aristocracy, the political balance-wheel between ‘the one,’ the prince, and ‘the many,’ the commoners, but destroys the real, natural aristocracy upon which every conventional aristocracy must finally rely.

    Here is where ‘we democrats’ misunderstand the ending of the play. Proteus, for all his faults, retains an element of aristocracy in his soul. He has attempted to play the leonine and vulpine prince, but he still has a core of virtue that his would-be virtù cannot quite smother. He can still feel shame, the reverse side of the honor that is the ruling passion of the true aristocrat’s mind. Confronted by the outraged friend he has betrayed, he admits that “My shame and guilt confounds me” (V.iv.74). Instead of offering battle he asks for forgiveness. Only in a soul formed and informed by natural right and Christian or agapic love can this response make sense. The same is true of Valentine’s response:

    Then I am paid;

    And once again I do receive thee honest.

    Who by repentance is not satisfied

    Is nor of heaven nor earth, for these are pleas’d;

    By penitence th’ Eternal’s wrath’s appeas’d.

    And, that my love may appear plain and free,

    All that was mine in Silvia I give thee.    (V.iv.78-83)

    If God forgives penitent sinners, and if nature does, too, why should humans not forgive? Is Proteus’s sudden show of shame and guilt, along with his repentance and humble request for forgiveness, only another shape-shifting, soon to be forgotten by him? Is Valentine’s immediate reversal of his distrust, his natural (that is, rational) and Christian forgiveness implausible, or even a ruse, a deeper Machiavellianism? Unlikely: This is a comedy, and Shakespeare does not intend to appeal to the supposed realism of Machiavellians or democrats, but to the realities of natural right and Christian grace, which Tocqueville identified as the democratizing gift of an aristocratic society. The resulting democratic society yet stands in need of aristocratic guidance, Tocqueville added.

    But what of Julia, still disguised as Sebastian? Overwhelmed by all of this, she covers and reveals herself by stepping out of the shadow of her disguise, as Valentine had stepped out of the shadows of the forest. She too rebukes Proteus, invoking his shame at his own commonness, baseness, vulgarity. Behold the woman:

    Behold her that gave aim to all thy oaths,

    And entertain’d ’em deeply in her heart.

    How oft has thou with perjury cleft the root!

    O Proteus, let this habit make thee blush!

    Be thou asham’d that I have took upon me

    Such an immodest raiment—if shame live

    In a disguise of love.

    It is the lesser blot, modesty finds,

    Women to change their shapes than men their minds.  (V.iv.101-110)

    The root of nature, the heart, will be cleft by the many-minded, self-contradictory man. The relation of heart to mind, of morality to reason, deranged, ought to shame not only an aristocrat but a man as such.

    And so it does. Proteus admits “’tis true” (V.iv.110). Inconstancy is the original sin, the “one error that fills [man] with faults,” making him “run through all th’ sins” (V.iv.111-112). To run: to be impatient, to hasten, to change senselessly, to be ruled by the desires. “What is in Silvia’s face but I may spy / More fresh in Julia’s with a constant eye?” (V.iv.114-115). That is, constancy of heart is the indispensable condition of clarity of mind, of the reasoning mind whose exercise shows men human, and makes aristocrats just. At this, Valentine again intervenes. With right relations restored, he proposes reconciliation of both the friends and the lovers. Proteus and, crucially, Julia agree to the covenant. What Christian aristocrats of the Tudors’ English regime once understood and accepted as plausible, at least in an instructive stage comedy, we modern democrats, we petty Machiavels, do not. Were they the deluded ones, or are we?

    As for Valentine and Silvia, there remains the matter of her father, the Duke, who now blunders in, accompanied by thundering arch-blunderer Thurio. Upon seeing Silvia, Thurio claims her as his own, but Valentine proves the more valorous of the two (no hard thing), threatening to thrash him if he touches her, and the false Thor instantly decides that only a fool “will endanger / His body for a girl that loves him not” (V.iv.133-134). The Duke has prudence enough to recognize the obvious: “The more degenerate and base art thou / To make such means for her as thou hast done / And leave her on such slight conditions.” (V.iv.136-138) No true aristocrat, Thurio. Therefore “by the honour of my ancestry”—in the name of his aristocratic lineage—”I do applaud thy spirit, Valentine, / And think thee worthy of an empress’ love” (V.iv.139-141). Valor is the spirit of the true aristocrat, and the Duke now sees that he needs to re-found his regime by ending Valentine’s banishment but much more, to “Plead a new state in thy unrivall’d merit” (V.iv.144). This new state, this new regime, will find support in the man he now addresses as Sir Valentine. “Thou art a gentleman, and well-deriv’d; / Take thou thy Silvia, for thou has deserv’d her.” (V.iv.146-147). The Duke of Milan has clearly stated what a gentleman really is, and it is on this true perception, made possible by a reformed because dis-illusioned heart, that the renewed and more truly aristocratic regime will rest.

