Screenwriting 101: Mastering the Art of Story

Angus Fletcher writes:

* In comedy and tragedy, the main characters are eventually forced by the action of the plot to conform to the big rules of their story world. But in heroic scripts, the opposite happens: The main characters change the world.

* A god’s-eye narrator has the properties of a divine eye, all seeing and all knowing. It’s above the things it describes. It sees into their essence and has dominion over them.

* The ironic narrator goes back thousands of years to ancient Greek and Roman satire. The ironic narrator gently deflates and undercuts the things he or she describes. The ironic narrator wryly suggests that things are less important than we tend to think.

* The comic narrator is sometimes confused with the ironic because it can contain lightly satiric elements. But unlike the ironic, the primary purpose of the comic is not to tear down. Instead, it’s to lift up and celebrate the little curiosities of life… Almost every sitcom or romantic comedy uses a comic narrator. You can find one fantastic model in the script for Little Miss Sunshine, which begins with a happy catalogue of grungy characters.

* Historically, the sentimental narrator is the most common kind of narrator in screenwriting. The aim of the sentimental narrator is to speak the language of the heart, and since different hearts feel different things in different intensities and degrees, there’s a huge variety in sentimental narrators.

* The most obvious difference between film and TV is quantity. An average movie is two hours. An average TV series is designed to run for 100 hours or more. Generating all those hours of content presents a challenge, which writers answer by developing an engine to power the show for season after season.

*  There are different ways to build a TV engine, but the most straightforward is by establishing a deep conflict in the story world. Conflict pushes the plot. The deeper and more substantial the conflict, the more story you can get out of it.
By rooting conflict in the story world, TV writers allow for two key things needed to please audiences for hundreds of hours. First, they keep the plot going, and second, they keep the viewing experience consistent. For example, no matter what episode of Law & Order you watch, the show’s engine always generates the same cognitive mixture of intrigue and suspense.

* Films have a one-off conflict between story world and character. TV requires an engine of ongoing conflict within the story world that keeps the plot going and the viewing experience constant.

* Unlike in the film [Mash], the conflict here in the TV series isn’t a straightforward conflict against the war, because there are things about the war that the doctors will miss… the TV conflict is a conflict within the world of the war. In this TV world, war isn’t a single bad thing. It’s two opposites, good and bad. There are the pointless deaths, the heartbreak, the human cruelty, and the futility. But there are also the friendships and the daily triumphs. Whereas the doctors of MASH the film are in conflict with the world of war, the characters of M*A*S*H the TV show are windows into the deeper conflict of the world. Though they all bring unique viewpoints, the fact that all of the characters of a TV series offer windows into the same deep conflict means they can always be swapped out and exchanged. The role of TV characters as windows into the more enduring conflict in the story world also means that antagonists work very differently in TV than in film. In film, the antagonist is the human face of the world that the hero fights against. In TV, the antagonist is instead an expression of the same world conflict that beats inside the heroes’ hearts. And so rather than simply encouraging negative feelings in the audience, most antagonists will, as the series progresses, inspire increasing amounts of sympathy… In film, the antagonist is opposed by the main characters. In TV, the antagonist is one of the main characters, a window into the same conflict as everyone else. In TV, instead of hating the antagonists, the audience eventually comes to identify with them, too.

* The sitcom engine is the conflict between the individual and the society. Individual is a literal term when it comes to sitcoms: Every character is a one-of-a-kind individual, filled with rogue desires and dreams. Sitcoms generate enormous variety by tweaking the specific characteristics of the individual and the social aspects of the show. In Frasier, the tweak is that the individuals are highly neurotic psychiatrists. In Cheers, the tweak is that the society is a bar where everyone is trying to escape the other society outside. In other words, there are two basic ways to invent your own original sitcom. The first is to focus on a unique subculture of individuals, like Broad City does with female college grads in New York City. The second is to focus on a unique kind of social togetherness, like Modern Family does with post-divorce American families, or Seinfeld does with the special bond between misanthropes.

