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Eco-Republic

Melissa Lane, Eco-Republic: Ancient Thinking for a Green Age
(Peter Lang,  2011)

Times Higher Education

1 December 2011

No sooner had I reviewed for this publication William Ophuls’ Plato’s Revenge: Politics in the Age of Ecology, which asks us to rethink our relationship with the most famous Greek philosopher from an environmental perspective, than Melissa Lane’s Eco-Republic came along. Interestingly, she manages to make the same request with scarcely any echo of Ophuls’ argument. This is due not only to the comprehensiveness of Plato’s thought, but also to Lane’s capacity for original insight.

While mindful of the declared elitism of the Republic, she believes that its general thrust can serve as a useful corrective to modern liberal democracy, which has long since abandoned the ideal of civic responsibility in favour of a market that functions by the artificial creation and satisfaction of the individual consumer’s desires. Plato offers an alternative ideal: the concurrence of social harmony and individual virtue, of “city” and “soul”. A properly functioning constitution, or “republic”, would not simply be a chaos of competing greeds; it would be a model of balance, mutual cooperation and sustainability.

Sustainability is a term that might seem anachronistic in a thesis that reminds us of what we can learn from a political programme addressing the demands of the ancient Athenian state. But Lane is thoroughly convincing in her closely argued progression from the idea of civic integration to that of natural equilibrium. A sustainable society is a stable society; a stable society is possible only if it is also ecologically sustainable.

The trouble is that we have been plunged into a condition of inertia; and the task is to move from here to a capacity for initiative. But how can we get beyond a sense of negligibility and helplessness in order to take responsibility for our actions? The answer is imagination: we need to refigure our relationship with the wider world.

In effect, Lane is addressing the whole topic of mythology. It is one on which she offers some passing thoughts, although not quite enough. She rightly insists that it is the psychosocial dimension of human endeavour that matters as much as the technical-legal dimension. We need to be moved as individuals to change the way we act, not rely on politicians and advisers to sort things out. In short, we need to challenge the norm that holds us in thrall. This is a reasonable enough argument, but the pedant in me complains that this kind of insight might best be supported by a more thorough enquiry into the relationship between myth, society and ecology.

However, it is not difficult to forgive an author who neglects to expound a proper theory of myth if she can make me see for the first time what a powerful vision is contained in the episode in the Republic that we usually refer to as “Plato’s Cave”. You will remember the scene: the prisoners in the cave see only the shadows of objects cast by a fire, and are ignorant of the existence of the sunlit outer world. Lane’s brief exposition is a model of clarity and cogency: “By positing that the citizens are trapped and unable to move, the Cave models their inability to escape the limited, artificial horizon of the existing city, lit by the distorting light of a man-made fire than by the limpid and natural light of the Sun.” In such statements, we see how mythic imagination, political philosophy and ecological awareness might conjoin, and any minor doubts about this or that aspect of Lane’s case for Plato’s relevance are dispelled.

 Laurence Coupe

Plato’s Revenge

William Ophuls,  Plato’s Revenge: Politics in the Age of Ecology
(MIT Press, 2011)

Times Higher Education

3 November 2011

I find it difficult to think about Plato and ecology without recalling Val Plumwood’s remarkable 1993 book, Feminism and the Mastery of Nature. For me the chapter entitled “Plato and the philosophy of death” remains the most challenging critique of a philosopher’s legacy that I’ve ever read. Plato’s dualism, we are told, issued in a “logic of colonisation” that sanctioned an oppressive hierarchy. By privileging spirit above matter, soul above body, reason above nature, Plato and his followers effectively denied the very life of the Earth.

While not engaging directly with Plumwood’s argument, William Ophuls clearly thinks that Plato has been generally misunderstood. According to him, the philosopher was much closer to shamanism than to rationalism; he had a mystical view of nature, and his concern was consistently for the harmony of the whole. Where Plato’s critics see a remorseless dialectic, we should rather respond to the imaginative, exploratory and dialogical form of his writings.

In this light, it is a shame about Ophuls’ chosen title, Plato’s Revenge. While this is clearly meant to translate as “Plato Proved Right”, the word “revenge” unintentionally conjures up the aggressive impact addressed by Plumwood. Again, the title puts inappropriate emphasis on a single thinker, whereas Ophuls wants to align Platonism with Taoism, Stoicism and Native American religion. In fact, what he successfully demonstrates is that we have got ourselves into our current environmental mess by ignoring traditional wisdom generally, not just Plato.

Perhaps a phrase such as “The Way Lost and Found”, although less dramatic, might be preferable as a title? That at least would convey the positive and persuasive case Ophuls is making. The best kind of society, he proposes, is one in which individuals are in direct contact with ecological reality, and so respect the necessary limits to their freedom, finding true liberty in observing “natural law”. In order to do this they need to “live more simply and naturally in small face-to-face communities rooted in the land”. At the same time, there is “no return to the primal innocence of the state of nature”. So what is required is “a way of life that is materially and institutionally simple but culturally and spiritually rich”, Ophuls says.

Reading such statements, we might be reminded of Leopold Kohr, who argued that it is “bigness” (big business, big government, big growth) that is the problem. He doesn’t feature here, but perhaps he doesn’t need to. After all, Ophuls has Rousseau, Jefferson and Thoreau to remind him of what might be involved in a truly ecological politics. He does a good job of demonstrating how their preoccupations are more relevant than ever: for instance, the need to facilitate “participation” and discourage “profusion”.

But there’s no way of ending this review without coming back to Plato. By way of support, I’d like to point out that the idea of a “Platonic ecology” is not so far-fetched. It was hinted at by Gregory Bateson 40 years ago, on the basis that “mind” is present in nature, as “the pattern which connects”. In that sense, he could suggest that Platonic “form” is more real than the “things” of philosophical materialism. Bateson, however, features only very briefly in Ophuls’ book, and the ideas just indicated don’t receive due attention: an opportunity lost, perhaps.

That said, I would strongly recommend Plato’s Revenge as a clear and compelling polemic that deserves to be read alongside Bateson’s 1972 work Steps to an Ecology of Mind … and yes, alongside Plumwood’s Feminism and the Mastery of Nature. Beyond the debate about Plato, all three have something important to say about the fate of our planet.

Laurence Coupe

BOOK OF THE WEEK: This Luminous Coast

Jules Pretty, This Luminous Coast (Full Circle Editions, 2011)

Times Higher Education

14 April 2011

More than a century ago, the poet Edward Thomas began producing a series of books celebrating the countryside, the most famous being The Heart of England, The South Country and The Icknield Way. However, he soon became disenchanted with the vogue for rural prose that he had unwittingly encouraged. True, he felt able to single out for praise an early work by George Sturt, an author who would in due course make his name with Change in the Village. But Thomas’s commendation of Sturt relied on contrasting the latter’s “intimacy” and “simplicity” with the sanctimonious posturing of most of Sturt’s peers, whose language Thomas saw as excessively “didactic” and “oracular”. As to Thomas’s own concern, he wanted to learn, by exploring a locality, what might be involved in becoming “a citizen of the Earth” – his own telling phrase from A Literary Pilgrim in England.

