Tag Archives: French Revolution

Inside the Mind and Time of Victor Hugo

 

 

 

David Bellos, The Novel of the Century:

The Extraordinary Adventure of Les Misérables 

            When first published on April 4, 1862, Victor Hugo’s novel Les Misérables was an immediate best seller – in today’s parlance, a “blockbuster” but also, at 1,900 pages in the original French, a “doorstopper” (the English translation was a mere 1,500 pages).  Hugo in 1862 was among France’s most revered writers, but was then living in exile on the Channel Island of Guernsey, having fled several years earlier from what he considered the dictatorial regime of Louis-Napoléon, better known as Napoléon III.  Hugo intended Les Misérables, his epic tale of reconciliation and redemption, with its searing portraits of the poor and those at society’s margins, to be the culmination of his already illustrious career as a novelist, poet and playwright.  It didn’t take long after Les Misérables’ initial publication for Hugo to conclude that his novel would easily meet his lofty aspirations.

             Over a century and half later, Hugo’s Les Misérables remains in the forefront of literary classics, still read in the original French and in countless translations in all the world’s major languages.  Within weeks of its publication, moreover, Les Misérables was turned into a play, and in the 20th century became the subject of more adaptations for radio, stage and screen than any just about any other literary work.  But David Bellos, professor of French and comparative literature at Princeton University, worries that Les Misérables’ extraordinary staying power and its enduring mass market appeal has led too many to dismiss the novel as a work that falls below the level of great art.

            In The Novel of the Century: The Extraordinary Adventure of Les Misérables, Bellos seeks to dispel such notions by getting inside Victor Hugo’s mind and his time as he pieced together Les Misérables.   Much like Alice Kaplan’s Looking For “The Stranger: Albert Camus and the Life of a Literary Classic, reviewed here in April, Bellos’ work could be considered a “biography of a book.”  In an introductory chapter, “The Journey of Les Misérables,” Bellos provides an overview to the novel, its setting and its multiple twists and improbable turns, all highly useful for readers who have not read the novel for several years if at all.

       Here he introduces the novel’s principal characters: Jean Valjean, famously sentenced to hard labor for stealing a loaf of bread, whose twenty-year quest to rehabilitate himself constitutes the novel’s “narrative backbone” (p.xviii); Fantine, an abandoned single mother who loses her job, falls into prostitution and meets an early death; her illegitimate daughter Cosette, entrusted to Valjean’s care after her mother’s death; Javert, the policeman who pursues Valjean relentlessly throughout the novel; the inn-keeping couple the Thénardiers, and their urchin children, Éponine and Gavroche; and Marius, a student and budding political activist who falls in love with Cosette.

              Les Misérables consists of five parts, with 48 “books” (Bellos too has divided his work into five parts, surely not coincidentally).  Hugo’s Part I is entitled “Fantine;” Part II, “Cosette,” in which the young girl is saved by Valjean from cruel foster parents after her mother’s death; Part III, “Marius,” focusing on the student’s life on the barricades in his fight to overcome the monarchy; Part IV, “The Idyll of Rue Plumer and the Epic of Rue Saint Denis,” two Parisian streets, the first where the love affair of Cosette and Marius blossomed, the second where Marius fought in a political barricade; and Part V, simply “Jean Valjean.”  Each of the 48 books has chapters, 365 in all.  With many of the chapters quite short, Bellos suggests a chapter per day over the course of a year for those who want to read or reread the novel.

               The individuals who surrounded Hugo as he wrote Les Misérables loom as large in Bellos’ work as the characters in the novel itself.   Hugo and his wife Adèle Foucher had five children, the first of whom died in infancy.  Their oldest daughter Léopoldine died in a boating accident at age 19, the “gravest emotional wound in Hugo’s life “ (p.98). Their last child, daughter Adèle, kept a diary from an early age that provides a major portion of the record about the evolution of Les Misérables,.  Adèle was in the forefront of an innovative campaign to market the novel across Europe (her unrequited love for a British military officer was the subject of the 1975 François Trauffaut film, The Story of Adèle H).  Hugo’s older son Charles also played a major role in arranging for publication of Les Misérables, while younger son François-Victor became a literary heavyweight in his own right through his translations into French of the major works of Shakespeare.