    Valentine’s first act as a co-ruler of that regime is to reincorporate its remaining repentant scapegraces, the outlaws who preceded him in banishment. They are, he tells the Duke, “men endu’d with worthy qualities,” deserving now of forgiveness, having become “reformed, civil, full of good, / And fit for great employment, worthy lord” (V.iv.154-157). The Duke immediately pardons both them and Valentine, telling his future son-in-law to “Dispose of them as thou know’st their deserts” (V.iv.158-159). Clear-sighted, because virtuous, Valentine knows them because he is clear-sighted, and will then be able to exercise the virtue of justice wisely—justice and wisdom being the virtues of the ruler par excellence, the virtues needed in politics. The Duke then proposes an extraordinary ‘royal progress’ back to Milan—extraordinary because they shall proceed “with triumphs, mirth, and rare solemnity” (V.iv.161). The circumstance makes celebration of victory understandable enough, but how can mirth and solemnity combine? Only in comedy: the high seriousness of tragedy has no mirth, but comedy treats of “high” or noble things with a happy ending, an ending whereby all the elements that might make for tragedy are harmonized as a graceful spirit and the rule of reason over hearts corrected by grace take hold among the rulers of the political community. Comedy is aristocracy gone right, tragedy aristocracy gone wrong. Too much democracy will form souls that blink uncomprehendingly at both.

    There is even a hint of philosophy to come. Valentino introduces the Duke to Julia, still in boy-disguise. “I think the boy hath grace in him; he blushes,” the Duke observes, happily noting an aristocratic sense of shame in the supposed lad (V.iv.165). Valentine warrants him “more grace than boy,” and when the Duke asks what that could mean he promises to tell the story in the return, triumphant, trip (V.iv.166), promising in addition that the Duke will “wonder” at the tale (V.iv.169). Before embarking on his odyssey, Valentine had said he intended to see the wonders of the world abroad; Proteus had supposed Valentine’s motive to have been the quest for honor. Valentine has seen the wonders and found honor, as well. As for Proteus, it will be, just Valentine remarks in his final act of justice, Proteus’s act of penance will be to hear “the story of your loves discovered” (V.iv.171).

    After that, Valentine promises, the regime will be re-founded on the two marriages, re-founded on “One feast, one house, one mutual happiness!” (V.iv.174). Love and friendship, sundered by the chaotic soul of Proteus, and a sundered aristocratic regime, nearly ruined by the overbearing and imprudent father-Duke, will both achieve reunion on the only stable foundation for private and public good, fidelity. Henceforth the private fidelity of marriage and the public fidelity of justice will reinforce one another, securing the truly human purpose, happiness.

     

    Note

    1. See II.iii.1-29 and IV.1-36.

     

     

     

     

     

     

     

    Filed Under: Manners & Morals

    Taming Our Shrewishness

    July 15, 2019 by Will Morrisey

    William Shakespeare: The Taming of the Shrew.

     

    Performed at the Oregon Shakespeare Festival, Summer 2007.

    Performed at the Michigan Shakespeare Festival, July 22, 2017.

     

    In front of an alehouse on a heath—a wild place in a wild place—the indignant hostess confronts Christopher Sly. A tinker or itinerant pot-maker, Christopher Sly lives up to the reputation of his profession, then held to be an occupation for drunks. He doesn’t live up to either part of his name, except in the way he puns off the name of his family: “Let the world slide” (Induction i.5). But as to the rest, he is neither a providential nor a provident man. Not Christlike—innocent as a dove, prudent as a serpent—not Machiavellian—vulpine and lion-like— he could not be less a ruler than he is. Incapable of rule, including self-rule, he seemingly cannot be ruled, at least not by the poor Hostess, whom he refuses to pay for some ale glasses he broke. Unjust, a man who will not pay his debts, like all drunks he harbors too much anger as well as too much appetite in his soul. Aristotle might call him the the least political man imaginable, and therefore not fully a man at all, since man is the political animal.