* Since the engine of sitcoms is the running conflict between the individual and the society, sitcoms never imply that one is absolutely better than the other. If they did, that would kill the engine. Instead, sitcom episodes go back and forth between mocking the individual from the perspective of the society and mocking the society from the perspective of the individual.

* In the world of sitcoms, a clown is any character locked within their own private worldview—that is, any character who mistakes their dreams for reality. There are many different ways to create a sitcom clown. One is to give the clown an uncontrollably strong emotion or passion… : Make your clowns harmlessly eccentric, their oddness a danger only to themselves. The comedy in a sitcom comes from harmlessly eccentric clown characters. It doesn’t come from writing jokes. Instead of writing jokes, create a character with a slightly offbeat mind. Then imagine what that atypical character would typically do. Whatever it is will automatically be funny, unless it mortally threatens your audience. In that case, dial it back.

* Sitcom plots are set in motion by a problem that characters create for themselves. And clowns are always creating problems for themselves… The key here is that in both plots, the clowns’ normal psychological drives lead them to create a problem that then puts them in conflict with another character. That conflict with another character then leads to an escalation.

* At the end, the important thing is that the characters finally stop making their self-inflicted problem worse. Maybe they give up. Maybe the world crushes them. Maybe the other characters rescue them. It’s up to you and what you want your audience to feel.

* Every sitcom begins with a problem that the main character creates. That problem gets worse and worse, leading to more disasters and complications, until at the end, the character capitulates and things go back to normal. In the procedural genre, it’s the inverse. Every episode begins with a problem that the main character sets out to solve. That problem is unraveled piece by piece through a series of breakthroughs and discoveries, until at the end, the character triumphs and things go back to normal… The engine of every procedural is broadly the same: The conflict is between the forces that generate the problem and the procedures that solve it.

* Every plot line [in Grey’s Anatomy] is about a character striving to fit in with some group but, in the end, failing to make it completely. One of the most spectacular instances of these plotlines is George’s interaction with a worried family
whose father is going to have heart surgery. George bonds with the family by promising that their father will make it through surgery alive. With this beat, the script establishes that George finally feels like he belongs. Then, the plot rips this feeling of belonging away by showing the father flatlining in surgery. This forces George to inform the family that he’s dead. Their response: “Thank you. Please … go away.” George is back on the outside; he was part of the family, and now he isn’t anymore. The point here is that the purpose of a soap is to keep returning to the same emotional conflict over and over. To reverse engineer those returns, take each of your characters and create little challenges for them that hold out the promise of resolving the conflict. Then, interrupt your characters’ moments of triumph with a sharp plot twist that plunges them back into their original dilemma so that the show’s engine goes on…

* the purpose of a soap is to keep returning to the same emotional conflict over and over. To reverse engineer those returns, take each of your characters and create little challenges for them that hold out the promise of resolving the conflict. Then, interrupt your characters’ moments of triumph with a sharp plot twist that plunges them back
into their original dilemma so that the show’s engine goes on.

* The tone of soap operas is always sentimental. Everything in the world is portrayed from the perspective of how the characters feel about it.

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The Place That You Love (1-17-21)

Find the Place You Love. Then Move There. https://www.theatlantic.com/family/archive/2021/01/what-moving-house-can-do-your-happiness/617667/
The German Historicist Tradition: https://lukeford.net/blog/?p=136517
The Other God That Failed: Hans Freyer and the Deradicalization of German Conservation,

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Richard Spencer says Trump brought out worst in him (1-17-21)

From the Financial Times Jan. 15, 2021:

“Trump brought out the worst aspects in me — that’s not what I want to be remembered for,” Spencer said. “I recognised the toxicity of rightwing populism and didn’t want America to go further down that road.”

Saying that somebody brought out the worst in you is not escaping personal responsibility. There are people, places, and contexts that encourage the best or the worst in us. Noting the volatility of one’s own responses exposes a painful vulnerability. I don’t think Richard Spencer is proud of his instability. He knows that a solid person does not get triggered like he has been.

