JON MEE “The Use ofConversation”: William Godwin’s Conversable World and Romantic Sociability W illiam Godwin’s diary has the following entry for november 22, 1791: “Holcroft calls: talk of the Widow. Webb calls: talk of necessity virtue & perception. Call on Jacob, fr. Sup at Hollis’s, talk ofDa vid, Canaanites, and the use of conversation.”1 Around a century earlier, at the beginning of the eighteenth century, a newly commercial culture had begun to think of its activities across the range of human endeavors as a kind of general “conversation,” this metaphorical shift being accompanied by the promotion (in handbooks and other places) of the social practice of conversation. In this context the question of the uses of conversation be came, long before Godwin’s time, a key issue for inquiries into the unity of the new society and the means of its further development. My particular historical window on this conversation of culture is the Romantic period, roughly speaking 1780 to 1822. For at least one critic, “the conversable world” (the phrase is Hume’s) meets one of its ends in Romanticism, where it runs into a wall of “solitude and the sublime.” My own perspec tive is closer to David Simpson’s in so far as I think the conversational turn remains one of the defining shifts into modernity.2 From this perspective, Romanticism may have asked new questions about the ends of conversa1 . “Godwin’s Diary,” Bodleian Library, MS. Abinger e.4. Godwin’s diary has been edited by Mark Philp, Victoria Myers, and David O’Shaughnessy and is now available online at http://godwin.oucs.ox.ac.uk:8o8i/index2.html, last accessed June 13, 2011. I am grateful to the editors for their help. I would also like to express my gratitude to the Leverhulme Trust for the award ofa Philip J. Leverhulme Major Research Fellowship that allowed me the time to pursue the research that went into this essay. 2. See Stephen Miller, Conversation: A History ofA Declining Art (New Haven and Lon don: Yale University Press, 2006), 177, and David Simpson The Academic Postmodern and the Pule of Literature (Chicago: University of Chicago Press, 1995). SiR, 50 (Winter 2011) 567 56S JON MEE tion, but it was far from signalling the end of the conversable world. Sam uel Taylor Coleridge’s conversation poems and William Wordsworth’s at tempt to reorient poetry towards “the language of conversation” in the preface to their Lyrical Ballads may serve as a provisional proof of this view, although the peculiar ends to which they put conversation are not my con cerns in this essay.3 My primary focus will be on the philosopher and nov elist William Godwin. The idea of “the conversation of culture” has, of course, become a cliche. Attempts to inaugurate various cultures ofconversation in a range of different spheres are also legion today. Governments in Britain and the United States frequently figure exercises in public consultation in terms of “conversation.” Possibly this tendency has filtered down (or up) from po litical theory. Certainly, theories of “deliberative democracy” (indebted more or less to Jurgen Habermas’s ideas) and also various attempts to reviv ify the classical republican tradition have both placed a great deal ofempha sis on the model of conversation.4 Both are attracted to it as a metaphor, at least, for an idea ofcommunity that is open to difference rather than the te leological fulfillment of prior identity. Although, strangely perhaps, he has little to say about Habermas or even developments in political theory in this regard, Simpson has recently related these cultural reflexes to various trends in academic philosophy and literary criticism, most notably in the work ofRichard Rorty and the new historicism respectively.5 Simpson sees in Rorty a tendency to make philosophy “a matter of conversations be tween persons rather than a matter of interaction with nonhuman reality. ”6 For Simpson, both the academic and political manifestations of this reflex ought to be understood as part of the long modern history of the “turn to the personal. ”7 At its worst, from Simpson’s point ofview, the appeal to 3. The various paratexts to the Lyrical Ballads several...
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