    A better ruler, called only “Lord,” chances by, with his retinue and his hunting dogs. [1] Seeing poor, passed-out Sly, he likens him to a swine but recognizes him as human, a “drunken man,” under the Circean spell of ale (Induction i.34). But as a true ruler, the Lord not only judges men aright, he knows what to do with them. Take him back to my home (out of the wild, back to civil society) and make him “forget himself” (which is indeed a favor, given the character of his ‘self’) (Induction i.38). Like a stage director in a play, the Lord directs his men to hang “his fairest chamber” with “all my wanton pictures”; “balm his foul head with warm distilled waters”; scent the air by burning “sweet wood”; when he awakes, have music ready, “a dulcet and heavenly sound” (Induction i.44-49). Sight, touch, smell, hearing: four of the five senses will ‘argue’ for a new identity; eroticism, especially, brings a man out of himself, redirects his thoughts to the loved one (or ones, as there is more than one wanton picture). The Lord does not appeal to Sly’s taste, inasmuch as it inclines to the taste of ale. Let that sleeping swine lie.

    “If he chance speak”—show a telltale sign of humanness—tell him a noble lie (Induction i.50): Address him as His Honor, ask him for a command; will you wash yourself, will you dress yourself, and how? Tell him he is a hunter, a horseman, a husband whose lady “mourns at his disease,” which is lunacy—a dreamlike condition from which he has just now awakened (Induction i.60). “Do it kindly, gentle sirs”; kindly means naturally, as he must be called back to his true, human, nature by natural means (Induction i.64). The Lord induces his men to look at it as an amusement, “pastime passing excellent, / If it be husbanded with modesty” (Induction i.65-66). Husbandry or agriculture works with nature; modesty or moderation works with care. He instructs his page, Bartholomew, to dress as a woman and pretend to be Sly’s wife, and to tell him he’s been deathly ill for seven years. Later, one of the Lord’s servants more than doubles the number to fifteen. With fine comic timing, a troupe of actors arrives, looking for work, which the Lord is happy to give them, inviting them to join in with “some sport in hand / Where you cunning can insist me much” (Induction i.89-90). But above all he needs them to rule themselves throughout the stage business. Don’t act ‘out of character’ in my play, lest my stagecraft fail. “Haply my presence / May well abate the over-merry spleen, / Which otherwise would grow into extremes” (Induction i.34-36). The true ruler’s presence moderates the passions of those he rules, civilizes them. He rules by natural means (water, sweet smoke) and mostly by art (wanton pictures, music, a play); Sly is very far from being ready for a real and civil life. He needs a comprehensive moral education.

    The Lord and his men carry out this plot. Awakened but far from ‘woke,’ the patient asserts his identity: “I am Christopher Sly; call not me ‘honor’ nor lordship” (Induction ii.5). Reverting to his favorite appetite, he swears he “never drank sack in my life,” sherry being a gentleman’s drink, unlike his preferred ale, the drink of the people (Induction ii.7). For food he wants salt beef. He even gives his lineage, far from aristocratic, dating back only so far as his father, plain Burton Heath, a name that suggests the wild and inhuman part of nature where Sly was found. Son Christopher has been something of a changeling—peddler by birth, cardmaker by “education,” a keeper of a tame bear “by transmutation,” and “by present profession a tinker” (Induction ii.16-19). “Score me up for the lying’st knave in Christendom,” English Christendom’s finest example of the Cretan liar (Induction ii.23-24). To this, the Lord adjures him to “Call home thy ancient thoughts from banishment, / And banish these abject lowly dreams” (Induction ii.29-30). He commands Apollonian music, the opposite of Dionysian drunkenness. With judgelike authority, the Lord proclaims “Thou art a lord, and nothing but a lord,” with “a lady far more beautiful/ Than any woman in this waning age” (Induction ii.59-61).