One way you can tell whether or not you have dealt with something is your ability to talk about it without your voice cracking. If you can discuss painful things without distorting or strangling your voice, you’ve processed it and it no longer has power over you. On the other hand, if you repeatedly tell a certain defensive story, your voice will take on a tired quality to match your tired thinking. Your voice gives away your state. Use what language and timber you will, you can never say anything but what you are.

Much of my life, I was so thirsty for attention that this led me to being very different around different people. I’d go to synagogue in the morning to pray and I would act like a good Orthodox Jew and then I would go to a porn set in the afternoon and act like a porn reporter and then I’d go to an LA Press Club party in the evening and act like an Aussie larrikin. Adaptability is beautiful, but when one part of your life is at war with others parts of your life, you’ve stretched too far. An integrated life means you are not saying and doing things in the morning that destroy everything you tried to build the night before. A psychiatrist in Brisbane, Australia, gave my family (with my permission) the following diagnosis in 2000:

Luke is very dependent upon other people for his identity as a person.

He has poor identity integration and poor self esteem. Accordingly, Luke is always looking for mirroring – it’s called “narcissistic supply.” That is to say that Luke is always looking for external validation of himself as a person (i.e., he needs other people to tell him who he is). However, because it is not possible for people to mirror him all the time, he gets disappointed and this can turn to envy. Luke may not be conscious of the fact that he is very envious of his family as they seem to have things he would like to have but does not have. This leads to him fluctuating between, on the one hand, devaluing people such as the family (putting them down) and on the other, idealisation of people – such as Dennis Prager.

Luke tends to make unreasonable demands of people who are eventually driven to setting limits on him. Luke takes this very badly.

Luke needs five to ten years of insight orientation psychotherapy. It was the falling out with Dennis Prager which caused him to go to therapy. While Luke has a lot of therapy ‘speak’, he may not really understand the concepts involved. Luke’s therapist did well to keep him in therapy for 15 months – that is unusual for someone with Luke’s condition as such people often leave off therapy when it becomes too confronting. Luke will not continue therapy that is confrontational, particularly in the early stages.

Luke will continue to do what he is doing to satisfy his needs until such times as the rewards (reinforcement) are outweighed by the negative effects of same (punishment). Then he may do something about getting his life on track and getting therapy or going back to finish his degree (which would give him some self-esteem).

The negative effects of his current behavior are that no one will have a long term relationship with him as no matter how sane they are, people cannot live without getting something back – and Luke is always taking in without giving anything back. Second, any decent woman who looked at his website would be immediately repulsed.

Luke has a complicated personality. He has mood instability – perhaps mild cyclothymia. His personality type is prone to this.

Luke become very focused on one thing then, when he is not getting the desired rewards, he drops it and moves on.

Luke may have had some post viral illness but then the illness took on a life of its own. It is common for people to retreat into the sick role because it is a way of failing in a face-saving way. Luke was failing because of the lack of significant relationships in his life.

Through 12 step work and therapy, I think I’ve largely overcome the above tendencies. For example, I’ve done thousands of hours of Youtube livestreams and never once had to take something down because I was ashamed of what I said. Even under the stress of argument and confrontation, I did not lose my self.

Richard Spencer is sometimes honest to a fault, even if it makes him or his movement look bad. When Antifa was beating up on the Alt Right and ending his college speaking tour, he publicly admitted that Antifa won.

Every political and religious orientation comes with potential downsides. The potential downsides to right-wing populism for unstable people include:

* Conspiracy thinking such as Stop the Steal, QAnon, the elites hate us and want us dead, etc…
* A disregard for the humanity and expertise of the elites.
* A narrowing of the information you will take in, for example, many populists think that any news that comes from the New York Times or CNN is going to be bogus. A healthy person welcomes truth from any source.
* The development of a victimhood complex which then frees one from moral responsibility.
* Trolling as a way of life and other downsides of the e-personality. You might start saying things online that rewire your brain making you less effective and more offensive offline.
* A disregard for work. Godward Podcast tweeted Jan. 16: “It’s only legal to have a job in America if you’re a complete idiot or a phony. And being a phony takes a serious psychological toll.” Without an overdose of dissident right thought, nobody would ever say such a thing. Honest work is about the healthiest thing a person can do.
* Delusions of becoming a thought leader so that one neglects one’s real responsibilities.
* Lack of regard for the consequences of your words and behavior on others. I remember in August of 1988, I hung out on a concrete outcrop at UCLA to try to watch for free this tennis tournament going on below. When campus police came up to remove us, one officer almost tripped and fell off the ledge. Some of the people I was with started verbally abusing the enforcers. I quickly realized I was in a bad place, that my behavior could have contributed to somebody suffering a significant injury, that my presence was giving others encouragement to speak badly, and so I removed myself after telling everyone around me that we should leave, and I never forgot the lesson. Cheating to see something for free can rapidly go bad for those around me and it is not a good development for my own character.

If there is an emptiness in your life that love or hate of Donald Trump fills, or some politics or religion fills, it will likely distort your personality. Some people become worse when they get religion because they are trying to use religion to fill a hole that religion cannot fill (such as addiction).

Spencer’s comments remind me of an insight from Dennis Prager: We all exude a force field. For example, when I walk into a room, people often feel more free to share inappropriate jokes. When Dennis Prager walks into a room, people tend to behave better and to speak more politely. We can’t escape our responsibility for affecting others. Even if we don’t want to be a hero, we usually are a hero to someone at some time. The way people habitually respond to us gives us a mirror to our soul. Some people see me and instinctively smile. Others see me and instinctively get riled up. I get annoyed with one bloke I know because, even though we’re about the same age, he usually treats me like I’m a child. His response to me is not totally random. He is reacting to those aspects of my life and personality that are childish.

I am sure that Donald Trump’s behavior has inspired some people to become better and some people to become worse. We can’t control others, we don’t turn them into zombies with our podcasts and blog posts, but we can incentivize their behavior.

Everybody has a track record. As my shrink said, “Luke become very focused on one thing then, when he is not getting the desired rewards, he drops it and moves on.” Richard Spencer has a track record too. Everything he touches tends to go to hell. Donald Trump also has a track record. It seems like a disproportionate number of people who’ve followed him have come acropper. Trump, for example, demands his employees are loyal to him but he seems to have little loyalty to them.

I have a lot of people in my life who I keep at a remove. When they get too close, I get wounded and unhappy. When I introduce them to friends, their disagreeable tendencies make me regret it. But at a certain distance, I can just enjoy them. One Jewish intellectual noted, “The people I pray with, I can’t talk to, and the people I talk to, I can’t pray with.”

I love the idea of situating people in their correct genre. The great accountant is not likely to be a good shock jock. The talk radio host is not going to be a scholar. The funny receptionist is not likely to be precise with numbers. The fiery courtroom lawyer off the clock may want to argue way too much for my comfort.

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WSJ: The ‘Common Carrier’ Solution to Social-Media Censorship (1-17-21)

00:00 Railroads can’t refuse to carry passengers for their political views. The same rule should apply to online monopolies, legal scholar Richard Epstein argues. https://www.wsj.com/articles/the-common-carrier-solution-to-social-media-censorship-11610732343?mod=hp_opin_pos_1
10:00 Find the Place You Love. Then Move There. https://www.theatlantic.com/family/archive/2021/01/what-moving-house-can-do-your-happiness/617667/
19:00 The German Historicist Tradition, https://lukeford.net/blog/?p=136517
21:00 When San Francisco was America’s porn capitol, https://brokeassstuart.com/2015/04/30/remembering-when-san-francisco-was-the-porn-capital-of-america/
56:00 Private Company Argument, https://www.youtube.com/watch?v=yfFd3-RWK5U
1:04:00 Baked Alaska arrested
1:10:40 Sweet Erin talks Baked Alaska, Bloodsports, Family & more, https://www.youtube.com/watch?v=Yt9PyhuvdZ8
1:23:00 Theology and Politics in the German Imagination, 1789–1848 – 11 July 2017 – ‘The Politics of David Friedrich Strauss’ Biblical Criticism’
1:25:00 David Friedrich Strauss, Father of Unbelief: An Intellectual Biography, https://www.amazon.com/gp/product/B08GCW4HVZ/ref=dbs_a_def_rwt_hsch_vapi_taft_p1_i0
1:38:00 Then of QANON, https://twitter.com/travis_view/status/1349140321234526214
1:40:00 15 Movies With No Female Characters Whatsoever, https://www.unz.com/isteve/how-to-improve-the-odds-that-your-movie-is-good/
1:42:00 Extremists exploit a loophole in social moderation: Podcasts, https://www.unz.com/isteve/but-what-about-the-smoke-signal-threat-and-the-message-in-a-bottle-menace/
1:47:00 A Reporter’s Footage from Inside the Capitol Siege, https://www.newyorker.com/news/video-dept/a-reporters-footage-from-inside-the-capitol-siege
2:02:00 41 minutes of fear: A video timeline from inside the Capitol siege, https://www.washingtonpost.com/investigations/2021/01/16/video-timeline-capitol-siege/?arc404=true
2:20:40 Nick Fuentes | DEPLATFORMED