Nature writing is currently enjoying a revival in England, thanks to Richard Mabey, Robert Macfarlane and others. Of course, the land has been drastically altered since Thomas’ day; but that only means that the dual sense of belonging and responsibility that he sought is needed more than ever. He would surely seek out those writings that register what is happening – without becoming either didactic or oracular, of course. He would surely approve of this handsome, austerely illustrated book by Jules Pretty.

A biologist by training and now an environmentalist, Pretty is the author of two indispensable works of theory, Agri-Culture: Reconnecting People, Land and Nature (2002) and The Earth Only Endures: On Reconnecting with Nature and our Place in It (2007). In the latter, he argues that “green places are good places” and that it is only through reaffirming our bond with the natural world that we will retain our humanity. Without abandoning this general principle, Pretty has now produced a much more particular kind of work – a personal account of a year spent walking along the edge of the East Anglian “bulge”, taking in Essex, Suffolk and Norfolk.

He begins This Luminous Coast by telling us: “This is a coast which is about to be lost. Not yet, but it will happen soon.” However, his book is not just a documentation of coastal erosion: it is a series of images of coastal nature and coastal culture; it is also a celebration of lives lived, both human and non-human, with birds, badgers, foxes and seals featuring as often as workmen, farmers, wildlife reserve managers and tourists.

It is a difficult book to categorise: part travel guide, part memoir, part meditation, part elegy. Although it is occasioned by a sense of urgency, it never preaches; nor does the author claim any privileged knowledge, despite the wealth of information that he discreetly imparts. It doesn’t demand our response, or even insist that we follow up the author’s findings. However, if we let it do its work, we will be subtly changed.

His avowed aim in setting out on his journey is to “walk the whole coast and its communities and ecologies, and learn what I could about the specificities of place”. This sets the tone, concerned but calm; we are not being offered an ecological jeremiad. That said, he does not hesitate to refer to constructions such as the Queen Elizabeth II Bridge as “monsters”, demonic characters in a myth that seems to lack a hero to challenge them.

But he avoids being sweepingly negative about change, always being prepared to differentiate between degrees of despoliation. Refusing to sneer at those scattered, basic dwellings with names such as “Shangri-la” and “The Haven” that were erected on the seaside plotlands of Essex in the mid-20th century, he laments the replacement of that clumsy approximation of a rural idyll by an arid landscape of sprawling housing estates and huge supermarkets. But it is enough for him simply to say so, then move on. This is an extensive journey, after all.

In undertaking it, he does not travel as a stranger. He teaches at the University of Essex; his family’s roots are in Suffolk and Norfolk; his own childhood home, which he visits towards the end of his trek, was in Blundeston, Norfolk. Past and present are continually overlapping.

In this respect, Pretty’s book is representative of a development in nature writing known as psychogeography. Uniting soul and land in one term, this discipline involves what Marina Warner calls “memory maps”. To paraphrase crudely, it seeks to demonstrate that a sense of place is also a sense of the past.

This approach is beautifully illustrated by Pretty’s account of his visit to the Norfolk farm owned by 98-year-old Eric Wortley. The farmer reports that the previous day he sat face to face with a robin, when it briefly flew into his kitchen and perched on a chair. This event prompts a recollection of his boyhood, duly recorded by the author: “If a robin came into the house, his mother would say, ‘Tha’ll be a death in the family.'” Past and present meet in an ostensibly trivial moment, allowing for further observations and insights. Eric and his two sons, who work with him, “are men of the land, perhaps a dying breed, and are in no way worldly. Their world is here, in this Fenland field, the bright-green leaves scattered over the ground, the roots of the beet crusted with inky soil.” It is this proximity to the land, we infer, that informs the farmer’s equanimity in the face of mortality: “Remembering that robin, he remarks: ‘You come in a year, and I won’t be ‘ere.'”

Pretty’s account of that visit has the intimacy and simplicity that Thomas praised in Sturt. These qualities come through, too, in his parting reflections: “The land, shaped, drained, hunted and farmed, sown and cropped, is better than when he started. It is also chock full of memories and a century of stories. It is firmly imprinted. And haunted.”

His own prose is haunted, not only by his family’s past, but also by the work of predecessors. Most notable is W.G. Sebald’s The Rings of Saturn, which is both a record of a walking tour of East Anglia and a meditation on the nature of time. This Luminous Coast inevitably echoes Sebald’s text, but it gives equal weight to the time of nature – which may always be relied on to put human beings in their place.

Certainly, we are repeatedly invited to see a given experience in the longest possible perspective. When Pretty hears a nightingale, no sooner has he pondered the meaning of its Roman and Saxon names than he’s speculating about the longstanding relationship of bird, flower and habitat. For instance: “Bluebells and nightingales don’t get on. The one needs open mature woodland; the other thick scrub.” Nor is that in itself enough. The author reminds us that the proliferation of plants depends on spring following winter in proper sequence – which now increasingly is not the case: “The old weather patterns seem disturbed. We might have to get used to this.”

We might also have to get used to this kind of book; but if it can help each of us become Thomas’s “citizen of the Earth” in these unpropitious times, that’s all to the good.

Laurence Coupe

The Ecological Thought

Timothy Morton,  The Ecological Thought (Harvard University Press, 2010)

Times Higher Education

26 August 2010

About 15 years ago, the poet Gary Snyder published an article titled “Is Nature Real?”. In it he made a heartfelt complaint: “I’m getting grumpy about the slippery arguments being put forth by high-paid intellectuals trying to knock nature and knock the people who value nature and still come out smelling smart and progressive.” He had in mind those literary theorists and philosophers who, having discovered the joys of deconstruction, think they are being ever so clever in declaring nature to be nothing more than a cultural construct.

As a Zen Buddhist, Snyder is fully aware that the standard human experience of nature is riddled with illusion. But in all his writings, he has always insisted that it would be absurd to infer that there is no such thing as nature; Zen, after all, involves learning to live at one with it.

It might be said that post-structuralist thinking attempts something similar to the Buddhist exposure of illusion, but it falls far short of it when it merely results in a high-handed denial of the more-than-human world (here I use David Abrams’ phrasing). I am afraid to say that this is what seems to happen in the course of Timothy Morton’s new book, The Ecological Thought. Let me say that I do appreciate what Morton is attempting to do: that is, correct our unthinking attitudes to nature – or Nature, as he calls it – to make us think more carefully about the way we reify, consume or idealise it. But alas, the effect is far more deconstructive than reconstructive: “In the name of ecology, we must scrutinize Nature with all the suspicion a modern person can muster. Let the buyer beware.”