    That arrests the man’s attention, begins to reform his self-knowledge. “Am I a lord and have I such a lady?” (Induction ii.66). Do I dream now or have I been dreaming? Surely, “I do not sleep: I see, I hear, I speak;/ I smell sweet savours, and I feel soft things” (Induction ii.68-69); with a boost from wishful thinking, his senses convince him, as planned, even as common sense could not—he having little of that to work with. He calls for ale again, but now only the weakest kind. The Lord’s men ignore that, instead bringing in his ‘wife,’ Bartholomew, who tells him the doctor has left instructions for her not to share his bed with him, lest his illness recur.  The actors, whom the Lord encountered out on the heath, will cure his understandable melancholy at having his eros first aroused, then denied. They will stage a play, “The Taming of the Shrew.” This play-within-the-play will have its own play (or plays) within it, as the several levels of noble lies are arranged to lead not only a drunkard but all of Shakespeare’s audience (each of us likely drunk with some impediment to wisdom and the other virtues) to clear-eyed thoughts, through the senses but beyond them.

    In the play we meet Lucentio (“Light”) and his servant Tranio. They have journeyed from Lombardy (specifically the city of Pisa, “renowned” for its “grave citizens”) (I.i.2). Lucentio would leave the home of a merchant father, foregoing citizenship for the liberal arts, the way to the philosophic life. “Here let us breathe, and haply institute/ A course of learned and ingenious studies” (I.i.8-9), especially the study of “Virtue and that part of philosophy” which “treats of happiness/ By virtue specially to be achiev’d” (I.i.18-20)—the philosophy found in Aristotle’s Nicomachean Ethics. Ah, but as Tranio may know, the Ethics might lead to the Politics, or, if not to politics, then to Stoicism. “Let’s be no Stoics nor no stocks”—restraints—”I pray,/ Or so devote to Aristotle’s checks”—his moderation—”As Ovid be an outcast quite abjured” (I.i.31-33). Logic, yes; rhetoric, very well; “music and poesy” by all means; even mathematics and metaphysics (I.i.36): But ‘pray’ “Fall to them as you find your stomach serves you. / No profit grows where is no pleasure ta’en” (I.i.37-38). Epicurean Tranio has a mind rather like an American college student; he likes a curriculum with as many ‘electives’ as possible: “In brief, sir, study what you most affect,” what you want (I.i.40). If you would flee political life, select from Aristotle’s books as you please, but avoid the stern apoliticism of the Stoics and embrace the pleasurable apoliticism of the Epicureans. In Plautus’ play, Mostellaria, from which Shakespeare borrows him, Tranio is a clever slave, as indeed he is here: a man of wit, a fixer, but of ‘slavish’ character—low, pleasure-preferring, given to manipulating the low side of other souls, bending them to his own inclinations. “Gramercies, Tranio, well dost thou advise,” replies Lucentio, as he inclines toward becoming a genteel version of Sly (I.i.41).

    An object for erotic desire enters immediately. A Paduan gentleman, Baptista Minola, has an apparently unmarriageable daughter, Katherine, “rough” and shrewish elder to studious, beautiful and modest Bianca. Hortensio and Gremio (the latter an unsuitable suitor, a comical old man exemplifying a stock figure in Italian comedy) would court Bianca, but Baptista will not marry his younger daughter until he finds a husband for undesirable Katherine. Upon seeing Bianca, Lucentio falls in love, too. He devises his own ‘play’ or plot to win her, proposing to present himself as a tutor in order to gain access to Bianca. Meanwhile, Tranio will assume Lucentio’s identity in Padua, a plausible imposture because faces alone don’t distinguish master from manservant. Nature makes no such distinction, at least physically; they can change clothes, even as a clothing change was part of the ‘play’ on Sly, and even as actors in plays change into their costumes, into their assumed identities—to sleep, perchance to dream, not of some Hell but of a person and of things outside their ordinary selves. And so, perhaps, to learn. Shakespeare himself served in his company as plotter, ruler, and player. And he learned as he went, from histories and light comedies to tragedies to The Tempest. Lucentio announces that he has another, undisclosed, purpose in his plotting, but does not say what it is.

    This is to say that the Lord presents the changeling Sly with a play about changelings played by actors (themselves by definition changelings). The play will invite Sly to change, to reorient his soul, even as his condition has been changed for him by the Lord.

