“To make any thing very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes.”
~ Edmund Burke
I spent much of the day looking back at old posts. My purpose was to find my various writings on the revolutionary era, specifically in relation to the American Revolution. I was doing so in order to link to them in the post I just wrote, about democratic republicanism in early America.
In my search, I came across a post from several years ago. It is sort of a rambling book review of Yuval Levin’s The Great Debate, the topic being the relationship between Thomas Paine and Edmund Burke. What caught my attention was the comments section. I sometimes put more into the comments section than I do in the post itself. A longtime friend and reader of the blog left a comment, which is partly what led me to go off on some tangents there.
As one of my responses, I quoted at length from Corey Robin’s writings. One quote came from the first book I read by him, The Reactionary Mind:
Earlier than most, Burke understood that if violence were to retain its sublimity, it had to remain a possibility, an object of fantasy— a horror movie, a video game, an essay on war. For the actuality (as opposed to the representation) of violence was at odds with the requirements of sublimity. Real, as opposed to imagined, violence entailed objects getting too close, bodies pressing too near, flesh upon flesh. Violence stripped the body of its veils; violence made its antagonists familiar to each other in a way they had never been before. Violence dispelled illusion and mystery, making things drab and dreary. That is why, in his discussion in the Reflections of the revolutionaries’ abduction of Marie Antoinette, Burke takes such pains to emphasize her “almost naked” body and turns so effortlessly to the language of clothing—“ the decent drapery of life,” the “wardrobe of the moral imagination,” “antiquated fashion,” and so on— to describe the event. 68 The disaster of the revolutionaries’ violence, for Burke, was not cruelty; it was the unsought enlightenment.
Robin explains what Burke meant by the moral imagination, explains why such power exists and what nullifies it. That is why I began this post with the quote by Burke. Here is the fuller context from the 1759 text (“A philosophical enquiry into the origin of our ideas of the sublime and beautiful”, Part Two, Section III – Obscurity):
To make any thing very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes. Every one will be sensible of this, who considers how greatly night adds to our dread, in all cases of danger, and how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds, which give credit to the popular tales concerning such sorts of beings. Those despotic governments, which are founded on the passions of men, and principally upon the passion of fear, keep their chief as much as may be from the public eye. The policy has been the same in many cases of religion.
It’s not just the power of the mind. Moral imagination is what extends power over people, the emotional grip of distant or hidden authority, human or otherwise. Sublimity and fear, awe and terror.
But this misses the subtlety of this power. Moral imagination is everpresent, the pervasive force that puts blinders on our vision, hypnotizing us into a reality tunnel and sometimes full epistemic closure. As Burke puts it, this forms the wardrobe of our moral imagination, from which we clothe our experience of the world. This wardrobe holds the social constructs of the mind, the ideologies and narratives of society, the customs and norms of culture. It is just there, all around us, enclosing us, a familiar presence, and yet near impossible to see directly, most often barely glimpsed at the periphery of our awareness. It’s power is in its simultaneous obscurity and presence, the unseen depths of unconsciousness with an undertow that can be felt.
Also in the comments section, I pointed to the connection to another writer: “I noticed in these passages that ‘horror’ was mentioned a few times. Corey Robin even made reference to horror movies/films and “delightful horror.” What came to my mind is something that Thomas Ligotti said in an interview. He was discussing monsters. He explained that no story can ever have a monster as the protagonist, for then the sense of monstrosity would be lost. The monster has to remain other and the evil vague. That is what gives a horror story its power to horrify.” That stood out to me most of all. There is a simple reason for this, as I had just recently mentioned Ligotti (in relation to True Detective) to this same friend when he came to visit me. I had forgotten about these comments. Reading them again, I saw them in new light. That involves a more important reason for these comments interesting me. Ligotti was making a deeper point than mere commentary on horror fiction. The most horrifying other is that which is unseen and that is its power over us.
This all connects back to the ongoing development of my own theory, that of symbolic conflation. But I forgot about an earlier post where I brought Burke into the context of symbolic conflation. It was for a different reason, though.
