Petty Persuasion

Repeat, rhyme. Third verse, same as the first.

The Eighteenth Brumaire of Louis Napoleon, an essay written by Karl Marx originally published in 1852 under the title Die Revolution, focuses on the 1851 French coup d’état, by which Louis-Napoléon Bonaparte, president of the Second Republic and Napoléon Bonaparte’s nephew, became emperor of the Second French Empire as Napoleon III. It seeks to explain how capitalism and class struggle created conditions which enabled “a grotesque mediocrity to play a hero’s part.”

The English title simply refers to the date of the Coup of 18 Bromaire, per the French Republican calendar. From page 45 of Part III in my hymnal:

As against the coalesced bourgeoisie, a coalition between petty bourgeois and workers had been formed, the so-called Social-Democratic party. The petty bourgeois saw that they were badly rewarded after the June days of 1848, that their material interests were imperiled, and that the democratic guarantees which were to insure the effectuation of these interests were called in question by the counterrevolution. Accordingly they came closer to the workers. On the other hand, their parliamentary representation, the Montagne, thrust aside during the dictatorship of the bourgeois republicans, had in the last half of the life of the Constituent Assembly reconquered its lost popularity through the struggle with Bonaparte and the royalist ministers. It had concluded an alliance with the socialist leaders. In February, 1849, banquets celebrated the reconciliation. A joint program was drafted, joint election committees were set up and joint candidates put forward. The revolutionary point was broken off and a democratic turn given to the social demands of the proletariat; the purely political form was stripped off the democratic claims of the petty bourgeoisie and their socialist point thrust forward. Thus arose social-democracy. The new Montagne, the result of this combination, contained, apart from some supernumeraries from the working class and some socialist sectarians, the same elements as the old Montagne, but numerically stronger. However, in the course of development it had changed with the class that it represented. The peculiar character of social-democracy is epitomized in the fact that democraticrepublican institutions are demanded as a means, not of doing away with two extremes, capital and wage labor, but of weakening their antagonism and transforming it into harmony. However different the means proposed for the attainment of this end may be, however much it may be trimmed with more or less revolutionary notions, the content remains the same. This content is the transformation of society in a democratic way, but a transformation within the bounds of the petty bourgeoisie. Only one must not get the narrow-minded notion that the petty bourgeoisie, on principle, wishes to enforce an egoistic class interest. Rather, it believes that the special conditions of its emancipation are the general conditions within whose frame alone modern society can be saved and the class struggle avoided. Just as little must one imagine that the democratic representatives are indeed all shopkeepers or enthusiastic champions of shopkeepers. According to their education and their individual position they may be as far apart as heaven and earth. What makes them representatives of the petty bourgeoisie is the fact that in their minds they do not get beyond the limits which the latter do not get beyond in life, that they are consequently driven, theoretically, to the same problems and solutions to which material interest and social position drive the latter practically. This is, in general, the relationship between the political and literary representatives of a class and the class they represent.

Directing history from the grave, indeed.

What You See

De Stael

‘… is what you get’ is a thoroughly misunderappreciated construct, especially if considered in terms of ‘what you look at’. While you’re here, let me try to explain.

What if your biggest decision this year was about choosing a piece of artwork for your home? No, really. What if your, let’s say, sixth largest investment for the year, this year, was to be made in a painting? No really, people do this, and not just millionaires – well, especially not them. What sort of re-ordering of priorities would it take to make this a viable scenario? Even better, imagine the necessary priorities already reflect yours; what would go into the decision? Being able to afford just whatever it was in first place, of course; but what about the work itself. Deciding on something that you like today but would also be able to live with far into the future adds certain premiums to the work, maybe includes some things you didn’t know you cared about – or maybe just not that much. But… the importance of the work to your state of mind and general well-being would be well-understood; the decision itself invests you with a non-trivial amount of higher order consideraion for what you see and do, think and feel. And, one might suppose, this is how it should be.

Because so many things are or require this kind of consideration; the work you are considering bringing into your home for the long term would be necessarily bled of concepts and ideas, which would grow stale over time. Instead the work would need to be a living part of what you do, say and feel, reliably fading into the background that forms your surroundings as easily as it elevates itself for further consideration, at times. At whose choosing? Well, yours, when you decide to bring the work into your home.

So now that you’re there – here – consider this: making choices on a scale that the atmosphere might someday notice.

image: “Nice”, 1954, by Nicolas de Stael. One of the works the Obamas borrowed from the Hirshhorn Museum and other places, for their private residence in the White House.