           An additional presence throughout Bellos’ account is Hugo’s long-term  mistress, Juliette Drout, an aspiring actress who followed Hugo into exile.  While living in quarters separate from the Hugo family, Juliette became Hugo’s regular traveling companion and served informally as his secretary and confidante (Juliette was traveling with Hugo when he learned of daughter Léopoldine’s death).  But Bellos adds that Hugo was a “serial philanderer” (p.30), with ample supplements to his on-going extra-marital liaison with Juliette and his legal attachment to wife Adèle.

          Les Misérables begins in 1815 and extends to 1835.  Hugo wrote the novel in fits and starts between 1845 and 1862.  The period between 1815 and 1862 encompasses some of the most dramatic upheavals of France’s turbulent and often violent 19th century.  The final defeat of Napoléon Bonaparte at the Battle of Waterloo and the “Bourbon restoration” of Louis XVIII as a constitutional monarch took place in the fateful year 1815.  By 1862, France was in the midst of the “Second Empire” of Louis-Napoléon (Napoléon III), the nephew of Napoléon Bonaparte, who in a coup d’etat in 1851 had ended France’s Second Republic, the event that sent Hugo into exile.  In addition to the 1851 coup, the first half of the century witnessed periodic uprisings against the government, among them: the 1830 “July Revolution,” which ousted Louis XVIII’s successor Charles X in favor of Louis-Philippe d’Orleans; a mini-1832 rebellion which unsuccessfully sought to reverse the 1830 July Revolution, an uprising critical to Hugo’s novel but less so to French history; and the February 1848 revolution in which Louis-Napoléon deposed Louis-Philippe and established the Second French Republic, an uprising in which Hugo was directly involved.

            Bellos’ account shines in its illumination of how these events and the broader currents of 19th century French history affected both Hugo himself and the novel he was working on.  To enhance our understanding of the novel and its seventeen year gestation period, Bellos includes what he terms “interludes,” short digressions on diverse but pragmatic subjects, such as regional and class differences in language in Hugo’s time; money and credit in 19th century France; intellectual property protection and the technical process involved in publishing books in the mid-19th century; and transportation in the time of Les Misérables (people walked a lot more then than they do today).  Bellos also delves into how Hugo’s political and religious views entered into his novel.

            Although Les Misérables is a “progressive” work which “surely expresses moral outrage at the plight of the poor,” (p.219), Bellos cautions that it should not be considered a tract for the emerging views of the European left.  Subtly, however, the novel traced out a “limited if still ambitious program of social action” (p.202-03): more humane criminal justice, with easier entry back into society for offenders, more education, and more jobs for the uneducated.  Hugo, who had never been baptized and did not subscribe to any established religion or cult, considered Les Misérables to be a religious but not Catholic work.  Hugo’s novel argues for “natural religion” capable of bridging the conflicts between Catholics and non-Catholics, and between believers and non-believers, conflicts which in Hugo’s view exacerbated the disparities between rich and poor.  Les Misérables is thus, as Bellos puts it, a “work of reconciliation — between the classes, but also between the conflicting currents that turn our own lives into storms. It is not a reassuring tale of the triumph of good over evil, but a demonstration of how hard it is to be good” (p.xxiv).

* * *

             Bellos notes that Les Misérables was already an “historical” novel when it first appeared in 1862.  With its story set in a past that had ended over a quarter of a century earlier, the novel could immediately be read as an “exercise in nostalgia for a vanished world . . . [and as] an unintended guide to the way things used to be” (p.54).  To dig into the novel’s 1815-to-1835 period is thus to dig into Hugo’s own adolescence and his formative early adult years.  The son of a soldier who fought in Napoleon Bonaparte’s wars, Hugo turned 13 in 1815.