Morton’s case for a natureless ecology is not aided by the fact that he has such difficulty in defining it. “Ecology has to do with love, loss, despair and compassion. It has to do with depression and psychosis … It has to do with reading and writing … It has to do with sexuality.” That is from the introduction, but after nearly 80 pages we are none the wiser: “The ecological thought is about people – it is people.” Nor does it get much clearer by the final page, I’m afraid.

If we can trace a thesis, it is that, as far as nature is concerned, we should move from a Romantic-style piety towards a postmodern scepticism. In other words, we must abandon our loyalty to our local place and embrace the wider sphere of global space. It is perplexing, however, that Morton should invoke Buddhism to convey this sense of space: he shows no knowledge of Snyder’s well-informed Buddhist ecology, but seems to rely on the odd insight gleaned from a fortnight’s holiday in Tibet.

Philosophically, in fact, he is much closer to Marxism than to Buddhism. Hence his agitprop denunciation of ecological thinkers such as Arne Naess and James Lovelock: “Deep ecology, which sees humans as a viral blip in the big Gaian picture, is nothing other than laissez-faire capitalism in a neofascist ideological form.”

If such pronouncements make one wince, at least Morton’s political leanings mean that he feels obliged to address the ideas of the most important reinterpreter of Marxist theory of the 20th century, namely Theodor Adorno. But again, it is worrying that Morton seeks to draw on that philosopher’s specific insights while discounting the central importance he gave to the concept of nature. It was Adorno who insisted that “domination over nature” is paid for with “the naturalisation of social domination”.  And it was Adorno who memorably declared: “Art is not nature, but wants to redeem what nature promises.”

There is an interesting book to be written about Adorno’s importance for ecological thought, but it would not be one dedicated to the idea that you can have ecology without nature. While I am sure that many readers will benefit from the challenge of reading Morton, I hope they then go back to Adorno. If they also go back to Snyder, they might benefit even more.

 Laurence Coupe

Please note: I have corrected the quotation in the penultimate paragraph.

BOOK OF THE WEEK: Treading Softly

Thomas Princen, Treading Softly: Paths to Ecological Order (The MIT Press, 2010)

Times Higher Education

22 April 2010

In Arthurian legend, when Sir Perceval comes upon the castle of the wounded Fisher King, he is given the chance to restore fertility to the Waste Land. All he has to do is speak. Upon being granted a vision of the Holy Grail, he should pose the ritual question: “Whom does it serve?” That would release the healing power of Christ’s blood, and the kingdom would be restored to health. On his first visit, he fails to do so.

As we ponder our chances of restoring our own Waste Land, we would do well to ask the same question of any publication with “ecological” in the title. Does it serve the gloom and doom brigade, who relish the catastrophe to come? Or does it serve the advocates of business as usual, who say that all we have to do is to “green” our production and consumption?

Happily, Thomas Princen’s salutary and beautifully simple book does neither. What we need, he tells us, are “images of the possible” that may help us envisage what is involved in “living well by living well within our means”.

His aim, he says, is to lay the groundwork for an ecological order: one based on a “home economy” that would be “grounded in place”, would be guided by respect for resources and so would involve minimum consumption.

Whom, then, does this book serve? Speaking frankly, one would have to say that, in the first instance, it serves the impractical green theorists among us who need to bring our ideas, as it were, down to earth; more generally, it serves people of goodwill who realise we are at a turning point, but don’t know which way to turn.

This emphasis on groundwork and economy is a reminder that Karl Marx used the metaphor of a building to explain the workings of a given society. He proposed that its real foundations were the means and relations of production. Now, of course, we must wake up to the fact that the foundations that are even more important are those of nature itself. Notoriously dismissed by Marx as humanity’s tool house, it is now in a perilous condition.

Marxism does not get a mention in Treading Softly. So what philosophy does Princen espouse? “Principles”, he declares, are successful if “they fit the needs of the times”. Yesterday “the issue was prohibiting competitive trade practices and preventing economic collapse all via international cooperation and economic growth”. Today? “Now the issue is saving the planet’s life-support system.” This reads very much like pragmatism, and is none the worse for that, given the urgency of his task.

Of course, labelling his approach is useful only if it helps us to grasp what he is saying, and to think and act accordingly. Thus: “We do not so much need a revolution as we need well-defined problems, networks of diverse peoples, and good old hard work. It is possible and it will happen.” The ideal proposed will lead us back to reality.

Existing “realism”, says Princen, tells us that the existing economy, “the Great Industrial Edifice”, is “the one and only path”. Its premises are twofold: “consumers rule” and “technologies save”. The bizarre assumption is that “the planet, aided by clever technologies and well-functioning markets, can withstand yet more abuses, more mining, more consuming, more disposing; we just have to do it better”. In other words, realism turns out to be fantasy, and the industrial edifice turns out to be a house of cards.

The need now, Princen suggests, is to articulate a “new normal” beyond the “old normal”. The latter assumes that “endless material expansion on a finite planet is possible” and is dedicated to cheap energy and consumer demand; it assumes also that risks can be managed, indeed that “economic, technological and demographic growth will solve all problems, including the problems of economic, technological and demographic growth”. Against this muddled thinking, the premise of the new normal stands out crystal clear: “the era of ‘protecting the environment’ is over, and the era of ensuring life support has begun”.

How to proceed? We need to find the right words before we can enact the right deeds. We need to define the problems that confront us in a new kind of language: a language that “has ecological content and a long-term ethic”. Hence Princen is more anxious that we get our “metaphors of the environment” right than he is that we understand statistics, scientific reports or specific forecasts. His list of potential images includes “network (complex and with emergent properties)”, “homestead (crops, shelters, neighbours)” and “gift (precious, non-proprietary)”.

Because Treading Softly is about words, it is also about world views – those frames, constructed in language, through which we see reality. According to Princen, today we have four dominant world views of what we call the environment. First, there is the “naturist”: environment as non-human nature, which needs to be understood in its own right. Second, there is the “mechanistic”: environment as nature as machine, which can be manipulated and even redesigned for human use. Third, there is the “agrarian”: environment as nature as a source of produce for humanity, which must be managed but which takes time to understand. Fourth, there is the “economistic”: environment as a world of human exchange, production and consumption.

The important thing is not to opt for one world view exclusively, but to think in terms of creative clusters, and to allow the different world views to play off one another. For example, the naturist has a helpful notion of limits (how much an ecosystem can withstand without collapsing), which can readily be combined with the agrarian, which has a helpful notion of husbandry (caring for natural elements so as to supply human necessities).