    Veronese gentleman Petruchio and his servant Grumio (not to be confused with old man Gremio) have arrived in Padua to visit his “best beloved and approved friend,” Hortensio (I.ii.3). (The root of “Hortensio” means “garden”; there is perhaps a hint of apolitical Epicureanism in this university town.) His father having died, Petruchio seeks in Padua not the liberal arts but a fortune and a wife, preferably in the same person. Hortensio tells him he knows a prospect, unfortunately “shrewd and ill-favoured” (I.ii.58) but assuredly “rich, and very rich” (I.ii.61). As manly and thumotic as Lucentio is ardent and ‘intellectual,’ Petruchio replies that “wealth is the burden of my wooing dance” (I.ii.66). Therefore, “Be she as foul as was Florentius’ love” (an old hag who nonetheless turned into a beautiful woman, by magic), or “old as Sibyl,” or even “as curst and shrewd / As Socrates’ Xanthippe or a worse”—philosophy lingers in the background, even with Petruchio—all’s well that ends well, wellness being defined by him as wealth (I.ii.67-69). [2] He too has a plot: He will disguise himself as a music teacher to gain access to Baptista’s household, then take things from there.

    Lucentio (having assumed his new identity as tutor “Cambio”) and Gremio pass by, discussing their own plots to win Bianca, overheard by the two friends. But Hortensio doesn’t know everything, as he assumes that Gremio really is Lucentio, and that he must be a rival to Petruchio for the hand of Katherine. Of course there’s no real conflict, as these suitors aim at different women. This becomes clear as Petruchio discourses on Katherine, “an irksome brawling scold” (I.ii.184) whom he nonetheless intends to woo: “Have I not in my time heard lions roar?” and the winds howl at sea, seen the “angry boar chafed with sweat” and “the great ordinance in the field,” indeed the greater “thunder in the sky” (I.ii.196-201)? Hunter (like the Lord), sailor and soldier, perhaps unfearful of Heaven’s lightning itself, why should Petruchio fear “a woman’s tongue” (I.ii.204)? He will proceed to vindicate his boast.

    Lucentio’s servant Tranio enters, playing Lucentio, and proposes that he, Hortensio and old man Gremio, Bianca’s suitors, deal with one another “as adversaries do in law—/ Strive mightily, but eat and drink as friends” (I.ii.275-275). It is a fine proposal for a comedy, and also sets up Tranio’s two gulls for the deception needed to give his master the decisive edge in his contest to win the lady.

    Baptista’s house is the setting for the beginning of Petruchio’s celebrated taming of Katherine, who’s been acting insufferably toward her father and Bianca. Suspecting her blameless sister of desiring Hortensio, rich old Gremio, or both, she strikes her; when Baptista reprimands her, she turns on him, accusing him of favoring Bianca and vowing revenge. Baptista’s deranged household thus consists of a weak father, a rebellious and unsisterly daughter, and a decent young woman who for now must suffer them both. Padua, a place of liberal learning, features serious deficiencies in at least one of its ruling families. Families being the foundation of cities, of political life, Padua may be a university town with a government problem.

    The several suitors arrive, and Petruchio executes his strategy, which is to contradict Katherine at every turn. Goading her by calling her by the diminutive, ‘Kate,’ he taunts her by praising her as pleasant, gamesome, courteous, slow in speech, yet “sweet as springtime flowers” (II.i.239). With broad irony, he lauds “her princely gait” (II.i.252) and her likeness to the virgin goddess, Diana—the way of a princess ambitious for rule but unfit for it, an impediment to the continuation of her own family and therefore in contradiction with her own ambition. He turns to romantic language, the language of courtly love, into a vehicle of infuriating mockery. For once, the lady is at a loss for words, speech being the coin of politics. She can only sputter, as her father offers her hand in marriage. She recovers her speech sufficiently to protest to when her desperate father, objecting to this impending marriage to a man she judges a “half lunatic,” “mad-cap ruffian” and “swearing jack” (II.i.280-281). Her taming has just begun; Petruchio exits, off to Venice to buy wedding-clothes, but not before describing his betrothed as “temperate as the morn,” the virtue associated with wise rulership in the play’s Induction. As Caton observes [3], Petruchio proceeds with Katherine very much as the Lord did with Sly, in principle if not in practice: To tame the immoderate and unruly soul, he subjects it to the opposite of what it wants, contradicting it at every turn. Unlike the Lord, he does not do so gently, as it were behind the back of his ‘student.’ Public shaming, not private illusion, must be the way to amend a soul drunk not on ale but on the will to power.