               A precocious literary youth, by 1815 Hugo had already demonstrated a flair for poetry.  By 1832, the year he turned 30, Hugo was among France’s best-known poets who had published a handful of novels, among them the immensely popular Notre Dame de Paris (known in English as The Hunchback of Notre Dame). 1832 marked the death of Germany’s Johann Wolfgang von Goethe, the “undisputed eminence of European literature for the preceding half-century.”  Bellos notes that Hugo considered himself the logical candidate to step into Goethe’s shoes as “European genius-in-chief” (p.4). 1832 was also the year of the unsuccessful two-day revolt against the July monarchy, a minor episode in France’s 19th century which Hugo elevated to the center of Les Misérables through Marius’ participation in its events.

               The first draft of Hugo’s novel, whose title was initially Les Misères, was written in Paris between November 1845 and February 1848. Although this draft no longer exists, scholars have concluded that its plot corresponds closely to that of the final version.  1845 was also the year when Hugo was appointed a peer in France’s upper legislative chamber.  He was working on Marius’ involvement in the 1832 upheaval at the time of the 1848 uprising against the regime of King Louis-Philippe, and found himself, improbably, on the front lines defending the regime – an “experience like no other Hugo had ever had, and not easy to square with his views, his feelings, and his position” (p.47-48).  Hugo’s role in in the suppression of the popular revolt of 1848 was, Bellos argues, “what he had to come to terms with to carry on with his book, and what he [had] to come terns with in his book if it [was] to be the ‘social and moral panorama’ that he intended it to be” (p.113-14).

              Hugo’s position as an establishment figure ended definitively when he became one of the most outspoken and relentless critics of Napoleon III’s 1851 coup d’état.  Forced into exile, he fled initially to Brussels and from there to the Channel Islands, outposts of the British crown off the coast of France. After living first on the Channel Island of Jersey, Hugo and his entourage landed in Guernsey in 1855, with his draft novel gathering dust in a trunk.  He established residence for his family at an elaborate mansion known as Hauteville House, overlooking the sea.  Juliette was assigned to a smaller house nearby.  In 1859, Napoleon III issued an amnesty to those who had opposed his seizure of power in 1851.  Many of the exiles on Channel Islands chose to return to France, but Hugo elected to stay.  But it was not until April 25, 1860, that Hugo went back to the trunk that had followed him from Jersey and pulled out the musty pages of the work he had spent little time on since 1848.

            From that date onward, Bellos’ narrative gathers momentum as he traces the frenetic period that followed.   By this time, Hugo had changed the name of his work from Les Misères to Les Misérables, his innovative term that shifted the meaning from the “poor,” “pitiable” or “despicable” to something more inclusive that suggests solidarity among the less fortunate: a “moral and social identity that had no name before” (p.103).  Hugo finally settled on the names of most of his characters in early 1861. These names have become so familiar, Bellos observes, that it “takes an effort to realize that they all had to be invented, for none of them was taken from the existing stock of French first and family names” (p.115).  Hugo did not finalize Jean Valjean’s name until March 1861.  Previously he had been Jean Tréjan, Jacques Sou and Jean Vlajean.

            Hugo’s work was technically covered by the same contract that had paid him in the 1830s for Notre Dame de Paris.  Because of concerns that the novel might be subject to censorship or litigation if published in France, Hugo shifted to Albert Lacroix and his Brussels-based, politically liberal micro-publishing firm.  Hugo needed a buy out of his original contract and overall wanted more for Les Misérables than had ever been paid to an author for any book. He largely got it, nearly 3 million British pounds in today’s currency, with about 40% of that amount being paid to him up-front, in cash, prior to publication.  Hugo’s deal with Lacroix, worked out in a single day when Lacroix visited Hugo at Hauteville House without having read the draft of the novel, was thus the “contract of the century,” to use the title of one of Bellos’ chapters.