The economistic may yet bear some fruit, if adapted to a genuinely ecological economy. Princen lists various financial maxims that may prove useful: “Spend within one’s means. Diversify the portfolio. Draw on the interest, not the principal. Balance the budget.”

As for the mechanistic, that is even now being tested and queried – for instance, by extreme weather that exposes the ineffectiveness of flood defences – and so will have to be radically redefined in relation to the other world views.

Such an inclusive, adaptive approach may lead some readers to dismiss Princen’s proposal as all too modest. Yet there are many interesting trails leading off from his paths to ecological order. To cite just one: suggesting that because natural sources have no substitutes, they must be regarded as “ultimate”, he adds: “Spiritually speaking, ultimate sources are sacred. To sacrifice an ultimate resource is a sacrilege. In contrast, to sacrifice the benefits otherwise derived from using up an ultimate source – to refrain from stripping topsoil, from draining an aquifer, from driving an organism to extinction, from opening the ozone layer, all for commercial gain – to sacrifice these benefits is to elevate human action.”

Princen says no more, but it suggests that there may be a fifth world view of the environment available to us, namely the spiritual. Part of the ecological task must surely be to challenge those who would demean nature by honouring the sacred as a remote, transcendent state, quite distinct from the profane, and to promote what Michel Serres calls a religion of the world. Like Sir Perceval, we have to find the right words with which to do it justice. Only now, the crucial question is not “Whom does it serve?” but “How may I serve?” Let us hope that, like him, we succeed in due course.

 Laurence Coupe

The Handbook of Sustainability Literacy

The Handbook of Sustainability Literacy: Skills for a Changing World, edited by Arran Stibbe (Green Books, 2009)

Times Higher Education

26 November 2009

In 1933, F.R. Leavis and Denys Thompson’s Culture and Environment: The Training of Critical Awareness was published. Now widely regarded as unpardonably elitist in its assumptions, it was in fact designed for use by schools, teacher training colleges and the Workers’ Educational Association. The idea was to offer a means of resisting the “standardisation” of life caused by mass production and entertainment.

Looking again at the title of Leavis and Thompson’s volume, it is clear that by “environment” they meant two different things. First, they meant the social structure of modern, urban England. This they saw as having suppressed a living culture – the rural way of life that had been expressed most powerfully in the language of William Shakespeare, and the demise of which was documented by writers such as George Sturt, author of Change in the Village (1912) and The Wheelwright’s Shop (1923). Because the worlds of Shakespeare and Sturt were rooted in a way of life that itself had roots in the land, they saw culture as an embodiment of the environment in a second sense: the rhythms of a natural order, manifest in a specific (English) locality.

Turning to The Handbook of Sustainability Literacy, an important collection of essays produced in a situation far more daunting than that faced by Leavis and Thompson, we can still trace some continuity. In his introduction, editor Arran Stibbe addresses the need for people to “become empowered to read society critically”. Moreover, he advocates starting not with the problems that are undermining the ability of the Earth to support human life, but with what has gone wrong with our culture in order for those problems to arise.

What is required is something contributor Stephen Sterling calls “ecological intelligence”: that is, an understanding of the interrelationship of all living things. This is the principle informing Karen Blincoe’s case for “re-educating the person”, and Kate Davies’ model of a “learning society”. If ecological intelligence is to survive and flourish, we need to resist what Stibbe calls, in his essay on advertising, “the pseudo-satisfier discourse” of the contemporary mass media. One stratagem might be the “ecocritical” approach to everyday experience, as persuasively set forth by Greg Garrard.

We are also reminded that the forces that are oppressing nature are simultaneously repressing our humanity. We are exhorted to “find meaning without consuming” (Paul Maiteny), to widen our aesthetics to include natural beauty as a “way of knowing” (Barry Bignell), and to discover new ways of “being-in-the-world” (John Danvers). This last initiative involves regarding the self as “open work”, as process rather than as object. As such, it is continually emerging and merging with “the unfolding communal mind”, itself inseparable from the whole “web of being”. In that sense, we may say that the self makes sense only when it is viewed in the context of a human culture that is tied to a more-than-human nature.

Leavis and Thompson had too limited a view of both these spheres, and reading Danvers’ essay, along with many others in this volume, brings into focus just how far we have to move beyond them. Again, although Leavis and Thompson’s intuition that to promote a way of life that is in touch with the Earth demands critical awareness was sound enough, it has to be understood in a much wider and deeper sense. Sustainability Literacy helps us to do just that, and in doing so equips us to confront the unprecedented challenges to come.

Laurence Coupe

The Dawn of Green

Harriet Ritvo,  The Dawn of Green: Manchester, Thirlmere, and Modern Environmentalism (University of Chicago Press, 2009)

Times Higher Education

12 November 2009

Prior to picking up The Dawn of Green, I had been re-reading Edward Abbey’s novel The Monkey Wrench Gang. First published in 1975, it concerns the activities of four misfits with a shared love of wilderness. They wage a war on behalf of nature by using monkey wrenches to disable any machinery that is being deployed to degrade, pollute or destroy the environment. Having some success in this venture, they decide on their ultimate project: to destroy the Glen Canyon Dam, which Abbey believed had had disastrous consequences for the Colorado River and its surrounding ecosystem. Abbey, the self-styled “desert anarchist”, wanted the novel to have an impact on global environmentalism, even though in the real world, Glen Canyon was a lost cause. But he was not disappointed. Four years after the novel appeared, a group of “wilderness warriors” called Earth First! was founded with the express aim of realising his dream of direct action: that is, violence against the machine but not against people. It is still going strong.

After such excitement, the case scrupulously documented by the historian Harriet Ritvo in her new book may seem very tame, and even irrelevant. In 1875, the Waterworks Committee of Manchester planned to transform Thirlmere, a lake in Cumberland, into a reservoir, thereby ensuring a plentiful supply of clean water for Mancunians. News of the plan led to the formation of the Thirlmere Defence Association, a highly respectable body comprising landowners, small farmers, residents, regular visitors and journalists. The association failed, the work was undertaken (after a series of delays) and, by 1894, the reservoir was functioning.

There were no crazy activists involved, there was no sabotage and there was no positive outcome. So why should we be interested? One good reason is the quality that may initially seem unpromising: Ritvo’s attention to detail. Her book conveys in vividly minute particulars how difficult and frustrating the campaign must have been, and how divided the campaigners were in their loyalties. Without such detail, lessons cannot be learnt. Nor is documentation allowed to obscure the larger picture. Ritvo shows the whole business to be, in contrary ways, representative of its times: “if Manchester was the icon of the Victorian future, the Lake District was the icon of nature, poetry and heritage”.