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The German Historicist Tradition

Here are some highlights from this 2012 book by Frederic Beiser:

* …, historicism undermined the perennial search in Western philosophy to find transcendent justifications for social, political and moral values, i.e., the endeavor to give these values some universal and necessary validity, some support or sanction outside or beyond their own specific social and cultural context. Such justifications could be straightforwardly religious viz., divine providence or supernatural revelation; but they could also be thoroughly secular, viz., natural law or human reason. In either case, historicism questioned their validity.

The historical significance of historicism is best measured by its break with the Enlightenment, which had dominated European intellectual life during the eighteenth century. The star of historicism rose as that of the Enlightenment fell. Although historicism grew out of the Enlightenment, some aspects of its program, if taken to their limits, undermined crucial ideals and assumptions of the Enlightenment. True to the legacy of the Enlightenment, historicism demanded that we extend the domain of reason, i.e., that we find a sufficient reason for everything that happens. Its contribution to extending the empire of reason would be to illuminate the historical world as the new natural philosophy had explained the natural world. But this program eventually undermined the Enlightenment’s attempt to provide rational or universal principles of morality, politics and religion. The more we examine the causes of and reasons for human beliefs and practices, the more we discover that their purpose and meaning is conditioned by their specific historical and cultural context, the less we should be inclined to universalize those beliefs and practices. It now becomes difficult, if not impossible, to provide a universal justification of moral, political and religious beliefs and practices, as if they had a purpose, meaning and validity beyond one’s own culture. Thus the rational defense of moral, political and religious beliefs, one of the central aspirations of the Enlightenment, proved illusory.

From the perspective of historicism, then, the general problem with the Enlightenment is that it remained, in spite of itself, too deeply indebted to the legacy of the Middle Ages which it pretended to overcome. The theology of the Middle Ages had always required a transcendent sanction for social, political and moral values. Although the Enlightenment removed the religious trappings of such a transcendent sanction, it continued to seek it in more worldly terms, whether that was natural law, the social contract, a universal human reason, or a constant human nature. All these concepts seemed to promise a validity beyond the flux of history, a sanction transcending the concrete context of culture, politics and society.

All the thinkers of the Enlightenment—the French philosophes, the GermanAufklärer or the English free‐thinkers— wanted to find some eternal and universal Archimedean standpoint by which they could judge all specific societies, states and cultures. One of the most profound implications of historicism is that there can be no such standpoint.

* If historicism was indebted to the Enlightenment in some respects, it was opposed to it in others. The problem is to be precise, specifying the exact respects in which historicism both continued and broke with the Enlightenment. Here we identify three fundamental points of discontinuity.

A characteristic doctrine of the Enlightenment was individualism or atomism, i.e., the thesis that the individual is self‐ sufficient and has a fixed identity apart from its specific social and historical context. This thesis appears constantly in the social contract doctrines prevalent in the seventeenth and eighteenth centuries. It reflects the widespread belief, voiced by Rousseau and Hume among others, that there is a permanent human nature, i.e., that people are one and the same throughout history. This individualism or atomism has been traced to another characteristic tenet of the Enlightenment: its belief that the proper procedure of science consists in analysis, the dissection of a phenomenon into its constituent parts.23 This method, which had been used with such success in the natural sciences, was made into a model for the study of society and state.