            Hugo got his cash payment on time, in December 1860, because Oppenheim Bank of Brussels agreed to lend money to Lacroix to pay for the book.  For Hugo, debt and crime were two sides of the same coin, and Bellos notes the irony of a novel “so firmly opposed to debt being launched on the back of a major loan – probably the first loan ever made by a merchant bank to finance a book,” thereby placing Les Misérables “at the vanguard of . . . the use of venture capital to fund the arts” (p.143).

          Hugo was still working on the latter portions of the novel when Parts I and II appeared in print on April 4, 1862.  A full two months later, on June 14, 1862, Hugo “corrected the last galley of the last volume of Les Misérables and dispatched it to Brussels.”  Over the course of the previous nine months, he had “turned a single-copy manuscript of a still unfinished work into the greatest publishing sensation of his age” (p.260).

             While Hugo was confined to Hauteville House finalizing his novel, daughter Adèle was in Paris serving as the publicity manager for its launch, working with her brother Charles and Lacroix, both in Brussels. Adèle had to raise the interest and enthusiasm level for the novel to a “pitch so high it would discourage the authorities from banning or seizing the book.  But she also had to let not a scrap of it be seen in advance. The requirement to boost the book while keeping it secret made the publicity manager’s job a work of art” (p.223).   Adèle promoted the book through a billboard campaign.  She also gave advance portions to newspapers, but told them they couldn’t print them until she gave a go ahead.  Thanks to the advance work, the book had been “trumped in all the media then available” in France, a “country that the author refused to enter” (p.228).

            Les Misérables was to go on sale in other major European cities outside France at the same time.  Adèle, Charles and Lacroix thus devised what Bellos labels the “first truly international book launch,” but with an infrastructure that was “barely ready for it: paddle steamers, a rail network that still had more gaps than connections, four-horse diligences and maybe, on the approaches to St. Petersburg, a jingling three-horse sleigh” (p.228).

             From its initial appearances, there was an electricity attached to Hugo’s novel that is difficult for us to fathom more than a century and a half later. The first two parts of Les Misérables sold out in France in two days. The crush for the first copies “verged on a riot” (p.231).  Groups of workers pooled their limited means to buy a copy of the book, passed it around among members of the group, and took turns reading its nearly 2,000 pages to fellow workers who were unable to read.  But the French press did not share readers’ enthusiasm for Les Misérables.  Left wing and socialist critiques were lukewarm; those in the right wing press were stinging.

          Outside France, one recurring criticism of the novel was that it was too rooted in French history, and thus lacked deep meaning for non-French reading audiences. These criticisms were not unfounded, Bellos points out.  Underlying Les Misérables was Hugo’s view that France was the “moral and intellectual powerhouse of the world,” with Les Misérables serving as the “first full formulation of the conventional explanation of the exceptional status of France” (p.235).  One of the larger purposes of Les Misérables, which begins at the end of France’s revolutionary period, was to make the French Revolution the “well-spring of nineteenth-century civilization and so to heal the bleeding wound that it bequeathed to subsequent generations of French men and women” (p.38).

            When the publisher of the first Italian translation of Les Misérables fretted that the legacy of the French Revolution had little relevance to his readers, Hugo responded with a “grandiose reply,” in which he “pulled out all the rhetorical stops” (p.237).  Hugo said that while he did not know whether Les Misérables would be read by all, he had written it for everyone. “I write,” Hugo explained:

with a deep love for my country but without preoccupying myself with France more than any other nation. As I grow older I grow simpler and become increasingly a patriot of humanity.  That is the trend of our times and the law of radiation of the French Revolution. To respond to the growing enlargement of civilization, books must stop being exclusively French, Italian, German, Spanish or English, and become European; more than that, human (p.237).