In that post, I explained Burke’s role as an outsider and how that positioned him as a purveyor of symbolic conflation. The moral imagination is all about this, as symbolic conflation is the beating heart, the meeting point of the imagined and the real. The centrality of the outsider status also brings into play the reactionary mind, according to Corey Robin, for the outsider sees most clearly the threat of boundaries being transgressed and all boundaries are ultimately boundaries of the mind. A symbolic conflation is a wall that both marks and establishes the boundary. It makes the boundary real and, in doing so, defends the authority of claims about what is real.
This is the moral imagination of fear. It is a visceral fear, the embodied imagination. A symbolic conflation requires a grounding within bodily experience, fight and flight, pain and illness, pleasure and guilt, punishment and death. It relates to what I call the morality-punishment link. It also offers possible insight into the origins of the reactionary mind. The conservative, as I argue, is simply a liberal in reactionary mode. The conservative is a liberal who has been mugged by their own moral imagination. Their minds have been wrapped in chains of fear and locked shut by symbolic conflation, the visceral experience of a story that has become their reality.
This is a potential existing within everyone, not just those on the political right. But this potential requires specific conditions to become manifest. Liberalism and the conservative reaction to it is an expression of modernity. This dynamic isn’t found in all societies. It is a cultural product and so there is nothing inevitable about it. Other cultures are possible with other ideological mindsets and other social dynamics. For us moderns, though, it is the only reality we know, this endless conflict within our collective psyche.
Maybe unintentionally, Edmund Burke offers us the key to unlock the modern mind. Knowing this key existed is what he feared the most, for then the human mind and its potential would be laid bare. Yet this fear is what gives the reactionary mind its sense of power and purpose, an existential threat that must be fought. Modernity is continuously poised on a knife edge.
The near cosmic morality tale of ideological conflict is itself a symbolic conflation. There is always a story being told and its narrative force has deep roots. Wherever a symbolic conflation takes hold, a visceral embodiment is to be found nearby. Our obsession with ideology is unsurprisingly matched by our obsession with the human brain. The symbolic conflation, though moral imagination, gets overlaid onto the brain for there is no greater bodily symbol of the modern self. We fight over the meaning of human nature by wielding the scientific facts of neurocognition and brain scans. It’s the same reason the culture wars obsess over the visceral physicality of sexuality: same sex marriage, abortion, etc. But the hidden mysteries of the brain make it particularly fertile soil. As Robert Burton explained in A Skeptic’s Guide to the Mind (Kindle Locations 2459-2465):
our logic is influenced by a sense of beauty and symmetry. Even the elegance of brain imaging can greatly shape our sense of what is correct. In a series of experiments by psychologists David McCabe and Alan Castel, it was shown that “presenting brain images with an article summarizing cognitive neuroscience research resulted in higher ratings of scientific reasoning for arguments made in those articles, as compared to other articles that did not contain similar images. These data lend support to the notion that part of the fascination and credibility of brain imaging research lies in the persuasive power of the actual brain images.” The authors’ conclusion: “Brain images are influential because they provide a physical basis for abstract cognitive processes, appealing to people’s affinity for reductionistic explanations of cognitive phenomena.” *
The body is always the symbolic field of battle. Yet the material form occludes what exactly the battle is being fought over. The embodied imagination is the body politic. We are the fear we project outward. And that very fear keeps us from looking inward, instead always drawing us onward. We moderns are driven by anxiety, even as we can never quite pinpoint what is agitating us. We are stuck in a holding pattern of the mind, waiting for something we don’t know and are afraid to know. Even as we are constantly on the move, we aren’t sure we are getting anywhere, like a dog trotting along the fenceline of its yard.
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* D. McCabe and A. Castel, “Seeing Is Believing: The Effect of Brain Images on Judgments of Scientific Reasoning,” Cognition, 107( 1), April 2008, 345– 52.
(For criticisms, see: The Not So Seductive Allure of Colorful Brain Images, The Neurocritic.)