It is striking that almost all thinkers in the historicist tradition, beginning with Möser and Herder in the eighteenth century and ending with Simmel and Weber in the nineteenth, questioned this individualism. They insisted instead that human identity is not fixed but plastic, that it is not constant but changing, and that it depends on one’s distinct place in society and history. It is necessary to oppose, therefore, the individualism or atomism of the Enlightenment with the holism of the historicist tradition. Rather than seeing the whole as reducible to its individual members, each of which exists independently, historicism insists that the whole is prior to its parts and the very condition of their existence and identity.

Another defining article of faith of the Enlightenment was its belief in natural law, i.e., that there are universal moral standards that apply to all cultures and epochs. These standards were regarded as “natural” because they are based upon a universal human nature, or the ends of nature itself, and because they do not rest on the positive laws and traditions established in a specific state. The natural law tradition assumed, therefore, either that there is a uniform human nature throughout the flux of history, or that there is a universal human reason to sanction the same moral values for all epochs and cultures.

It is telling that the leading nineteenth‐century historicists—Ranke, Droysen, Savigny, Dilthey and Simmel—self‐ consciously and explicitly rejected the natural law tradition. While this tradition was still alive in some respects in Herder, Möser and Humboldt, who all use the idiom of natural law, they were also very critical of it. All thinkers in the historicist tradition held that the doctrine of natural law had illegitimately universalized the values of eighteenth‐century Europe as if they held for all epochs and cultures. To know the values of a culture or epoch, they argued, it is necessary to study it from within, to examine how these values have evolved from its history and circumstances. The more we examine values historically, the more we see that their purpose and meaning depends entirely on their specific context, on their precise role in a social‐historical whole. Since these contexts are unique and incommensurable, so are the values within them; it therefore becomes impossible to make generalizations about what values everyone ought to have, regardless of social and historical context.

Crucial to the Enlightenment’s attempt to rationalize the world was its program of political modernization, especially its efforts toward bureaucratic centralization and legal codification. The enlightened policies of Friedrich II in Prussia, of Joseph II in Austria, and of the revolutionary government in France, strived to create and impose a single uniform legal code valid for all cities, localities and regions within an empire; the old chaotic patchwork of local and regional customs and laws were to be abolished for the sake of a single rational constitution. These efforts at legal codification went hand‐in‐hand with political centralization, the attempt to govern and administer all parts of a country by a single ruler and bureaucracy. Local self‐government and regional autonomy were to be eradicated as relics of the medieval past.

The historicist tradition began as a resistance movement to this program. Against the Enlightenment’s attempt to create legal uniformity and central control, the early historicists (Möser, Herder, Savigny) defended the value of local autonomy and legal diversity. Against the Enlightenment’s cosmopolitanism, they stressed the value of having local roots, of belonging to a particular time and place. Thus the principle of individuality had not only an epistemological but also a moral and political meaning: that locality and nationality, as the very source of personal identity, is to be cherished and preserved at all costs. Later historicists (Droysen, Simmel and Weber) believed in the inevitability of the centralized national state; but they were not cosmopolitans and only widened the locus of belonging to include the entire nation.

Justus Möser and the Roots of Historicism

* What makes Möser so important as a cultural figure—what makes him transcend his age and place—is his profound awareness of a basic problem of modernity: the rise of rootlessness, the loss of belonging, the decline of attachment to time and place. Long before the romantics, Möser saw the need for, and the significance of, rootedness, belonging, attachment, feeling at home in the world. Hence the great importance of locality for him. This was the point behind his loving portraits of his hometown, his sympathetic account of the ancient Saxons in hisOsnabrückische Geschichte, his spirited defense of local liberties and traditions. Möser deplored that these values were being steadily eroded by the main forces of the modern world—by increasing technology, enlightenment, and political centralization. In this respect Möser, for all his love of the past, was far ahead of his time. The reaction to modernity that we find in Frühromantik in the late 1790s is already fully present in Möser in the 1750s.