* * *

          As if to respond himself to the Italian publisher and others in Hugo’s time who considered Les Misérables too Franco-centric, Bellos concludes that the novel’s “moral compass,” extends “far beyond the history, geography, politics and economics of the world in which its story is set. The novel achieves the extraordinary feat of being at the same time an intricately realistic portrait of a specific place and time, a dramatic page-turner with masterful moments of theatrical suspense and surprise, an encyclopedia of facts and ideas and an easily understood demonstration of generous moral principles that we could do far worse than to apply to our lives today” (p.259).  Bellos’ conclusion could also be considered a final riposte to those modern-day skeptics who doubt whether Les Misérables rises to the level of great art.  Few readers of Bellos’ erudite yet easy-to-read account are likely to side with the skeptics.

Thomas H. Peebles

La Châtaigneraie, France

July 17, 2018

 

 

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What Was So Enlightened About That?

Pictures.pagden

Anthony Pagden, The Enlightenment
And
Why It Still Matters 

            I remember being introduced to the Enlightenment during my senior year in college, in a course officially denominated 18th Century European Intellectual History or something to that effect. In this course, the professor, a kind, scholarly gentleman whose specialty was Diderot, introduced his clueless undergraduate charges to a sort of Hall of Fame of Enlightenment philosophes and other enlightened figures. In addition to his beloved Diderot, we met Voltaire, Montesquieu, Frederick the Great (an “enlightened despot”), and a host of others. I recall that our professor even allowed Jean-Jacques Rousseau to make a brief and tightly-regulated appearance. I couldn’t help but like the Enlightenment figures’ emphasis on science, reason, and empirical thinking rather than religion; their belief in the equality of all men – for some, even the equality of all men and women; and their willingness to rethink the “timeless verities” that had been handed down from century to century in Europe.

            But as I identified with the enlightened figures of the 18th century, I was consistently brought back to a harsher reality: hadn’t I learned in a previous year’s introductory European History course that the 18th century ended rather badly for France, the epicenter of the Enlightenment? Didn’t the French Revolution that began so nobly with a Declaration of the Rights of Man degenerate into a guillotined bloodbath, with some of the revered Enlightenment figures finding themselves on the chopping block for politically incorrect thinking or insufficient revolutionary zeal? Wasn’t our text punctuated with several gruesome sketches of the guillotine in action? And didn’t that revolutionary zeal inspire a pesky little guy named Napoleon to launch a European war of conquest? What was so enlightened about that?

            In the decades since that course, I have instinctively felt the need to check my natural enthusiasm for the ideals of the Enlightenment by reminding myself of the ignominious ending to the French Revolution, followed by Napoleonic wars of conquest. Anthony Pagden’s The Enlightenment and Why It Still Matters seeks to uncouple the Enlightenment from the darker chapters of the Revolution and the Napoleonic era. Pagden’s answer to why the Enlightenment still matters, his somewhat aggressive, in-your-face title, is that it continues to be the baseline for the “broadly secular, experimental, individualist and progressive intellectual world” we inhabit today (p.x-xi). By insisting on “its own unfinished nature,” the Enlightenment “quite simply created the modern world. It is . . . impossible to imagine any aspect of contemporary life in the West without it” (p. 408). In particular, Pagden concludes that modern liberal democracy, the form of political system which, “for better and sometimes for worse, governs most modern societies,” is a “creation of the Enlightenment, refined and institutionalized during the course of the nineteenth century” (p.412-13). Nonetheless, the struggle over the legacy of the Enlightenment remains one of the “most persistent, most troubling, and increasingly most divisive” of the ideological divisions within the modern world (p.ix).

