T.S. Eliot`s idea of the clerisy, and its discussion by Karl Mannheim and Michael Polanyi in the context of J.H. Oldham`s moot

In 1938, Joseph Oldham, a leading British Christian ecumenist, formed a discussion group that came to be known as the Moot. The Moot met in a retreat setting for several long weekends each year until early 1947, its discussions carefully organized and convened by Oldham. More than anything else, the discussions of the Moot revolved around the topic of order and, more particularly, around the problem of how order might be restored in British society and culture in the context of a ‘world turned upside down’. Oldham and most members of the group sought a central place for Christian ideas and ideals in British social life.

A striking feature of the Moot was the intellectual stature and the diversity of interests of its members. Among its 16 or so regular members were Oldham (1874-1969), his close friend T.S. Eliot (1888-1963) and Karl Mannheim (1893-1947). Among the later ‘visitors’ to Moot meetings was Michael Polanyi (1891-1976), who first came to the 20th Moot meeting in June of 1944.1

This article presents several papers that were produced for the Moot discussion of 15-18 December 1944 by Eliot, Mannheim and Polanyi. These papers have intrinsic and historical interest, and are published together for the first time here. The initial paper, written by Eliot, treats the role in society of ‘the clerisy’2 - a term borrowed from Samuel Taylor Coleridge that points to an intellectual elite or vanguard. Eliot requested that Oldham solicit responses to his paper from Mannheim and Polanyi. Mannheim’s response was a set of detailed answers to four questions that Eliot posed at the end of his essay. Polanyi’s response was a short, coherent essay, which he identified as ‘my own position with respect’ to Eliot’s discussion; his essay outlines a brief account of the role of the clerisy in science.3 Eliot wrote short comments on the responses of both Mannheim and Polanyi. These five pieces, which have a natural unity, should be of interest to anyone working in the history of social thought. We have abridged only Mannheim’s lengthy response and have eliminated a few lines of illustrative material from Eliot’s reply to Mannheim, but these excisions in no way detract from the clarity of the authors’ perspectives in this rich trilogue.

Essays in biography and criticism.

Volumes paged separately.

The Quarterly review.

Editors: 1809-24, William Gifford.--1824-26, J.T. Coleridge.--1826-53, J.G. Lockhart.--1853-60, Whitwell Elwin.--1860-67, William Macpherson.--1867-93, William Smith.--1894, John Murray, 1894-99, R.E. Prothero.--1899- G.W. Prothero.

Correspondence on the principles of right reasoning, applicable to temperance, and to the effects of fermented and distilled liquors; between Samuel M. Hopkins and Gerrit Smith, Rev. Dr. Justin Edwards, and Rev. Dr. Samuel H. Cox,

"Intended sections of part II": p. 109-112.

Extracts from an address by Hon. Samuel M. Hopkins, of Albany, before the Saratoga Country Temperance Society, in September, 1829.

Mode of access: Internet.

The life of Samuel Johnson, D.D. : the first president of King's College, in New York. Containing many interesting anecdotes; a general view of the state of religion and learning in Connecticut during the former part of the last century; and an account of the institution and rise of Yale College, Connecticut; and of King's (now Columbia) College, New-York /

Microfilm. Ann Arbor, Mich., University Microfilms [n.d.] (American culture series, Reel 257.3)

A discourse on the professional character and virtues of the late William Wirt /

Mode of access: Internet.

English essays : from Sir Philip Sidney to Macaulay ; with introductions and notes.

Series title on spine: Harvard classics : the five foot shelf of books.

Literary reminiscences; from The autobiography of an English opium-eater.

Book-plate: Theodorus Bailey Myers Mason.

The poets and poetry of the nineteenth century ...

