Gutenberg Articles

Appearance

Excerpt ​

Excerpt from Thoughts on Man, His Nature, Productions and Discoveries, by William Godwin

It is here especially that we are presented with the triumphs of
civilisation. How immeasurable is the distance between the voice of the
clown, who never thought of the power that dwells in this faculty, who
delivers himself in a rude, discordant and unmodulated accent, and is
accustomed to confer with his fellow at the distance of two fields, and
the man who understands his instrument as Handel understood the organ,
and who, whether he thinks of it or no, sways those that hear him as
implicitly as Orpheus is said to have subdued the brute creation!

From the countenance of man let us proceed to his figure. Every limb
is capable of speaking, and telling its own tale. What can equal the
magnificence of the neck, the column upon which the head reposes! The
ample chest may denote an almost infinite strength and power. Let us
call to mind the Apollo Belvidere, and the Venus de Medicis, whose very
"bends are adornings." What loftiness and awe have I seen expressed in
the step of an actress, not yet deceased, when first she advanced, and
came down towards the audience! I was ravished, and with difficulty kept
my seat! Pass we to the mazes of the dance, the inimitable charms and
picturesque beauty that may be given to the figure while still unmoved,
and the ravishing grace that dwells in it during its endless changes and
evolutions.

The upright figure of man produces, incidentally as it were, and by the
bye, another memorable effect. Hence we derive the power of meeting
in halls, and congregations, and crowded assemblies. We are found "at
large, though without number," at solemn commemorations and on festive
occasions. We touch each other, as the members of a gay party are
accustomed to do, when they wait the stroke of an electrical machine,
and the spark spreads along from man to man. It is thus that we have
our feelings in common at a theatrical representation and at a public
dinner, that indignation is communicated, and patriotism become
irrepressible.

Explanation ​

William Godwin’s Thoughts on Man, His Nature, Productions and Discoveries (1831) is a philosophical and observational work that reflects on human progress, society, and the capacities of the individual. Written during the late Enlightenment and early Romantic era, Godwin—a radical thinker, political philosopher, and novelist (best known for Things as They Are; or, The Adventures of Caleb Williams)—explores the potential of human reason, expression, and social interaction. The excerpt provided celebrates the physical and expressive powers of humanity, contrasting "civilized" refinement with rustic simplicity, while also meditating on the communal and emotional effects of human assembly.

Detailed Explanation of the Excerpt ​

1. The Triumphs of Civilization: Voice and Expression ​

The passage begins with a contrast between the "clown" (a rustic, uneducated laborer) and the cultivated orator, embodying Godwin’s fascination with human progress. The "voice" here is not just literal but symbolic of cultural and intellectual development.

  • "the voice of the clown":

    • Described as "rude, discordant, and unmodulated", the clown’s speech lacks artistry or intentional control. His communication is functional, not aesthetic—he shouts across fields, suggesting a life of physical labor and minimal social refinement.
    • The clown is unaware of the "power that dwells in this faculty" (speech), highlighting how civilization unlocks latent human potential.

  • "the man who understands his instrument":

    • The refined speaker is compared to Handel (the Baroque composer) playing the organ—a metaphor for mastery over language. Just as Handel coaxes music from an instrument, the orator shapes words to sway audiences "as implicitly as Orpheus" (the mythical poet who charmed beasts with his lyre).
    • This evokes the Romantic ideal of the artist as a near-magical figure, capable of emotional and moral influence. Godwin suggests that civilization elevates raw human capacity into art, transforming mere sound into persuasive, even hypnotic, power.

Literary Devices:

  • Juxtaposition: The clown vs. the orator frames civilization as a spectrum of development.
  • Classical Allusion: Orpheus reinforces the idea of speech as an almost supernatural force.
  • Metaphor: The voice as an "instrument" extends the musical analogy, emphasizing control and artistry.

Themes:

  • Progress and Civilization: Godwin, an optimist about human perfectibility, sees refinement as a triumph over brutishness.
  • Power of Language: Speech is not just communication but a tool of influence, aligning with Enlightenment faith in rhetoric and reason.

2. The Eloquence of the Human Form ​

Godwin shifts from voice to physicality, arguing that the body itself is a language of expression.

  • "Every limb is capable of speaking":

    • The body is a text to be read, with each part conveying meaning. The neck (a "column" supporting the head) suggests dignity and poise, while the chest implies strength.
    • This reflects 18th-century physiognomy (the pseudoscience of reading character from facial/body features), though Godwin treats it more poetically.

