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Reasonable Ecstasies: Shaftesbury and the Languages of Libertinism
Published online by Cambridge University Press: 10 January 2014
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Anthony Ashley Cooper, the third earl of Shaftesbury (1671–1713), would have recoiled at any implication that he was a libertine. His antipathy to libertinism is obvious, and examples are plentiful in his writings. His major work, the Characteristics of Men, Manners, Opinions, Times (1711), consistently uses the words “libertine” and “rake” as insults; in all of his writings sensual pleasures are disparaged as base and animalistic threats to human virtue. And despite the third earl's widespread reputation as a freethinker in matters religious, he always insisted that liberty of thought did not imply a freedom from moral restraint.
Certainly Shaftesbury's early reputation was more that of a shy and unsociable recluse rather than that of a rakish mondain. In 1721, John Toland thought it necessary to defend his late friend from accusations of unsociability, not of licentiousness. He claimed that Shaftesbury's enemies “gave out that he was too bookish, because not given to play, nor assiduous at court; that he was no good companion, because not a rake nor a hard drinker, and that he was no man of the world, because not selfish nor open to bribes.” Toland also remarked how Shaftesbury frowned upon the “extravagant liberties” taken by “both sexes” even without having lived “to see masquerades, or the ancient Bacchanals revived, nor to hear of promiscuous clubs.” Indeed, Lord Ashley's own private papers reveal that he was quite uncomfortable in the polite world of England's social elite; he much preferred the pastoral tranquillity of his Dorset estate and the relaxed company of his most trusted friends.
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References
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37 PRO 30/24/20/110, fols. 274v–275r. Shaftesbury's displeasure with “rake-hell” libertinism is not out of character but significant nevertheless in this context.
38 PRO 30/24/20/110, fol. 275r.
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77 Ibid., The Life, p. 51.
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79 Rand, , ed., The Life, p. 121Google Scholar; cf. Ibid., p. 247. Shaftesbury's hortulan philosophy did have an ethical component: Hunt, John Dixon, “Hortulan Affairs,” in Samuel Hartlib and Universal Reformation: Studies in Intellectual Communication, ed. Greengrass, Mark, Leslie, Michael, and Raylor, Timothy (Cambridge, 1994), p. 339Google Scholar. On the third earl's own gardens, see Cartwright, , ed., Wentworth Papers, p. 59Google Scholar; and Leatherbarrow, David, “Character, Geometry and Perspective: The Third Earl of Shaftesbury's Principles of Garden Design,” Journal of Garden History 4, no. 4 (1984): 332–58CrossRefGoogle Scholar.
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81 Klein, , Shaftesbury and the Culture of Politeness, p. 108Google Scholar.
82 Shaftesbury, Characteristics, 2:33, 36, 129Google Scholar.
83 Ibid., 2:274; cf. Ibid., p. 161.
84 Shaftesbury claims that he consciously rejected the “direct way of dialogue” in the piece because that is a base form fit only for the “burlesque divinity” of church controversy; Characteristics, 2:337Google Scholar.
85 Ibid., pp. 335, 27, 18, 95.
86 Novak, Max, “Margaret Pinchwife's ‘London Disease’: Restoration Comedy and the Libertine Offensive of the 1670s,” Studies in the Literary Imagination 10 (1977): 1–23Google Scholar.
87 Shaftesbury, Characteristics, 2:3Google Scholar, emphasis mine; cf. Ibid., 1:92.
88 Virgil, , Eclogue 6, esp. lines 13–30Google Scholar; cf. Plato, , Symposium 215B–222CGoogle Scholar; the image also appears in Xenophon, Symposium 4.19. The representation of Bacchus in the figure of a Silenus was not unfamiliar to Shaftesbury's contemporaries, see BL, Sloane MS 3961, fol. 87r; and BL Add. MS 40060, fol. 1v.