    Gremio and Tranio (as “Lucentio”) end the scene by arguing over which of them deserves Bianca, appealing to Baptista’s love of wealth by describing their riches, real and alleged, respectively. Tranio outbids Gremio, but now he needs to produce the rich father he claimed. The two self-announced suitors appeal to the father. The two secret suitors, the real Lucentio (as tutor “Cambio”) and Hortensio (calling himself “Litio,” playing the role of a music-master), will make their approaches to the daughter. Both men pass love notes to Bianca in the course of ‘teaching’ her. She prefers “Cambio,” who rightly strikes her as the truer man, beneath the disguise. Hortensio proves the accuracy of her judgment by immediately thinking of shifting his love to someone else.

    Long before the actress-queen in Hamlet, Katherine shows herself a woman who protesteth too much, chafing at Petruchio’s absence after having tried to order him to go away. It is this hitherto well-submerged sense that she hasn’t been living well in her father’s household, that she somehow wants and needs a husband stronger than her father, that makes her curable, that will enable Petruchio’s strong medicine to work. When he arrives, disheveled, clever but unwise Tranio begs him to “see not your bride in these unreverent robes,” to “go to my chamber, put on clothes of mine” (III.ii.108-109). Petruchio is not a man to be ‘dressed’ by another, advised by a very clever but less prudent (and less manly) man. The lady will be marrying him, not “my clothes” (III.ii.113), he replies. What she sees will be what she gets. Tranio suspects method in this madness, which continues at the wedding, when Petruchio avers to be “master of what is mine own,” a wife who “is my goods, my chattels,” and “my house,” and indeed his household stuff, field, barn, horse, ox, ass—”my any thing” (III.ii.225-228). Because she is his own, however, the man of military valor will defend her as his own, against all comers: “Kate, I’ll buckler thee against a million” (III.ii.235). He rules her by virtue of his nature, not by the dubious virtue of ‘clothes,’ that is, of convention, changeable appearance. Moderate Bianca, who needs no such taming, remarks that her sister, “being mad herself,” has been “madly mated” (III.ii.240). Thumos has yielded to the superior thumos.

    Nor is Petruchio done. The shrew has yielded, but perhaps not wholeheartedly—and if not wholeheartedly, then not for long. Reversing the tactic of the Lord, he takes Katherine from the city to the country. Sly is a human being ‘countrified’ by ale, a drunk passed out on the heath—in a ‘state of nature,’ as later writers would put it. He needs to be civilized gently, by means of seductive illusions, removed to civilization to live a noble lie for a time, in order to learn the truth about his real nature. Katherine, an uncivilized denizen of eminently civil, indeed liberal-artsy, Padua, needs not the gentle atmosphere she has learned to exploit but roughness, exposure to harsh truths, crushing defeat by someone who plays her own game better than she does. She needs exposure to a state of war. Petruchio abuses the servants; she pleads for them, thereby getting out of herself, as did Sly under the rule of the Lord. As one of the servants remarks, “He kills her in her own humor,” even as the Lord kills Sly with kindness (IV.i.169). Like Sly, she “sits as one new risen from a dream” (IV.i.170). In both cases, it is a dream induced in order to bring the patient back to reality. “Thus have I politicly begun my reign,” Petruchio replies (IV.i.172). Unlike Lucentio, like the Lord, Petruchio is a political man. But Caton is wrong to think that he is a Machiavellian one. [4] Petruchio rules her not as a tyrant, for his advantage alone, but for her own good. That is, he rules her as a parent rules a child, replacing her hapless father in founding a new household. “Amid this hurly I intend / That all is done in reverend care of her” (IV.i.187-188). Here he reveals his true nature; he had claimed to be interested only in a rich wife, but now we know he wants a good one. Right rule is a kind of practical wisdom: “He that knows better how to tame a shrew, / Now let him speak; ’tis charity to show” (IV.i.194-195). Like his near-namesake Petrarch, Petruchio knows how to address a woman. Courtly Petrarch shows how to address a gentlewoman; Petruchio shows how to address an ungentle and indeed unkind one.

    He soon teaches her how to beg, instead of her habitual commanding. He starves her body, taunting her by offering and then taking away both food and clothing. Enforced bodily suffering requires recourse to the mind, and indeed, as Petruchio instructs her, “‘Tis the mind that makes the body rich; / And as the sun breaks through the darkest clouds,/ So honour peereth in the meanest habit” (IV.iii.68-70). Her thumos, misdirected toward prideful libido dominandi, must be redirected toward the natural honor of a human being, founded in its distinctive nature, the capacity to reason. “O no, good Kate; neither art thou the worse/ For this poor furniture and mean array” (IV.iii.175-76). As with Sly, she must learn her true ‘identity,’ her nature, stripped of convention. When she continues to murmur in rebellion, Petruchio even ‘makes’ time stand still: “It shall be what o’clock I say it is” (IV.iii.191). (Newton supposes time a constant, but Petruchio anticipates Einstein.) He soon makes her call the sun the moon, and then the sun again. Like the Lord, he bends his patient’s perceptions of nature to his will, so as to break her ill-will, and by so doing bring her to see nature aright.