It was in the spirit of the poet William Wordsworth that the Victorian cultural critic John Ruskin spoke out passionately against the Thirlmere scheme. Inspired by both, Canon H.D. Rawnsley took a leading role in the Thirlmere Defence Association. He found, in the end, that compromise was the only answer – coaxing concessions to the environment from the committee here and there – but it was his experience of this campaign that prompted him to go on to help found the National Trust in 1895. All this material is clearly and carefully narrated here, with the added interest of copious illustrations.

But what of the wider significance of Ritvo’s painstaking scholarship? In her penultimate chapter, she informs us that, in the first decade of the 20th century, the city planners of San Francisco designated the spectacular Hetch Hetchy Valley as the site of the city’s future water supply. The fact that the valley was part of the Yosemite National Park did not deter them. To counter a well-orchestrated protest campaign, the planners turned to Manchester for advice. The advice worked, and the project was completed. As Ritvo remarks: “The defenders of Thirlmere … never stood a chance, and the same was true of the defenders of Hetch Hetchy Valley.”

I began reading this book with the assumption that Edward Abbey would have thought life too short to bother with it. But I ended it by reflecting that he may well have read it carefully, resolved to learn its sombre, scholarly lesson – and then renewed the struggle more vigorously than ever.

Laurence Coupe

Reason, Faith, and Revolution

Terry Eagleton,  Reason, Faith, and Revolution: Reflections on the God Debate (Yale University Press, 2009)

Times Higher Education

10 September 2009

With this witty and polemical book, Terry Eagleton finally fulfils the promise of his early years as a left-wing Catholic. Here at last is his defence of Christianity as a radical movement comparable to, and compatible with, Marxism. It is prompted by his sense of outrage at the arrogant pronouncements on religion made by those self-appointed guardians of rationality, Richard Dawkins and Christopher Hitchens, whose names he satirically conflates into one entity, “Ditchkins”.

Ditchkins believes that religion is infantile, superstitious nonsense that deserves no respect because it provides a false explanation of the world. In doing so, Ditchkins declares himself to be nothing more than a throwback to the 19th-century school of liberal rationalism and, beyond that, the Enlightenment.

He still has not woken up to the fact that scripture is not the same sort of thing as a scientific treatise. Thus, Ditchkins – here, specifically, Hitchens – claims that “thanks to the telescope and the microscope, (religion) no longer offers an explanation of anything important”.

This is risible enough as it stands, but Eagleton was never one to resist a humorous analogy: “Christianity was never meant to be an explanation of anything in the first place. It is rather like saying that thanks to the electric toaster we can forget about Chekhov.”

So much for the “reason” in the book’s title. What about the faith? The very conviction that reason offers all the answers is itself a matter of belief, persuasion … and faith. For we are dealing with a language that is “performative rather than propositional”, and that goes for liberal rationalists in their colleges as much as for devout believers in their churches.

While religious piety can escalate into fanaticism, so too can the secular fetish of pure reason. Here theology has a distinct advantage: reason, for St Thomas Aquinas, is inseparable from ethical commitment, from communal responsibility, from fellow-feeling – in short, from “love”.

And so we come, in a roundabout way, to the third term in the book’s title: revolution. What Eagleton’s reading of the Gospels tells him is that we should not be anticipating the Messianic kingdom (Jesus himself refused to play the expected role of Messiah), any more than the forcible and final establishment of a classless society. Rather, we should be following Jesus’ example in identifying with the poor and the persecuted, trying to ensure that there is no more exploitation, hunger, war or torture.

Eschewing violence himself, Eagleton cannot avoid addressing the atrocities carried out in the name of Islam. What he concludes is this: “The solution to religious terror is secular justice.” Here he might seem to hover around a contradiction, since he could be read as giving succour to those who say that the Enlightenment would be acceptable if only it had worked. In this connection, he is not apologetic enough for my liking about Karl Marx himself, who notoriously praised capitalism for its rapid process of industrialisation because it fitted into his own progressive scheme.

That said, it is reassuring to see Eagleton conclude his book with a brief defence of the “tragic humanism” that he sees as the necessary alternative to the absurdly confident “liberal humanism” of Ditchkins.

Moreover, as someone who agrees with Michel Serres that what we need is an ecologically informed “religion of the world”, I am particularly pleased to see Eagleton express more than once his concern about the damage that humanity is doing to nature in the name of progress.

Perhaps in his next book, we may see him espouse a politics that is as much green as red, and a theology based not only on Aquinas but also on St Francis of Assisi and Hildegard of Bingen.

Laurence Coupe

The Rites of Identity

Religion 34 (2004)

Review: Beth Eddy, The Rites of Identity: The Religious Naturalism and Cultural Criticism of Kenneth Burke and Ralph Ellison (Princeton, NJ: Princeton University Press, 2003)

 

To many of us, Kenneth Burke’s most important book is The Rhetoric of Religion (1961); but in a sense all his previous work, from the early Thirties onwards, is implicitly about the relationship between language and the idea of the ‘supernatural’ — between words and the Word. For Beth Eddy, Burke’s emphasis is consistently on the first term in these pairings: that is, his field is religion as a human construct, as a cultural creation. Further, if using words in order to sanctify the ideals which consolidate their communities is what human beings inevitably do, then the phrase ‘religious naturalism’ becomes appropriate.

However, Eddy emphasises that by ‘religious naturalism’ she does not mean ‘reductive materialism’. It is significant that the legacy from which she sees Burke benefiting is not that of Marxism but rather that represented by figures such as Emerson and Santayana. For Burke does not set out to explain away spirituality, tradition and received wisdom; indeed, he is especially interested in the benefits of ‘piety’, as are his mentors. What he wants is not that society should abandon religion but that it should allow for its continual critique, adjustment and refinement in a humane spirit of dialogue. Ultimately, his rationale is pragmatic; and Eddy’s subtle defence of Burke as one of the most articulate spokespersons for American pragmatism is a chief pleasure of her book. She demonstrates that his debt is not only to Emerson (though we are left in no doubt of Emerson’s influence on pragmatic thought) but also to William James.

An interesting sideline of her discussion is a careful differentiation of Burke’s Emersonian fascination with the ‘bridging’ power of language, by which he means its capacity to speak of the farther shore of spirit in terms of the mundane ground of experience, from Harold Bloom’s Gnostic interpretation of American pragmatism. In other words, if Bloom’s invocation of the supernatural involves the refusal of the created world, Burke’s involves its realisation. When he defines ‘man’ as ‘the symbol-using animal’, he means to suggest a full range of possibilities. If the human being is a creature with close affinities to other primates, who also have language, what ‘man’ possesses beyond that is the capacity to reflect on his/her own words and, ultimately, to imagine the perfection of the absolute Word.

