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Mind, Body, Motion, Matter Eighteenth-Century British and French Literary Perspectives Edited by Mary Helen Mcmurran and Alison Conway MIND, BODY, MOTION, MATTER

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Mind, Body, Motion, Matter Eighteenth-Century British and French Literary Perspectives Edited by Mary Helen Mcmurran and Alison Conway MIND, BODY, MOTION, MATTER Mind, Body, Motion, Matter Eighteenth-Century British and French Literary Perspectives edited by Mary Helen McMurran and Alison Conway MIND, BODY, MOTION, MATTER Eighteenth-Century British and French Literary Perspectives Mind, Body, Motion, Matter Eighteenth-Century British and French Literary Perspectives EDITED BY MARY HELEN MCMURRAN AND ALISON CONWAY UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press 2016 Toronto Buffalo London www.utppublishing.com Printed in the U.S.A. ISBN 978-1-4426-5011-4 (cloth) Printed on acid-free, 100% post-consumer recycled paper with vegetable-based inks. ___________________________________________________________________ Library and Archives Canada Cataloguing in Publication Mind, body, motion, matter : eighteenth-century British and French literary perspectives / edited by Mary Helen McMurran and Alison Conway. Includes bibliographical references and index. ISBN 978-1-4426-5011-4 (cloth) 1. English literature – 18th century – History and criticism. 2. French literature – 18th century – History and criticism. 3. Philosophy in literature. 4. Materialism in literature. 5. Vitalism in literature. 6. Aesthetics in literature. I. Conway, Alison Margaret, editor II. McMurran, Mary Helen, 1962–, author, editor PR448.P5M55 2016 820.9'384 C2015-908168-8 ___________________________________________________________________ CC-BY-NC-ND This work is published subject to a Creative Commons Attribution Non-commercial No Derivative License. For permission to publish commercial versions please contact University of Toronto Press. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the Government of Ontario. Funded by the Financé par le Government gouvernement of Canada du Canada Contents List of Illustrations vii Acknowledgments ix Introduction 3 mary helen mcmurran Part One: Pre-Reflective Experience 1 Hogarth’s Practical Aesthetics 21 ruth mack 2 Presence of Mind: An Ecology of Perception in Eighteenth-Century England 47 jonathan kramnick 3 Reading Locke after Shaftesbury: Feeling Our Way Towards a Postsecular Genealogy of Religious Tolerance 72 david alvarez 4 Rethinking Superstition: Pagan Ritual in Lafitau’s Moeurs des sauvages 110 mary helen mcmurran Part Two: Materialisms 5 Defoe on Spiritual Communication, Action at a Distance, and the Mind in Motion 139 sara landreth vi Contents 6 The Persistence of Clarissa 170 sarah ellenzweig 7 The Early Modern Embodied Mind and the Entomological Imaginary 202 kate e. tunstall 8 Diderot’s Brain 230 joanna stalnaker Conclusion: Can Aesthetics Overcome Instrumental Reason? The Need for Judgment in Mandeville’s Fable of the Bees 254 vivasvan soni List of Contributors 279 Index 281 Illustrations 1.1 Analysis of Beauty, Plate 1. Hogarth’s line of beauty is line four (No. 49), near the centre of the top of the plate. 24 4.1 Lafitau, Moeurs des sauvages. 124 4.2 Bernard de Montfaucon, Antiquity Explained and Represented in Sculptures. 125 5.1 Vision du Monde Angélique, 1721. 147 5.2 Vision du Monde Angélique, 1761. 148 5.3 J. Van Der Gucht, The Man at the Bar, 1727. 155 Acknowledgments We gratefully acknowledge the University of Western Ontario and the Social Sciences and Humanities Research Council of Canada for their support of the publication and the workshop in which these essays were first presented. We also thank the contributors for their collaboration, our editor, Richard Ratzlaff, the anonymous readers for University of Toronto Press, and, finally, Emily Sugerman, for her fine proofreading. MIND, BODY, MOTION, MATTER Introduction1 mary helen mcmurran The essays gathered here represent recent approaches to eighteenth- century literature and philosophy. Beginning in the 1980s, Foucauldian criticism, among other theoretical currents, transformed the study of philosophical ideas into analyses of “knowledge.”2 Early modern and Enlightenment philosophies, in particular, were subsequently inter- preted as cultural constructions and assessed in terms of their historical effects. The literary works of the long eighteenth century were taken, in large part, as representations of the same social and political domains in which knowledge operated, even as they performed distinctive cul- tural work.3 The twenty-first century has brought about a critical shift from the study of knowledge-making in our period to natural phi- losophy. Natural philosophy is a capacious field of inquiry that tradi- tionally encompassed both the natural world and human nature, and during the seventeenth and eighteenth centuries