  • Classical Statues as Ideals:

    • The Apollo Belvedere and Venus de’ Medici (renowned ancient sculptures) represent perfect harmony of form and spirit. Their "bends are adornings" (a quote from Paradise Lost, Book 4) suggests that even movement is graceful, reinforcing the Romantic and Neoclassical reverence for classical beauty.
    • Godwin’s awe at an actress’s "loftiness and awe" in her step shows how living art (theater) can rival static art (sculpture) in its expressive power.

  • Dance as Sublime Art:

    • The "mazes of the dance" symbolize controlled chaos, where the body becomes a dynamic canvas. The "ravishing grace" in its "endless changes" echoes Romantic ideals of fluidity, emotion, and the sublime in motion.

Literary Devices:

  • Ekphrasis: Vivid description of visual art (statues, dance) to evoke its emotional impact.
  • Allusion: Milton’s Paradise Lost lends gravitational weight to the idea of beauty.
  • Synaesthesia: "Picturesque beauty" blends visual and emotional senses.

Themes:

  • Body as Text: Physicality communicates as powerfully as speech.
  • Art as Civilizing Force: Dance, sculpture, and theater are markers of cultural advancement.
  • Sublime in Human Form: The body’s potential for grandeur aligns with Romantic aesthetics.

3. The Power of Assembly: Communal Electricity ​

The final paragraph explores how the upright human form enables social congregation, leading to shared emotion and collective action.

  • "at large, though without number":

    • A paradox suggesting that crowds retain individuality while experiencing unity. Godwin may be alluding to political assemblies (he was a republican sympathizer) or theatrical audiences.
    • The phrase echoes John Milton’s Paradise Lost (Book 5: "innumerable as the stars of heaven"), linking human gatherings to cosmic grandeur.

  • "the stroke of an electrical machine":

    • A scientific metaphor (electricity was a novel fascination in the 18th century). The "spark" spreading from person to person symbolizes contagious emotion—indignation, patriotism, or joy.
    • This prefigures modern ideas of collective effervescence (Émile Durkheim) or mob psychology (Gustave Le Bon), but Godwin sees it as positive, a force for moral or political awakening.

  • Theater and Public Dinners as Microcosms:

    • In these spaces, feelings are "communicated" and "patriotism becomes irrepressible". Godwin implies that shared physical presence amplifies emotional and ideological currents, making assemblies potent sites for change.

Literary Devices:

  • Metaphor: The "electrical machine" bridges science and social theory.
  • Paradox: "At large, though without number" captures the tension between individual and collective.
  • Political Subtext: The emphasis on indignation and patriotism hints at Godwin’s radical leanings (he supported the French Revolution early on).

Themes:

  • Collective Consciousness: Human assemblies generate emotional and intellectual synergy.
  • Power of Public Space: Theaters, halls, and dinners are crucibles of societal transformation.
  • Enlightenment Optimism: Godwin believes in progress through communal experience, contrasting with later Romantic individualism.

Significance of the Excerpt ​

  1. Enlightenment vs. Romanticism: Godwin straddles both movements. His faith in human perfectibility (Enlightenment) coexists with a celebration of emotion, art, and the sublime (Romanticism).
  2. Democratization of Art: While he admires classical ideals, he also values living art (theater, dance, oratory), suggesting that culture is not just for elites but a shared human triumph.
  3. Political Implication: The passage subtly advocates for public assembly as a force for change, aligning with Godwin’s anarchist-leaning belief in voluntary association over coercive government.
  4. Influence on Later Thought: His ideas prefigure Victorian theories of sympathy (Adam Smith, George Eliot) and modern crowd psychology.

Conclusion: Godwin’s Vision of Human Potential ​

This excerpt is a lyrical meditation on human expressiveness, arguing that civilization refines raw capacity into art, and art fosters communal bonds. For Godwin, the voice, body, and assembly are not just biological or social facts but instruments of progress, beauty, and moral energy. His prose—rich in metaphor, allusion, and rhythmic cadence—embodies the very powers he describes, making the passage both an analysis and a performance of human potential.

In an era of industrialization and political upheaval, Godwin’s work reminds us that culture is not merely decorative but transformative, and that the most ordinary human faculties (speech, movement, gathering) can become extraordinary when cultivated with intention.