@Number 71

The Terms And Losing Them

Posted by: danhartland on: October 1, 2009

Charles_I_big

Charles I

How and why do the powerful lose control of their own public image? In part, of course, it is a matter of the relative strength of their opponents – the strength of their internal debate, and the techniques they adopt for widening its participatory audience. But it’s also clearly a failing of the figure who is losing the control. I’d argue in large part – and so, too, might Drew Westen – that it’s a failing of language, an inability for whatever reason to couch policies and proposals in a mutually understood, shared public dialect.

In his essay Duke, Prince and King (collected in his own The Royal Image), Thomas N. Corns argues that it was not the theory of the Divine Right of Kings that did for Charles I per se. Following Somerville, he presents the issue as far more complex than a tug of war between those on the one hand who believed in Divine sanction and those who didn’t. The nuances of Divine Right involved the directness of that sanction, whether it flowed through parliament or was altered by ancient custom, whether it was bestowed squarely upon Charles or was a matter negotiated by the constitutional settlement. In this atmosphere, it was not the issue which was Charles’s problem – but his ability to frame it.

All this naturally feeds into John Adamson’s thesis that 1640-42 saw a noble revolt engulf Parliament and England, a revolt essentially in defense of perceived ancient customs to which Charles was unable to pay lip service. That is, the king simply couldn’t speak in terms his people (his court) were willing to accept, much less understand or agree with. Corns quotes Burgess’s The Ancient Constitution: “Charles came across as an absolutist (whatever his intentions) because he insisted on ignoring the rules for the usage of languages of divine right and absolute prerogative … Charles’s statements sounded foreign to his subjects.” In short, he lost control of the debate, and his opponents discussed the matter instead: “Divine sanction, once problematized within a parliamentary context, and subject to debate at both a practical and a theoretical concept, inevitably emerged as a weakened concept.” It was not good enough to dictate; Charles needed more effective dialogue.

Fascinating stuff in and of itself, of course, and not to be stretched over an ill-fitting present. This is all offered, therefore, without such comment.

1 Response to "The Terms And Losing Them"

[...] the fun I was having with Thomas Corn’s edited collection, The Royal Image? It closes with an afterword by Kevin [...]

Leave a Reply

71 is the number of an apartment we return to regularly in Whinfell Forest, Cumbria. We like it there.


‘We’ are Anna French and Dan Hartland. The Story and the Truth is a sort of inadequate catch-all term for what goes on here: we tend to talk about novels, history, food and fashion, politics and music, but there may also be photographs of soft toys and musicians. Stick around and see.

Sounds We Like

Mumford and Sons - Sigh No More


Dan already wrote about this album here, but Anna's been loving it, too! Like a happier and more stirring Noah and the Whale, Mumford & Sons have a great way with arrangement and melody which makes for a great listen from start to finish. There are highpoints which you'll skip for, but the whole record hangs together perfectly. One of our favourites of the year!

Words We Like

Escaping The Delta, by Elijah Wald


We all know the cliches: Delta blues as the music of the downtrodden, a remnant of slave art, a holler-back to West African forms. Wald never pretends that he has not bought into, continues to buy into, the cult of the Delta bluesman, but shows they were in truth informed not by ancestral memory but by radio playlists. Robert Johnson in particular is assessed not as a unique genius but an accomplished magpie, able to assimilate the pop forms of the day - not just blues, but country and vaudeville - and regurgitate them anew. Escaping the Delta refashions the blues not as cultural fetish but as a particular product of its era and its people. Controversial among those who read books about acoustic blues, but a compelling and rewarding thesis.

Flicks We Like

Alice In The Cities (1974)


It helped that we watched this one together quietly on a calm, dark night. Wim Wenders's careful film, shot beautifully in a grainy black and white, follows a journalist with writer's block as he is left stranded in New York with a young girl, whom he must help find her grandparents back home in Germany. Nowhere close to a voyage of self-discovery, their journey instead feels like a walking round in a circle. Neither of the characters have a true sense of place in a globalising world, and with an inventive economy Wenders explores their resultant, reflective, wanderings.

Anna's Latest Flickr Photo

Scotland Break

More Photos

 

October 2009
M T W T F S S
« Sep   Nov »
 1234
567891011
12131415161718
19202122232425
262728293031