What makes Möser the father of historicism is precisely his recognition of the importance of rootedness, attachment and belonging. These would become fundamental values for the whole historicist tradition; but their first formulation appears clearly in Möser, who spearheaded its reaction against modernity. It is these values that are behind Möser’s adoption of one fundamental and characteristic theme of historicism: the principle of individuality.10 The reason this principle became so important to him is precisely because it was the seat or locus of rootedness, attachment and belonging. What we are rooted in, attached to, or belong in, is per necessitatem unique and individual, this particular time and place. Hence the principle of individuality was for Möser the logical expression of, and sublimation for, his ideal of feeling at home in the world.

The historicist tradition began as a resistance movement to this program. Against the Enlightenment’s attempt to create legal uniformity and central control, the early historicists (Möser, Herder, Savigny) defended the value of local autonomy and legal diversity. Against the Enlightenment’s cosmopolitanism, they stressed the value of having local roots, of belonging to a particular time and place. Thus the principle of individuality had not only an epistemological but also a moral and political meaning: that locality and nationality, as the very source of personal identity, is to be cherished and preserved at all costs. Later historicists (Droysen, Simmel and Weber) believed in the inevitability of the centralized national state; but they were not cosmopolitans and only widened the locus of belonging to include the entire nation.

* Although Möser concedes to Epicurus that everyone has the right to pursue happiness, he denies that this also gives them the right to avoid duty and responsibility. Acceptance of one’s place in society, and participation in one’s role in political life, are essential constituents of happiness. The whole idea that we should retire from the social and political world sounds like so much sour grapes: because we think we did not get the recognition we deserve, we take our revenge by turning our back on the world and depriving it of our services (26–7)… . His ethical ideal combines Epicurean pleasure with stoic duty. Thus the highest good is realized when we find pleasure in doing our duties, when we enjoy fulfilling our social and political commitments (29). True happiness, Möser teaches, consists in contentment with one’s station and lot in life (34). There is no more tranquil and pleasant life, he writes, than to fulfill your vocation in a dignified manner (144).

This ethic takes on more concrete shape when we consider Möser’s specific guidelines for achieving the highest good. There are three such guidelines. First, we should realize that what makes us happy is not things themselves but the attitude we have toward them. So if we train our minds to have the right attitude, we can be as happy in a hut as in a palace (34–5). Second, we should accept our lot and stop whining. A person who is unsatisfied with his place in life would also be unsatisfied in all other places (321). We love to complain about things only because it flatters our vanity: it is our way of saying that we deserve so much better than what we have (121). Third, we should avoid chasing after honor, riches and power. These pursuits are doomed to frustration because there is no limit to these things: the more we get, the more we want to have. The secret of happiness is to learn to limit our desires to what we have within our power to achieve; and this means that we have to learn to control our imagination, which makes us restless by holding out the prospect of more honor, riches and power.

* Möser’s articles often preach the value of deception and illusion. He thinks not only that we should place limits on the attempt to know, but that we should also accept illusions even when we know that they are false. The happiness of most people comes from their allowing themselves to be deceived (31, 82, 149–51). What is the secret of marital happiness? It is what Möser calls “honest deception” (Ehrliche Verstellung), which happens when a couple practice mutual flattery. Each partner knows that he or she is not the most desirable person in the world; but they say that anyway, because it tickles their vanity (68). Deception is most important in politics, Möser thinks, because here we cannot survive if we are honest. How successful we are in the political world depends on how well we play “the art of deception” (109–11). Those who insist on taking the moral high ground in politics pay a great penalty: they step into their enemy’s minefield and get exploded along with all their moral honor.

* a favorite historicist theme: that one should not judge the customs and institutions of one country by those of another; before making such judgments, it is important to examine the history and context of local customs and institutions.

* if our present culture is the highest stage of human development, we can judge other ages and cultures according to the extent to which they have contributed toward our age and culture.