witnessed major revi- sions of its three core concepts: matter, or what the world is made up of; motion – not simply as a spatial phenomenon, but as an account of why things come to be and how things change; and the nature of humans as “thinking things.”4 This volume builds on current scholarship in eighteenth-century nat- ural philosophy and literature, cognitive humanities, and the history of science, which take up these fundamental concepts. Because scholars’ interests branch out in many directions, we have not solicited contribu- tions focused on just one theme.5 Our essays discuss such diverse top- ics as artisanal aesthetics, religious toleration, pneumatology, thinking matter, and theories of judgment. The contributors consistently attend to aesthetics in their arguments and rely on literary-critical methods, yet some of us bring philosophical ideas to interpretations of literary 4 Mary Helen McMurran works or literary tropes and others direct their studies more broadly to theory and the history of ideas. Despite these dissimilarities, we all engage with the re-grounding of human experience that resulted from early modern materialist and mechanistic tenets. This is not to say that there is only one philosophical school that informs eighteenth-century writing. The premises of materiality and motion are not stable, nor do they unilaterally commandeer the period’s intellectual developments. On the contrary, they are significant for us because they posed difficult questions: Can matter and motion account for all being, be it the gen- eration of a new biological life or human will and desire? Is matter inert and motion external to matter in living things, or is activity inherent in animate matter? If the human being is both material body and con- sciousness, what is the nature of their interaction? How do the motions of sensation and feeling mediate bodies, minds, and their environ- ments? Concepts elicit debate, of course, but it is the curiously conjunc- tive natures of matter and motion, body and thinking that exercised the era’s theoretical imagination. The topics we address would appear to invite interdisciplinary anal- ysis, yet our essays are premised instead on the eighteenth century’s pre-disciplinarity. As we show, silos of learning were rare despite the growth of expertise in the period, and transnational conversations as well as transhistorical ones were commonplace.6 This pre-disciplinarity is also highlighted by the pansophism of several authors featured in the volume: the third Earl of Shaftesbury, who is treated by David Alvarez and Vivasvan Soni, aggregates politics, ethics, religion, and aesthetics; Denis Diderot, who appears in the essays by Sarah Ellenzweig, Kate Tunstall, and Joanna Stalnaker, not only directed the Encyclopédie, but expounds on epistemology, biology, and aesthetics, while writing novels and plays. Laurence Sterne, who appears in Jonathan Kramnick’s and Tunstall’s essays, and William Hogarth, who is discussed by Ruth Mack and Kramnick, are as important for their theories of mental operations as for their literary and visual works. The cross-fertilization of ideas enabled by the eighteenth-century’s pre-disciplinarity is also evinced, as Sara Landreth shows, in Daniel Defoe’s overlap with Cambridge Platonism, and, as Ellenzweig demonstrates, in Samuel Richardson’s alliance with philosophical materialism. Rather than attempt to outline the complex ideas pertaining to mate- riality and motion, and how they cross various fields of inquiry in the eighteenth century, let us begin with one of our recurring motifs – the concept of form. Although form is a term that largely dropped out of Introduction 5 philosophy in the eighteenth century, its absence helps explain the abundance of speculative energy around matter and motion, body and mind, as well as the imbrication of these concepts with aesthetics. It is often remarked that modern philosophy was inaugurated by rejecting such metaphysical superstitions as form inherited from Aristotelian- ism, and that the new philosophy relied instead on clear perception and reasoning. The standard view of form’s elimination has obscured the fact that closely related notions of organization or structure are central to understanding everything from living beings to sensory perception to visual diagrams and narrative plots in the eighteenth century. In Aristotle’s system, which was later translated into Scholastic phi- losophy, form is one of the four causes; the others are material, efficient, and final (telos). For Aristotle, substance, which is to say anything that exists, is composed with both matter and form. Matter is undifferenti- ated, though it has the potential to be a specific thing. Form is actuality, by which matter becomes individuated. At the same time, form provides for the thing’s belonging to a kind or species.7 Martha Bolton explains: “The form
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