    Back in the city, in front of Baptista’s house, Tranio finds in an elderly “Pedant” passing by the perfect type for the needed role of Vincentio, Lucentio’s ‘rich father.’ As a smart casting director, he gives the old fellow motivation, gulling him into believing that his life’s in danger, telling him that he must assume the role of Vincentio for safety’s sake. Pedants and the elderly alike tend to have timid souls. His master and Bianca plot elopement; this is the additional plot Lucentio had hinted at, earlier, as he deployed the decoy ‘Lucentio’ to distract Baptista’s attention from the doings of the real one with Baptista’s daughter. But his, their, plot takes a twist when his real father meets Petruchio along the road and learns from him of the impending marriage. The elopement proceeds, but the young marrieds must now return to Padua, and to their fathers, neither of whom is a happy man for the deceptions. Petruchio and his Kate (herself now openly in love) can now watch the show with amusement, as the quiet, seemingly docile couple have made themselves the center of controversy.

    They all gather not at father Baptista’s house but at Lucentio’s; as the Bible and nature both command, the newly-married couple cleave to one another, form a new household. There, Lucentio can offer his guests hospitality, bring “our jarring notes” to “agree” (V.ii.1). “Feast with the best, and welcome to my house” (V.ii.8). (At last, Kate will be fed.) “Pray you, sit down; / For now we sit to chat as well as eat” (V.ii.10-11). This is the first time anyone in the play sits, comes to rest. To eat is to serve the body; to speak is to exercise the mind; the jarring notes of body and soul can now agree in the newly and rightly constituted household, where the newly and rightly constituted household of spirited Petruchio and Kate are welcome guests. When Baptista, Petruchio, Lucentio, and Hortensio (successfully married to a rich widow) make a playful bet on whose wife is the most obedient, Petruchio wins; Kate’s love of victory, redirected, can now contribute to a re-founded, better household than the one she left for marriage.

    She makes her victory speech to the ladies, when commanded by Petruchio to “tell these headstrong women / What duty they owe their lords and husbands” (V.ii.135-136). This she proceeds to do, but not in her former way, by her once-characteristic habit of berating. She reasons with them. Her rhetoric depends upon an account of human nature. She teaches them that nature, shared by men and women, has also has differentiated them. She will prove a better Paduan lecturer than many a university prof, then and there, now and here.

    “Unknit that threatening unkind brow” (V.ii.136). As always in Shakespeare “kind” means natural, as in grouping natural objects according to their kind, their species. Some parts of nature are also kind in our sense, but not all—as for example the heath from which the Lord rescued Sly. Why is a threatening brow unnatural in a wife? Kate offers four reasons: It wounds your husband, your rightful ruler; it blots your beauty; it ruins your “fame,” your reputation; it is neither “meet” nor “amiable” (V.ii.140-41). Like a dirty fountain, no one will drink from it. That is, if a wife will share a household with her husband, any attempt to inspire fear will fail, if he is a real man, the kind you want for a husband. Your way with him must go through attraction, through your beauty and your amiableness. You will be better off if respected by him, and by others; your honor, even the honor of your family, depends on it.

    Properly, your husband is your sovereign, but both a gentle and a kind one, one who “cares for thee” (V.ii.147). He does this by committing his body to “painful labor both by sea and land” (V.ii.147). You stay “warm at home secure and safe” (V.ii.151). In justice, you owe in return for his care “love, fair looks, and true obedience,” the duties a subject owes his prince (V.ii.153). Why so? To disobey “his honest will” makes the wife a “graceless traitor to her loving lord” (V.ii.158-160). But why are these sharply distinct ‘roles’—our own contemporary term suggests playacting—natural?  By nature, women’s bodies are “soft and weak and smooth,” ill-fitted for painful labor both by sea and land, at least in comparison to the bodies of men. Undermine your husband and you weaken his ability to defend you and the household you share with him. The bodies of women are fitted for living in soft conditions, not for “toil and trouble in the world (V.ii.166). Our hearts should be correspondingly soft, Kate urges—harmonized with those of caring husbands, as the Apollonian music heard by Sly might do to his shrewish, unruly soul. Therefore, she reasonably concludes, wives should curb their willfulness and do their own natural duty, even as husbands do theirs.