That said, ‘perfection’ is, for Burke, a deeply ambiguous term. Thus, Eddy has to devote a good deal of space to his reflections on how a society, while finding order and meaning through its ideals, may also define itself through the exclusion, punishment or sacrifice of a ‘scapegoat’. If ideals fail, those dedicated to them may well seek an appropriate ‘other’ to bear the burden of their sins. Eddy argues that for Burke the sacrificial or scapegoating impulse is unlikely to disappear, so he commends its expression in wholly symbolic terms. It is better to achieve catharsis through the intensity of a tragic drama, in which a representative individual appears to suffer and die, than to carry out programmes of social ‘purification’ by which whole groups of people actually suffer and die. But the argument necessarily becomes complicated when Eddy also has to acknowledge the fact that Burke’s own saving mechanism is comedy rather than tragedy. He believes that we may save ourselves from the urge for bloody resolution of the social drama by laughing at our own absurdity. Burke commends the ‘comic’ or ‘charitable’ attitude, by which we forgive ourselves even while we forgive others. This is how ‘piety’ is redeemed from an excess of perfectionism and restored to the pragmatic business of learning to live in community. To put this in other terms, if for Burke rhetoric is primarily a matter of ‘identification’, then the aim of all his work is to encourage  ‘congregation’ that does not involve violent ‘segregation’. Religious custom all too often relies on the language of sacrifice when it should be engaged in a constant debate between ‘piety’ and ‘impiety’ –- the latter being a useful means of ‘comic corrective’.

The influence of Burke on thinkers as diverse as Girard and Geertz may be taken for granted, given such tenets. More surprising is Eddy’s claim that the novelist Ralph Ellison, author of Invisible Man, was indebted to Burke in his depiction of the troubles of a young black man in New York City, and in his own cultural criticism. Yet about a third of Rites of Identity is taken up with situating Ellison in the context of Burke’s religious naturalism. An interesting aspect of the discussion is Ellison’s ambivalence towards the ‘comic’ mode of redemption. Where Burke distinguishes tragedy and comedy quite sharply, Ellison tends to merge them: his sphere is ‘tragicomedy’, which he sees as being articulated by black Americans most expressively in the musical form known as the blues. Eddy proposes that, in his defence of this genre, Ellison is acknowledging his debt to the ‘piety’ of his own tradition. Moreover, if the blues is a ‘rite of identity’, then it is one that does full justice to suffering even while it offers a ‘comic’ critique of the scapegoating of blacks by whites.

Such an insight into the thinking behind Invisible Man, a hugely resonant work of our era, is Eddy’s way of both confirming and revising Burke’s influence. For, if comedy is a mode of transcendence, both Burke and Ellison remind us that this genuinely religious impulse may be celebrated in a manner that is provisional, symbolic and circumspect. For my own part, I believe that Burke is far more fascinated by transcendence in the theological sense than his preoccupation with rhetorical identification might suggest; nor do I consider that such a fascination is incompatible with his relish for what he once called ‘the world’s rich store of error’. But that is an argument for another day, and meanwhile we may be grateful to Beth Eddy for this challenging case for Burke’s ‘religious naturalism’ and its influence.

Laurence Coupe

Words and the Word

First published in Maria Kuteeva (ed.), The Ways of Creative Mythologies: Imagined Worlds and their Makers (Telford: The Tolkien Society, 2000), pp 39-44

Words and the Word: Kenneth Burke’s Logology and T. S. Eliot’s Mythology

Laurence Coupe

ABSTRACT: This essay is based on the assumption that the Bible may be defined as the expression of the Word of God in the words of human beings. It also assumes the converse of this definition: that is, though the book offers itself as a direct apprehension of the sacred and though much of its authorship seems to have the authenticity of divine inspiration, it needs to be borne in mind that the Biblical text, like any other literary text, carries the traces of its human, linguistic origin. I propose to translate this latter insight from scriptural theology to secular criticism, and to apply it to the poetry of T. S. Eliot, which works within the distance between words and Word. Eliot relies heavily on mythology in order to suggest a privileged understanding of this distance, which in turn conveys the impression that he speaks for the Word despite being limited to words. Here I place his achievement in the context of the theories of his contemporary, Kenneth Burke, particularly as they demonstrate that any use of mythology may be explained in terms of ‘logology’, or `words-about-words’.

***

 

The American critic Kenneth Burke’s lifelong study was the human being as the ‘symbol-using animal’, the linguistic creature. We will return to that definition, but first I want to indicate the main outline of the argument which he sets forth in his influential work, The Rhetoric of Religion. In his preface he explains:

… in this book we are to be concerned not directly with religion, but rather with the terminology of religion; not directly with man’s relationship to God, but rather with his relationship to the word `God’. Thus the book is about something so essentially rhetorical as religious nomenclature – hence, the subtitle, `Studies in Logology’, which is to say, `studies in words-about-words’. (1)

Thus, Burke’s premiss is not that of scriptural theology, that God is identical with the transcendental Word, which then gets expressed in the human words which comprise the Bible, but that God is the product of the human activity of word¬making. As he further explains in his first chapter:

We are to be concerned with the analogy between `words’ (lower case) and The Word (Logos, Verbum) as it were in caps. `Words’ in the first sense have wholly naturalistic, empirical reference. But they may be used analogically, to designate a further dimension, the `supernatural’. Whether or not there is a realm of the ‘supernatural’, there are words for it. (2)

A liberal, sceptical cast of mind may be inferred from that phrase, `Whether or not’; but we should also appreciate Burke’s belief that human beings are inherently disposed to religious thinking, in that their language seems to be oriented inevitably to the Logos. Religion may be the result of rhetoric; but rhetoric is more than a set of rules for public speaking. Language defines humanity, and humanity always seeks to go beyond itself. A yearning for the supernatural is natural.

Yet Burke, who owes much to the tradition of North American pragmatism, never forgets that, in constructing our theologies, we humans are improvising an idea of transcendence from out of the condition of immanence. Hence, a major part of The Rhetoric of Religion is devoted to a demonstration that the whole story of salvation which the Bible recounts is, in a sense, a huge elaboration of one basic term, `order’. For `order’ (good) implies `disorder’ (bad), just as `grace’ implies `sin’, `blessing’ implies `curse’, `obedience’ implies `disobedience’, and `salvation’ implies `damnation’. The complete narrative structure, from the fall of Adam to the redemptive death-and ¬resurrection of Jesus Christ, ‘the second Adam’, is contained in the complex of terms which is implicit in `order’. (3) From the need to organise the immediate environment, the power of words has taken us to the idea of an absolute Word which contains and resolves all oppositions.

