As for the visual arts, artists learned their craft for centuries by lovingly studying and copying the masters. No more. Today’s would-be artist need only stage his own predictable politics to claim artist status, a view that has given us such performance pieces as the publicly performed loss of anal virginity at a London art school or a video-recorded use of a cement sex toy at the San Francisco Art Institute.
There is, in other words, much bad news today about the humanist impulse. What we rarely hear is the good news: Thanks to enlightened philanthropy, the enduring lure of beauty, and, yes, market forces, the humanist impulse is thriving in many places beyond the university.
The most important classical music development of our time is a direct rebirth of the Renaissance spirit: a loose group of performers known as the “early-music” movement is determined to re-create how music from the baroque and classical eras was originally performed. Like the Renaissance scholars who realized that the classical texts that had come down to them had been corrupted by errors, these musicians believe that twentieth-century performance styles veered drastically from how baroque music was intended to be played. The results have been a revelation, releasing submerged dance rhythms and resurrecting long-forgotten composers—such as Hasse, Porpora, and Steffani—who urgently deserve to be heard again.
But even those musicians not seeking the holy grail of authentic period performance are driven by the same humanist reverence for past genius. At the 2013 Texas State International Piano Festival (that despised Red State hosts many such festivals), an eleven-year-old Asian-American pianist (and violinist) proudly recounted that her first piano instructor boasted a teaching lineage stretching back to Haydn. “I was so excited to learn that. I respect Haydn so much,” she told the NPR program From the Top, apparently untroubled by Haydn’s lamentable white-male status and thinking of him, like Petrarch of Cicero, as an almost-contemporary.
Regarding the visual arts, New Yorkers are particularly fortunate: Many of New York’s museums still present the best of human creation, relatively untainted by identity politics. At the Metropolitan Museum of Art, former director Philippe de Montebello consciously fought off pressures for trendy relevance. His successor, Thomas Campbell, squandered resources on misguided contemporary art initiatives (and was ousted in 2017), but still mounted some superlative shows, such as the 2016 exhibit on Hellenistic art. The Frick’s and the Morgan’s commitment to standards and taste is almost terrifyingly superb.
None of this accomplishment can be taken for granted; leadership is crucial, and it can turn in an instant. New York’s music press has been baying for the Metropolitan Opera to give over the house completely to revisionist opera directing. Yet New York audiences, unlike those in Europe, can still see productions that take the composer’s intention as their lodestar, however much such fidelity enrages the commentariat.
The demand side for the humanities is also robust, as we will see in the next chapter. Publishing has capitalized on this thirst for knowledge. The success of one book after another on the American Founding proves that the public’s appetite for urbane explorations of American history is boundless.
Yet though the humanist spirit is chugging along nicely outside the university, the university remains its natural home, from which it should not be in exile. We have bestowed on the faculty the best job in the world: Freed from the pressures of economic competition, professors are actually paid to spend their days wandering among the most sublime creations of mankind. All we ask of them in return is that they sell their wares to ignorant undergraduates. Every fall, insistent voices should rise from the faculty lounges and academic departments saying: Here is greatness, and this is your best opportunity to absorb it. Here is Aeschylus, whose hypnotic choruses bear witness to dark forces more unsettling than you can yet fathom. Here is Mark Twain, Habsburg Vienna, and the Saint Matthew Passion. Here is the drama of Western civilization, out of whose constantly battling ideas there emerged unprecedented individual freedom and unimagined scientific progress.
Instead, the professoriate is tongue-tied when it comes to promoting the wonders of its patrimony. These privileged cowards can’t even summon the guts to prescribe the coursework that every student must complete in order to be considered educated. Need it be said? Students don’t know anything. That’s why they’re in college. They certainly don’t know enough to select courses that will give them the rudiments of culture. The transcripts that result from the professoriate’s abdication of its intellectual responsibility are not a pretty sight, featuring as many movie and video courses as a student can stuff into each semester.