    “Why, there’s a wench!” Petruchio rightly exclaims (V.ii.180). He commands a kiss, and receives one. “We’ll to bed” (V.ii.184), as their marriage is now of a kind as may prove a just, natural, secure foundation for a family.

    As for his brother-in-law Lucentio, in victory Petruchio can be magnanimous, great-souled: ‘Twas I who won the wager, though you hit the white”—punning on Bianca’s name—and “being a winner, God give you good night!” (V.ii.186). Whereas thumotic Petruchio presents the matter in terms of victory, Lucentio presents it in terms of thought: “‘Tis a wonder, by your leave, she will be tam’d so.” Philosophy begins in wonder. Lucentio came to Padua to study philosophy, the crown of the liberal arts. Tranio has failed to side-track him. Lucentio needs the example of his spirited, shrew-taming friend to spur him to philosophy, away from a slack epicureanism. Fortunately, his own wife will need no taming, so the young Socrates, if that is what he proves, will have no Xanthippe to harass him. In forming an alliance, and by forming it at Lucentio’s house, Petruchio and his new friend will strengthen the city or cities in which they live. They have formed an alliance between philosophic reason, practical reason, and spiritedness that mirrors not only a well-ordered regime but a well-ordered soul.

    What can ale-soaked Sly learn from this play? He can learn how to order his soul rightly He can learn to tame his inner shrew, the anger that lies beneath his drunkenness, the anger that must have made his soul drunk before he touched a drop of the brew. He can learn to get out of his own passions and appetites, away from his longtime identity, aspire to self-rule instead of self-indulgence, make a change that puts an end to his changeling ways. Although men and women have very different ways, by nature, as human beings they struggle with the same anger, the same libido dominandi, while remaining capable of the same capacities to reason and to love, justly and wisely. There is the foundation, in families, for good cities. If Sly heeds the lesson, he will no longer let the world slide, but join in the task of ruling it well, if only by ceasing to be unruly.

     

    Notes

    1. See Hiram Caton: “On the Induction of The Taming of the Shrew.” Interpretation: A Journal of Political Philosophy, Volume 3, Number 1, Summer 1972, 53.
    2.  Florentius appears in the Wyf of Bath’s Tale, a tale about the proper nature of a wife. A young knight and “lusty bachelor” in King Arthur’s court, Florentius rapes a maid and faces death by beheading. Arthur’s wife, Guinevere, calls the king to an act of just mercy: He consents to her ‘plot,’ that Florentius will have a year and a day to discover “what thing is it that women moost desiren.” Florentius goes on the quest, but eventually despairs, as some women tell him they want riches, others honor, or “jolynesse,” or “riche array,” or “lust abedde,” or flattery, or attention, or “bisynesse,” or freedom (meaning to do as they like). And so on. Near the end of his period of reprieve, he comes upon more than two dozen ladies dancing in the forest, ‘in nature,’ who vanish, leaving behind an “old wyf,” foul as she can be—worse than the much-married Wyf of Bath herself. She agrees to tell him the answer to the queen’s question, in exchange for his promise to grant her a wish. The answer, he will tell Guinevere, is “Wommen desire to have sovereynetee / And for to been in maistrie him above.” All women, or at least “worldly women,” harbor this libido dominandi, which Katherine exhibits openly. In exchange for this answer, which Guinevere approves as the correct one (Arthur acceded to it in granting her original request), the old wife demands marriage to Florentius. Understandably, the young knight resists, at which point the old wife offers him another bargain: You can have me “foul and old” but true and humble or young and fair and take your chances. Having now learned what women really want, Florentius leaves the decision up to her: She rewards him by changing into a woman both “fair and good.” They seal their marriage with a kiss, as indeed Petruchio and Kate will do, at the end of the play.
    3.  Caton op. cit., 53.
    4.  Ibid. 57-58. Both the Lord and Petruchio aim at the good of the one they govern, not simply at their own good, as does Machiavelli’s prince.

    Filed Under: Philosophers

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