I. George Crabbe to Samuel Taylor Coleridge.--II. Robert Southey to Percy Bysshe Shelley.--III. John Keats to Edward, lord Lytton.--IV. Frederick Tennyson to Arthur Hugh Clough.--V. Charles Kingsley to James Thomson.--VI. William Morris to Robert Buchanan.--VII. Robert Bridges and contemporary poets.--VIII. Joanna Baillie to Jean Ingelow.--IX. Christina G. Rossetti to Katharine Tynan.--X. Humour: George Crabbe to Edmund B.V. Christian.--XI. Sacred poets of the nineteenth century: James Montgomery to Anna Laetitia Waring.--XII. Edward Hayes Plumtre to Selwyn Image.

The genius of Erasmus Darwin

The Genius of Erasmus Darwin provides insight into the full extent of Erasmus Darwin's exceptional intellect. He is shown to be a major creative thinker and innovator, one of the minds behind the late eighteenth-century industrial revolution, and one of the first, if not the first, to perceive the living world (including humans) as part of a unified evolutionary scenario. The contributions here provide contextual understandings of Erasmus Darwin's thought, as well as studies of particular works and accounts of the later reception of his writings. In this way it is possible to see why the young Samuel Taylor Coleridge was moved to describe Darwin as 'the first literary character in Europe, and the most original-minded man'. Erasmus Darwin, Charles Darwin's grandfather, was one of the leading intellectuals of eighteenth-century England. He was a man with an extraordinary range of interests and activities: he was a doctor, biologist, inventor, poet, linguist, and botanist. He was also a founding member of the Lunar Society, an intellectual community that included such eminent men as James Watt and Josiah Wedgwood. Contents: Introduction; Setting the scene, Jonathan Powers; Prologue 'Catching up with Erasmus Darwin in the New Century', Desmond King-Hele. Section 1: Medicine: Physicians and physic in 17th and 18th century Lichfield, Dennis Gibbs; Dr Erasmus Darwin MD FRS (1731–1802): England's greatest physician?, Gordon Cook; William Pale (1743–1805) and James Parkinson (1755–1824): two peri-Erasmatic thinkers (and several others), Christopher Gardner-Thorpe; The vertiginous philosophers: Erasmus Darwin and William Charles Wells on vertigo, Nicholas Wade. Section 2: Biology: The Antipodes and Erasmus Darwin: the place of Erasmus Darwin in the heritage of Australian literature and biology, John Pearn; Erasmus Darwin on human reproductive generation: placing heredity within historical and Zoonomian contexts, Philip Wilson; All from fibres: Erasmus Darwin's evolutionary psychobiology, C.U.M. Smith; Two special doctors: Erasmus Darwin and Luigi Galvani, Rafaella Simili. Section 3: Education: But what about the women? The lunar society's attitude to women and science and to the education of girls, Jenny Uglow; The Derbyshire 'Darwinians': the persistence of Erasmus Darwin's influence on a British provincial literary and scientific community, c.1780–1850, Paul Elliot. Section 4: Technology: Designing better steering for carriages (and cars); with a glance at other inventions, Desmond King-Hele; Mama and papa: the ancestors of modern-day speech science, Philip Jackson; Negative and positive images: Erasmus Darwin, Tom Wedgwood and the origins of photography, Alan Barnes; Section 5: Environment: Erasmus Darwin's contributions to the geological sciences, Hugh Torrens; The air man, Desmond King-Hele; Erasmus Darwin, work and health, Tim Carter; Section 6: Literature: The progress of society: Darwin's early drafts for the temple of nature, Martin Priestman; The poet as pathologist: myth and medicine in Erasmus Darwin's epic poetry, Stuart Harris; 'Another and the same': nature and human beings in Erasmus Darwin's doctrines of love and imagination, Maurizio Valsania. Epilogue: 'One great slaughter-house the warring world': living in revolutionary times, David Knight; Coda: Midlands memorabilia, Nick Redman; Appendix: The Creation of the Erasmus Darwin Foundation and Erasmus Darwin House, Tony Barnard; Index.