* Herder’s polemic against Enlightenment historiography involves a tangled knot of arguments, all of them directed against the Aufklärer’s tribunal of critique. Each strand of this polemic deserves unraveling. First, Herder points out that there is no single uniform standard of happiness that we could apply to all cultures (38–9).86 Human nature is not static and fixed but variable and plastic; it assumes different shapes according to time and place, so that what makes one people happy makes another miserable. Hence Herder writes in some celebrated lines: “each nation has the center of its happiness within itself, just as each ball has its own center of gravity” (39). He then warns against measuring one nation by the standards of another because “all comparison is problematic” (38).

Second, Herder, like Möser, contends that people become who they are from necessity, that they are formed by circumstances, so that it is pointless to judge them. Since “ought” implies “can”, and since people cannot be otherwise, we should not judge them by some ideal about what they ought to be. Hence Herder writes that we cannot expect the Biblical patriarchs to have the bravery of the Roman soldier because “…he [the patriarch] is what God, climate, time and stage of the world could form out of him, namely, a Patriarch!” (36). More generally, he contends: “…to a certain degree all perfection is national, generational and more specifically individual. One does not develop anything but what time, climate, need, world or fate gives the occasion” (35).

Third, Herder claims that we should not judge history by general moral standards, as if people could ever achieve complete perfection, for the simple reason that virtue and vice are complementary qualities.87 We cannot have a great virtue without great vice. For example, the ancient Romans showed the virtues of fortitude, persistence, loyalty; but the exercise of these very virtues often manifested itself in cruelty, harshness and bloodshed (37). Referring to the Romans, Herder writes: “The very machine that made possible the most extensive vices was also that which so elevated [their] virtues…Is humanity in general, under a single set of conditions, capable of pure perfection? Heights have valleys.” (37).

Fourth, Herder contends that we should not judge an early stage of human development by the criteria of a later stage. Just as we should not judge a child by the standards of an adult, so we should not judge primitive peoples by the standards of a more civilized age. Hence Herder takes to task Voltaire’s and Boulanger’s critique of the “despotism” of Biblical patriarchy on the grounds that it fails to consider the childlike condition of the first people; they were not ready to judge their rulers but required guidance from them as a child does from a parent.

* Savigny and the Historical School of Law

The official beginning of the historical school was the publication in 1815 of the first volume of theZeitschrift für geschichtliche Rechtswissenschaft. The editors of the Zeitschrift were three professors from the law faculty at the newly founded University of Berlin: Friedrich Carl Savigny (1779–1861), Karl Friedrich Eichhorn (1781–1854) and Johann Friedrich Gößchen (1778–1837). Like true historians, they were very self‐conscious of their place in history, and set about defining it in the preface of their Zeitschrift.2 Their preface amounts to a manifesto of the historical school. To understand their movement, we do well to look at how the editors themselves define it in their manifesto.

Savigny, Eichhorn and Gößchen expressly called themselves “the historical school,” which they opposed to “the non‐ historical school,” or what was often called “the philosophical school.” Their account of the historical school consists in a threefold distinction between it and the non‐historical or philosophical school. (1) The non‐historical school holds that each generation has the power to create its world anew, whereas the historical school maintains that each generation finds its world given to it by history. (2) While the non‐historical school regards positive law as the arbitrary creation of legislative power, the historical school sees it as part of the entire way of life of a nation, the necessary result of its Volksgeist. (3) The non‐historical school sees the individual as independent and self‐ sufficient, having its identity apart from its place in society and history; the historical school, however, claims that the individual derives its identity entirely from its place in society and history.

* Like no one else before him, [Georg] Simmel saw the coming modern world, and he refused to prevent its coming by clinging to the past. He set sail on its stormy seas, uncertain of his destination, but knowing that there could be no return to the shore. He accepted the complexity and moral pluralism of modern society, and recognized that in his secular age the old absolutes of philosophy and religion could be no more. He came to this point because he was more of an historicist than any of his contemporaries and predecessors, ready to accept the relativity of all values and principles in the flux of history.

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