While applauding the linguistic ability that makes such grand schemes possible, Burke has reservations about the drive of terminology towards termination. These are best expressed in the definition of the human being to which I have already referred:

the symbol-using (symbol-making, symbol-misusing) animal …
goaded by the spirit of hierarchy (or moved by a sense of order)
and rotten with perfection. (4)

He is suggesting that `perfectionism’ is an ambiguous characteristic of humanity. On the one hand, it is the inevitable product, or at least effect, of discourse, we are all subject to `perfectionism’ by virtue of being linguistic creatures. On the other hand, it may become a dangerous delusion: it may tempt us not only to attribute independent existence to the absolutes which our own language has created but also to pursue them at the expense of human well-being. We need always to bear in mind the difficult and potentially dangerous relation between words and the Word.

The danger is especially evident in the interpretation of mythology. Originally, myth’ meant `speech’ or `word’; but in time what the Greeks called mythos was separated out from, and deemed inferior to, something called logos (lower case). The former had come to denote `story’; the latter was used to indicate a supposedly higher level of discourse, that of `rational argument’. Thus the `idea’ came to be celebrated apart from its `narrative’ source, and mythology was subordinated to philosophy. With the rise of Christianity, it was subordinated also to theology, but the consequence was the same: mythos, the basis of both logos and the Logos, was now the husk to be dispensed in favour of the kernel of non-narrative `truth’. In the era of modernity – the centuries of the Enlightenment and of positivism – this process of `demythologization’ was taken as far as it could go. Indeed, it was in reaction against this that there arose the aesthetic movement we know as modernism, validating mythopoeia, the very act of mythmaking, once more. Poets such as Eliot made a show of using particular kinds of archaic narrative in order to give their work primitive credibility – a kind of primal charge. This refusal of modernity and `demythologization’ may be applauded, but in Burke’s perspective we might still want to ask whether a dubious kind of `perfectionism’ is not at work within this same strain of modernism. In particular, we might consider how the mythos, or narrative source, of the former’s work is effectively denied even as it is deployed. What the poetry is really about is the affirmation of logos – or even, with the poet at this time tending towards Christian faith, the Logos itself. His words, far from trusting to the narrative, are dedicated to the affirmation of the Word.

‘Myth’, of course, is not uniform. There are many paradigms from which to choose: creation myth, hero myth, apocalyptic myth, and so forth. Eliot himself favoured the paradigm documented by Sir James Frazer in The Golden Bough (twelve volumes, 1890-1915): that of fertility myth, thought to originate in the ritual of the dying and reviving god of vegetation. The centrality of this paradigm was further demonstrated for Eliot by the researches of Jessie L. Weston, spelt out in From Ritual to Romance (1920). There the `myth and ritual’ approach was applied to the legend of the Holy Grail – the roles of the dying god and the reviving god being paralleled by those of, on the one hand, the wounded or impotent Fisher King, and on the other, the questing knight who heals the monarch, redeems the Waste Land and assumes the kingship in his turn. According to Weston, the `Mystery Cult’ adhering to the Grail was simply a more esoteric version of the `Life Cult’ documented by Frazer.

The notes provided by the author to The Waste Land confirm that his exercise in `mythopoeia’ is informed by the sources we have already named. Frazer’s and Weston’s works are explicitly acknowledged, and the reader is told to expect `certain references to vegetation ceremonies’. (5) Inspired by the `myth and ritual’ school, then, The Waste Land is, despite appearances, a story; and the tale it tells is a deliberate fusing and updating of two other stories – that of the dying and reviving god (as in Frazer), and that of the quest for the Grail (as in Weston). Once this is realised, apparently disconnected images and incidents assume their mythic meaning; negative phenomena imply positive essences; confusion implies the need for coherence. However, the triumph of reviving god and of completed quest remains tragically elusive.

The unnamed narrator glimpses, early in the poem, a vision of beauty associated with a `hyacinth girl’ and a ‘hyacinth garden’. He feels himself to be looking into `the heart of light, the silence’. In seeking to regain this vision, and to understand its meaning, he is forced to confront also Conrad’s `heart of darkness’, a vision of negation tending towards `horror’. Much of the poem takes place in the wilderness and the metropolis, each symbolising the Waste Land of modernity. The question implicitly posed is, in Frazer’s perspective, what sacrifice could redeem this and world and reaffirm the fertility cycle? In Weston’s, it is a matter of whether the quest hero, our unnamed protagonist, can reaffirm the sacred link with the Grail and so cure the Fisher King, in a land which does not even know itself to be waste.

Taking Frazer’s perspective first, we may say that the reader of the poem is left in no doubt that the fertility god has died. But the community depicted here is hardly ready for his revival. Spring brings only anxiety not rejoicing. April is `the cruellest month’ precisely because it is then that `lilacs’ emerge from `the dead land’, disturbing the habitual death-in-life of the inhabitants, winter having covered earth in `forgetful snow’. These people may well be asked what `roots’ they know, for they are, spiritually, in a desert. But they can give no answer: the `crowds of people walking round in a ring’ glimpsed by the clairvoyant Madame Sosostris are oblivious to the need for true ceremony. Theirs is an empty ritual. A corpse is buried in a garden, suggesting a link with the ancient Egyptian cult of Osiris, but there is no mention of any rebirth. `Phlebas the Phoenician Sailor’ drowns, suggesting a link with the cults of both Osiris and the Mediterranean god Adonis, but the waters of death are not transformed into the waters of life. As for Weston’s perspective, the role of the Fisher King has been denied and degraded. Where once the fish symbolised fertility – abundant life brought out of the waters – it is now associated chiefly with desolation. Thus at the very end of the poem, the Grail monarch is still waiting to be healed: he sits `upon the shore / Fishing, with the and plain behind me’.

However, to remain with Weston’s perspective, it should be stressed that, though Eliot’s quester does not discover the healing knowledge of the Grail, its symbolism is a consistent and informing presence. Further references to the legend, such as a quotation from Verlaine’s poem ‘Parsifal’, though juxtaposed ironically with the bawdy refrain of a music-hall ballad, do remind us that in the traditional romance the king is cured. Though we have lost all assurance of that healing moment, and though we do not even hear the ritual question of the Grail (`Whom does it serve?’), we may begin to intuit the distant rumour of some new way of life. Indeed, this is suggested, albeit desperately, by the words quoted from the Book of Isaiah: `Shall I at least set my lands in order?’

Returning to Frazer’s perspective, though the poem offers no decisive transition from dying god to reviving god, the invocation of effective sacrifice is too strong for the poem to be merely a documentation of `boredom’ and ‘horror’ – to use the terms of Eliot’s 1933 lecture on Matthew Arnold. (6) Though the inhabitants of the Waste Land are without their proper `vegetation ceremonies’, The Waste Land itself is deeply informed by them. Though Madame Sosostris cannot find in her Tarot pack the card of The Hanged Man, the sign of sacrifice, the noted absence of the card has its resonance. Moreover, in both Frazer’s and Weston’s perspective, the Tarot image suggests not only a `Life Cult’ but also a `Mystery Cult’, and not only a `Mystery Cult’ but also Christianity itself. Thus later in the poem, we hear of `frosty silence in the gardens’ and `agony in stony places’, of `shouting’ and `crying’ in `Prison and palace’: allusions to the crucifixion narrative. Though the inhabitants of the Waste Land can only reflect that ‘He who is living is now dead’, thus failing to understand that what matters about the crucifixion is the resurrection which follows it, the Gospel story is still able to be invoked to telling effect.