Akrasia and the Aesthetic: Human Agency and the Site of Literature, 1760-1820

This study focuses on a series of foundational stylistic and formal innovations in eighteenth-century and Romantic literature, and argues that they can be cumulatively attributed to the distinct challenges authors faced in representing human action and the will. The study focuses in particular on cases of “acting against better judgment” or “failing to do what one knows one ought to do” – concepts originally theorized as “akrasia” and “weakness of the will” in ancient Greek and Scholastic thought. During the Enlightenment, philosophy increasingly conceives of human minds and bodies like systems and machines, and consequently fails to address such cases except as intractable or incoherent. Yet eighteenth-century and Romantic narratives and poetry consistently engage the paradoxes and ambiguities of action and volition in representations of akrasia. As a result, literature develops representational strategies that distinguish the epistemic capacities of literature as privileged over those of philosophy.

The study begins by centering on narratives of distempered selves from the 1760s. Jean-Jacques Rousseau’s Confessions and Laurence Sterne’s A Sentimental Journey narrate cases of knowingly and weakly acting against better judgment, and in so doing, reveal the limitations of the “philosophy of the passions” that famously informed sentimental literature at the time. These texts find that the interpretive difficulties of action demand a non-systematic and hermeneutic approach to interpreting a self through the genre of narrative. Rousseau’s narrative in particular informs William Godwin’s realist novels of distempered subjects. Departing from his mechanistic philosophy of mind and action, Godwin develops the technique of free indirect discourse in his third novel Fleetwood (1805) as a means of evoking the ironies and self-deceptions in how we talk about willing.

Romantic poetry employs the literary trope of weakness of will primarily through the problem of regretted inaction – a problem which I argue motivates the major poetic innovations of William Wordsworth and John Keats. While Samuel Taylor Coleridge sought to characterize his weakness of will in philosophical writing, Wordsworth turns to poetry with The Prelude (1805), revealing poetry itself to be a self-deceiving and disappointing form of procrastination. More explicitly than Wordsworth, John Keats identifies indolence as the prime symbol and basis of what he calls “negative capability.” In his letters and poems such as “On Seeing the Elgin Marbles” (1817) and “Ode on Indolence” (1819), Keats reveals how the irreducibly contradictory qualities of human agency speak to the particular privilege of “disinterested aesthetics” – a genre fitted for the modern era for its ability to disclose contradictions without seeking to resolve or explain them in terms of component parts.

British Romantic Criticism and the Fine Arts: A Study in Philosophical Theories of Literary Unity

This dissertation is an exploration of how a small but important group of Romantic critics, finding fault in the ideal of three unities developed by neoclassical Academicians and wrongly attributed to Aristotle, turned to the terminology and practices of the fine arts to emphasize their conception of organic unity in literature. The Romantic analogy to painting in particular enables a philosophical criticism of literature to present the aesthetic semblance of painting, the comprehension of a multitude of details in a harmonious whole that is a natural unity to its medium, as a paradigm of modern-romantic poetry and its aspirations to similar complexity, particularity, and imaginative colour. Further, in extension of the French Querelle des anciens et des modernes of the seventeenth century, the division of ancient and romantic art by Romantic critics like August Schlegel, Samuel Taylor Coleridge, and William Hazlitt not only establishes an ethnological and historical difference between the artistic productions of these two cultural periods but also allows, unlike the neoclassical unities, a non-anachronistic philosophical vocabulary of whole and parts or of the general and particular in the criticism of poetry, which involution provides a “rule” more consonant with the laws of the imagination rather than with the rhetorical and absolutist dicta that were thither available in the literary canon.

Imagen del mundo, percepción y descripción de la naturaleza. Un estudio comparado en torno a las presuposiciones onto-epistemológicas en la poesía romántica inglesa y la prosa científica de Charles Darwin

615 p.

On devotion : commencement essay, 1793

Two-page handwritten oration titled "On devotion" composed by graduate Samuel Farrar for the July 17, 1793 Harvard University Commencement. The essay begins, "The mind assuming reason for its guide, and the works of nature for its contemplation..."