89 Shaftesbury, Characteristics, 2:96Google Scholar.
90 Ibid., pp.42, 32, 54, 110.
91 This topos is brilliantly explored in Turner, “The Libertine Sublime,” and “‘Illustrious Depravity.’”
92 Shaftesbury, Characteristics, 2:107Google Scholar, emphasis mine.
93 Ibid., pp. 111, 114.
94 Ibid., pp. 119, 122. Shaftesbury's defense of the beauty of vastness may have been a response to Saint-Évremond's criticisms of the aesthetics of the vast in Miscellaneous Essays (London, 1692), pp. 302–32Google Scholar; original in Oeuvres en prose, 3:375–417Google Scholar.
95 Shaftesbury, Characteristics, 2:125Google Scholar.
96 MarjorieNicolson, Hope, Mountain Gloom and Mountain Glory: The Development of the Aesthetics of the Infinite (New York, 1959), pp. 299–300, 323Google Scholar.
97 Shaftesbury, Characteristics, 2:125, 126, 131, 174Google Scholar.
98 On the rhapsodic genre, see Rogers, Pat, “Shaftesbury and the Aesthetics of Rhapsody,” British Journal of Aesthetics 12, no. 3 (Summer 1972): 244·57CrossRefGoogle Scholar; on Shaftesbury's sublime, see Monk, Samuel H., The Sublime: A Study of Critical Theories in XVIII-Century England (1935; reprint, Ann Arbor, Mich., 1960), pp. 59–60, 208–10Google Scholar; Nicolson, , Mountain Gloom and Mountain Glory, pp. 289–300Google Scholar; Brett, R. L., The Third Earl of Shaftesbury: A Study in Eighteenth-Century Literary Theory (London, 1951), pp. 145–64Google Scholar. Wood, The Word Sublime, demonstrates the difficulty of separating the rhetorical from other notions of the sublime, albeit without reference to Shaftesbury.
99 Shaftesbury, Characteristics, 1:279Google Scholar.
100 For the combination of aesthetic and hedonistic senses of the word “sublime,” see George Etherege to Henry Guy, 28 December 1687, in Letters of Sir George Etherege, ed. Bracher, Frederick (Berkeley and Los Angeles, 1974), p. 166Google Scholar. James G. Turner notes suggestively that in the Augustan milieu, “the word ‘sublime’ seems to have been drinking-club slang, used somewhat like ‘high’ in the 1960s,” in “The Libertine Sublime,” p. 113, n. 10.
101 Shaftesbury, Characteristics, 2:118, 178, 114, 124Google Scholar; 1:142, 157, 160, 165, 168–69. Klein, , Shaftesbury and the Culture of Politeness, pp. 203–6, 209Google Scholar, reads Shaftesbury as wholly antithetic to the aesthetics of the sublime by focusing only on these statements.
102 Shaftesbury, Characteristics, 2:121–28, 142–43, 128Google Scholar.
103 Ibid., 1:92, 2:175.
104 Ibid., 1:16, 92. Augustan images of Venus are examined in Turner, James G., “The Sexual Politics of Landscape: Images of Venus in Eighteenth-Century English Poetry and Landscape Gardening,” Studies in Eighteenth-Century Culture 11 (1982): 343–66Google Scholar.
105 Shaftesbury, Characteristics, 1:217Google Scholar; 2:345, 346.
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108 Trumbach, , “Erotic Fantasy,” pp. 271–82, esp. 281Google Scholar, conflates Shaftesbury's “program of the virtuoso” with the later libertinism of John Cleland and Francis Dashwood.
109 Klein, , Shaftesbury and the Culture of Politeness, p. 14Google Scholar.
110 Lawrence Klein recognizes that “the term ‘politeness’ had a wide range of uses,” in the early eighteenth century in his “Property and Politeness in the Early Eighteenth-Century Whig Moralists,” in Brewer, and Staves, , eds., Early Modern Conceptions of Property, p. 228Google Scholar.
111 Shaftesbury did not approve of unnecessary visits to London by his family; Voitle, , The Third Earl, p. 82Google Scholar. David Marshall imaginatively explores the significance of the ways in which Shaftesbury “denies the public character of his published book,” in the Characteristics in The Figure of Theater, pp. 1–33, quote at p. 18.
112 Rand, , ed., The Life, p. 68Google Scholar; Shaftesbury, Characteristics, 2:4Google Scholar. See also Shaftesbury, Characteristics, 2:165, 327–330Google Scholar.
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