            For Pagden, the Enlightenment arose during the “long” 18th century, the last decade of the 17th century through the first decade of the 19th, in the aftermath of the 17th century’s religious wars and the accompanying breakdown of the authority and intellectual unity of the Catholic church. These wars, the Reformation, the “theologically destabilizing impact of the revival of Skepticism,” and the discovery of the Americas had “dealt all the self-assured claims of the theologians a blow from which they never recovered’ (p.96). By the end of the 17th century, Christianity was no longer able to provide the “intellectual and consequently moral certainty that it once had done” (p.406). Pagden describes two broad, intertwined intellectual trends which marked the Enlightenment: reliance upon science and reason, rather the religion and theology, to explain the human species and the universe; and what he calls the cosmopolitanism of the Enlightenment, its emphasis upon what unites the human species across a vast array of cultures and languages. Pagden sets out these trends in eight erudite if sometimes difficult to follow chapters, each with a snappy title (e.g. “Bringing Pity Back In”; “The Fatherless World”). The most argumentative portion – and for me the most enticing – is his conclusion, entitled “Enlightenment and Its Enemies,” evoking Karl Popper’s World War II-era defense of liberal democracy, The Open Society and Its Enemies.

            The Enlightenment can be studied from numerous angles, but most encompass the study of the thinking of Europe’s enlightened figures, a “self-appointed elite” whose members were, as Pagden phrases it, marked by their “intellectual gifts, their open-mindedness, their benevolence toward their fellow human beings. . . and their generosity” (p.322). Each student of the period has his or her own favorite figures. My undergraduate course seemed to turn around Diderot, whereas Pagden’s interpretation gives preeminent place to two philosophers who thrived outside France, the Scottish David Hume and the German Immanuel Kant. Although the thinking of each ranged broadly, Hume personifies for Pagden the secular thread of the Enlightenment, the effort to supplant religious and theological explanations of man and the universe with a “science of man,” based on such notions as “sentiment,” “empathy, “and “virtue,” rather than simple self-preservation, as Thomas Hobbes, the 17th century English philosopher and quasi-atheist, had posited. In somewhat different terms, both Hume and Kant articulated the Enlightenment’s cosmopolitan universalism.

            Hume became the “single most influential proponent of a secular ethics based upon a ‘science of man’ which the Enlightenment ever produced” (p.153), Pagden writes. For Hume, the world’s religions – those “sick men’s dreams,” as he called them (p.125) — had only muddled, corrupted and complicated human lives. His demolition of religion was, Pagden argues, “more assertive, better argued, more profound, and has been more long-standing than that of any philosopher besides Kant” (p.146). Moreover, unlike Kant, Hume was “able to demonstrate that religious belief could not exist ‘within the limits of reason alone,’” using Kant’s phrase (p.146). Hume agreed with the Old Testament view that “however varied actual human beings might be, they all shared a common identity as humans,” with “no universal difference discernible in the human species” (p.162). For Hume, “habits,” “manners,” “customs,” are the stuff of which our worlds are made. All that distinguished the “wisest European from the most ignorant ‘savage’ or ‘barbarian’ is precisely the same as that which distinguishes one ‘civilized’ people from another . . . custom, law, habit, and social expectations” (p.163).

          Pagden cautiously endorses the view of Kant as the “first of the modern liberals” and the first to claim that “modern liberal democracy was bound eventually to become the form of government that all enlightened and civilized peoples would one day embrace” (p.358). Kant’s “cosmopolitan right,” the vision of humanity moving steadily toward a future free of strife and hostility, in which all humans might pursue their own individual ends without endangering those of others, was the “inescapable conclusion of the Enlightenment project” (p.370). Kant, who paradoxically never traveled more than 30 miles away from his native Konigsberg in Germany, also foreshadowed the 20th and 21st century movements toward international justice.

            Kant’s Toward Perpetual Peace, written in the aftermath of the 1795 Peace of Basel, which ended the War of the First Coalition between Europe’s principal monarchies and revolutionary France, set out Kant’s views on ending the scourge of war. In this tract, Kant laid out the case for a hypothetical universal peace treaty that could “ensure the future and inescapably cosmopolitan development of the human race” (p.349). The influence of Toward Perpetual Peace can be seen not only in “contemporary discussions over global governance and global justice but also in the creation of the universal institutions to sustain them, in the League of Nations, the United Nations, and perhaps most closely of all, the European Union” (p.349-50). In bringing the secular, scientific and cosmopolitan threads of the Enlightenment together, Hume and Kant enunciated the Enlightenment objective of creating a “historically grounded human science that would one day lead to the creation of a universal civilization capable of making all individuals independent, autonomous, freed of dictates from above and below, self-knowing, and dependent only on one another for survival” (p.371).