Eliot’s poem, then, while conveying `boredom’ and `horror’, gains its power from its reminder of the `glory’ which has been lost and which needs to be regained – to cite the lecture on Arnold once more. According to Burke’s thinking, this ideal is only implicit in language itself, which is `rotten with perfection’. More particularly, it is the very nature of words to suggest the one, perfect, universal Word. And indeed, The Waste Land, on first sight a bewildering array of fragmentary discourses, does insistently gesture towards some absolute, if absent, term. By the end of the poem it has even been named: it is the Sanskrit ‘Shantih’, translated into Judaeo-Christian terms in Eliot’s notes as `The Peace which passeth understanding’. Gesturing towards this final, pure utterance, the poem invites us to lament the very distance between words and Word which it itself enacts. Thus the poem may be seen as a tragic indictment of an age that seems content to leave the Word unheard. It is against the spirit of that age that the poem works: despite its demonstration of chaos, The Waste Land is really about the desperate need for order. It uses the paradigm of fertility as the framework for a transcendent vision. For, no matter how lacking the age may seem in hierarchical principles and in ideas of perfection, the aesthetic ordering of words which the poem achieves is intended to stand as a reminder of the power of the all-¬embracing Word.

It is worth noting that, when Eliot reviewed another major work of modernist mythopoeia — James Joyce’s Ulysses — the year after its publication (and, of course, that of The Waste Land), he used the occasion to promote his own kind of `perfectionism’. In an article entitled `Ulysses, Order and Myth’, he reflected on the possibilities of `the mythical method’. This is defined as `a way of controlling, of ordering, of giving a shape and significance to the immense panorama of futility and anarchy which is contemporary history.’ Or again, it is `a step toward … order and form’. But by way of warning to any who might think the `mythical method’ is easily adopted, the following proviso is added: `only those who have won their own discipline in secret and without aid, in a world which offers very little assistance to that end, can be of any use in furthering this advance.’ (7) We have no space to indicate just how misleading this is as an approach to Ulysses. All we need emphasise is how insistent is Eliot’s terminology: `order’ and `discipline’, as opposed to `futility’ and `anarchy’. There is a complex of terms at work here, and it seems to be doing a lot of Eliot’s thinking for him. His words are jumping to their own conclusions. In the process, the richly humane narrative of Joyce’s work is overlooked, and an extremely strict theology is being asserted under the guise of a disinterested reflection on a contemporary writer’s use of mythology. Just as much as The Waste Land, then, Eliot’s article exemplifies what Wallace Stevens calls the `rage for order’. (8) However, where Stevens allows for this to be a `blessed’ rage, implying that the human urge towards perfection of language is in itself a mode of redemption, with the beauty of poetry revealing the sacredness of earthly existence, the impression that lingers after reading these writings of Eliot is that of the desire for release from words and world alike. `Perfectionism’ here is a matter of negation rather than fulfilment.

However, it would be regrettable to conclude our juxtaposition of Eliot’s poetry with Burke’s theory by seeming to put the former too neatly in its place. That would be a most un-Burkean thing to do. Rather, we might end by referring to a later work, Four Quartets (1942): this is Eliot’s meditation on time and eternity, poetry and belief, language and the Logos. That is, here the poet is much more explicit about the relation between words and the Word, and he is much more honest about the rhetorical nature of religion. Whereas in The Waste Land, `the mythical method’ consisted of the appeal to an entirely other `order’, a transcendent `form’, beyond all the ironies and the ambiguities, here it consists of the heroic engagement with language itself (‘the intolerable wrestle with words and meanings’). Despite the reputation of the poem as a move out of mythology into pure theology, it is very much a reworking of Eliot’s earlier narrative patterns – those of death and rebirth and of the quest for the spirit – in a new context. That context is, of course, his subscription to the Christian faith. But now, paradoxically, acceptance of a certain set of beliefs liberates the poet from the habits of contempt and rejection which went with his previous gestures towards the absolute. It is as if the doctrine of the Incarnation has saved him from the aridity of his previous `perfectionism’.

In the closing poem, ‘Little Gidding’, the rebirth and the completed quest are understood as effective even within the terms of the human struggle: for though `the purpose’ is always `beyond the end you figured / And is altered in fulfilment’, and though `to apprehend / The point of intersection of the timeless / With time, is an occupation for the saint’, it is possible to find peace within the dialectic of words and the Word. ‘The detail of the pattern is movement,’ we are told, even while its principle is the `Love’ which `is itself unmoving’. Hence in his `movement towards that `Love’, stopping to utter a prayer `while the light fails / On a winter’s afternoon, in a secluded chapel’, the poet can say without discontent or disaffection that `this is the nearest, in place and time, / Now and in England.’ (9) The search for the eternity of the Word brings us back to the temporal status of words, from which all ideas of perfection proceed. Eliot’s mythology and Burke’s logology may yet turn out to be two ways of looking at the same miracle, that of human language itself.

FURTHER READING

Laurence Coupe, Myth , 2nd edition (Abingdon: Routledge, 2009)

Laurence Coupe, Kenneth Burke: From Myth to Ecology (Anderson, Carolina: Parlor Press, 2013)

 

NOTES

(1) Kenneth Burke, The Rhetoric of Religion: Studies in Logology (Berkeley: University of California Press, 1961), p. vi.

(2) Burke, Rhetoric, p. 7.

(3) Burke, Rhetoric, pp. 183-96.

(4) Kenneth Burke, Language as Symbolic Action: Essays on Life, Literature and Method (Berkeley: University of California Press, 1966), p. 16.

(5) T. S. Eliot, Collected Poems 1909-1962 (London: Faber & Faber, 1963), p. 80. (All words and phrases quoted subsequently from the poem itself are taken from this edition: pp. 61-79.)

(6) T. S. Eliot, The Use of Poetry and the Use of Criticism (London: Faber & Faber, 1964), p. 106.

(7) T.S. Eliot, `Ulysses, Order and Myth’, Selected Prose, ed. Frank Kermode (London: Faber & Faber, 1975), pp. 177-8.

(8) Wallace Stevens, `The Idea of Order at Key West’, Selected Poems (London: Faber & Faber, 1986, pp. 65-6.

(9) Eliot, Collected Poems, pp. 215, 222-23.