            After setting forth the essential threads of the Enlightenment and highlighting its most consequential thinkers, Pagden finishes with his provocative conclusion, “Enlightenment and Its Enemies,” in which he discusses the case against the Enlightenment. The case amounts to an assault against modernity, Pagden contends, based on “some caricature of a project to reduce all human life to a set of rational calculations” (p.406). Under this view, the Enlightenment produced a culture “devoid of direction and purpose” because the Enlightenment was “fundamentally wrong about morality” as being discoverable by reason alone (p.397). Without the guidelines of tradition, custom and systems of religious belief which the Enlightenment sought to strip away, “humans are lost” and the Western world has been “suffering for it ever since” (p.398). What might be termed the German 4H club, Herder, Heine, and Hegel in the 19th century, and Heidegger in the 20th, propounded the view of the Enlightenment as a “cold, toneless, monstrous and calculating . . . It had tried to crush all of human life, difference, heroism, and desire” (p.387). Over the centuries, Enlightenment, the “Rights of Man,” “Republicanism,” and Kant’s “Cosmopolitanism” all came to be identified in the minds of conservative elites with the destructive power of the French Revolution. Or, as Friederich Karl von Moser, an 18th German jurist and government official, more succinctly put it, Enlightenment “begins with philosophy and ends with scalping and cannibalism” (p.381).

            In response, Pagden comes to what is for me the crux of his argument on behalf of the Enlightenment. Any direct causal link between the Enlightenment and the darker side of the French Revolution, he asserts, is “spurious” (p.389). Had the Enlightenment in fact been a precursor to the Revolution and to Napoleon, he writes, “it would not be of much lasting importance” (p.389). For all its excesses, the Revolution and the Napoleonic era were a “necessary evil” that “ultimately cleared the way for the liberal-democratic order that ultimately came to replace the ancient regime throughout Europe” (p.389). That doesn’t sound to me like an argument that the links between the Enlightenment and the French Revolution are “spurious” (which my dictionary defines as “of falsified or erroneously attributed origin”). Rather, Pagden’s account seems to acknowledge that the Revolution and Napoleonic era were intertwined with the Enlightenment, and it is difficult to see how one could argue otherwise.

            The Enlightenment itself was a complex phenomenon, and the interpretation of its legacy some 200 years after the end of the “long” 18th century still excites passions. Given this complexity, we should not be surprised that many paths can be charted from the Enlightenment. I accept as well-founded the link which Isaiah Berlin perceived between the Enlightenment’s utopian universalism and the game plan which Vladimir Lenin devised for Russia. That another path from the Enlightenment leads to modern notions of liberal democracy, Pagden’s primary contention, seems unassailable. And it is not unreasonable to contend, as Pagden does, that the Revolution and the Napoleonic era were necessary disruptions to clear that path. But that is a more modest contention than that links between the Revolution and the Enlightenment are “spurious.”

            After the horrendous wars and genocides of the 20th century, we know that we cannot always count on reason to prevail. There is still tribalism of many sorts that precludes us from seeing the common humanity linking individuals across the globe, and atrocities are committed in the name of religion nearly every day. But the Enlightenment impulses represent for me now, as they did in that classroom several decades ago, the more noble side of human beings and human experience – if only I could only rid my mind of those guillotine sketches in my college textbook.

Thomas H. Peebles
Cotonou, Benin (West Africa)
January 24, 2015

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Filed under European History, Intellectual History, Political Theory, Uncategorized