When the academy is forced to explain the value of the humanities, the language that it uses is pathetically insipid. You may have heard the defense du jour, tossed out en route to the next gender studies conference. The humanities, we are told, teach “critical thinking.” Is this a joke? These are the professorial critical thinkers who write sentences like this:
It is because the proper names are already no longer proper names because their production is their obliteration, because the erasure and the imposition of the letter are originary, because they do not supervene upon a proper inscription; it is because the proper name has never been anything but the original myth of a transparent legibility present under the obliteration; it is because the proper name was never possible except through its functioning within a classification and therefore within a system of differences, within a writing retaining the traces of difference, that the interdict was possible, could come into play, and, when the time came, as we shall see, could be transgressed; transgressed, that is to say restored to the obliteration and the non-self-awareness at the origin.3
And we’re supposed to believe that they can think? Moreover, the sciences provide critical thinking skills as well—far more rigorous ones, in fact, than the hackneyed deconstructions of advertising that the left-wing academy usually means by critical thinking.
It is no wonder, then, that we have been hearing that the humanities are in crisis. A 2013 Harvard report, cochaired by the school’s premier postcolonial studies theorist, Homi Bhabha, lamented that 57 percent of incoming Harvard students who initially declare interest in a humanities major eventually change concentrations. Why may that be? Imagine an intending lit major who is assigned something by Professor Bhabha: “If the problematic ‘closure’ of textuality questions the totalization of national culture.…”4 How soon before that student concludes that a psychology major is more up his alley?
No, the only true justification for the humanities is that they provide the thing that Faust sold his soul for: knowledge. It is knowledge of a particular kind, concerning what men have done and created over the ages. The American Founders drew on an astonishingly wide range of historical sources and an appropriately jaundiced view of human nature to craft the world’s most stable and free republic. They invoked lessons learned from the Greek city-states, the Carolingian Dynasty, and the Ottoman Empire in the Constitution’s defense. And they assumed that the new nation’s citizens would themselves be versed in history and political philosophy. Indeed, a closer knowledge among the electorate of Hobbes and the fragility of social order might have prevented the more brazen social experiments that we’ve undergone in recent years. Ignorance of the intellectual trajectory that led to the rule of law and the West’s astounding prosperity puts those achievements at risk.
But humanistic learning is also an end in itself. It is simply better to have escaped one’s narrow, petty self and entered minds far more subtle and vast than one’s own than never to have done so. The Renaissance philosopher Marsilio Ficino said that a man lives as many millennia as are embraced by his knowledge of history. One could add: A man lives as many different lives as are embraced by his encounters with literature, music, and all the humanities and arts. These forms of expression allow us to see and feel things that we would otherwise never experience—society on a nineteenth-century Russian feudal estate, for example, or the perfect crystal
line brooks and mossy shades of pastoral poetry, or the exquisite languor of a Chopin nocturne.
Ultimately, humanistic study is the loving duty we owe those artists and thinkers whose works so transform us. It keeps them alive, as well as us, as Petrarch and Poggio Bracciolini understood. The academic narcissist, insensate to beauty and nobility, trapped in the diversity delusion, knows none of this.
And as politics in Washington and elsewhere grows increasingly unmoored from reality, humanist wisdom provides us with one final consolation: There is no greater lesson from the past than the intractability of human folly.
14
GREAT COURSES, GREAT PROFITS
The canon of great literature, philosophy, and art is thriving—in the marketplace, if not on college campuses. For the last quarter-century, a company called the Great Courses has been selling recorded lectures in the humanities and sciences to an adult audience eager to brush up its Shakespeare and its quantum mechanics. The company produces only what its market research shows that customers want. And that, it turns out, is a curriculum in the monuments of human thought, taught without the politically correct superiority and self-indulgent theory common in today’s colleges.
To open a Great Courses catalog is to experience an intellectual seduction. “When was the last time you read the classics of American literature?” teases one course description. “Possibly not as recently as you’d like. These carefully crafted lectures are your royal road to recapturing the American experience—and our intellectual and cultural heritage.” A course on Plato’s Dialogues—“for millennia the objects of devoted study by the noblest minds”—invites you to “become engrossed in the ‘romance of the intellect.’” The company uses words to describe learning—such as “joy,” “beauty,” “pleasure,” “classic,” and its favorite, “greatness”—that have long disappeared from the academy’s discourse. “As you read or reread these masterpieces, you will likely experience such joy from great reading that you may wonder why you have spent so much time on contemporary books,” asserts one course description, committing several transgressions against the reigning post-poststructuralist orthodoxy.
And the company offers a treasure trove of traditional academic content, which undergraduates paying $60,000 a year may find nowhere on their Club Med–like campuses. In the 2017 to 2018 academic year, for example, a Bard College student interested in American history could have taken “Inclusion at Bard,” “When Race Morphed: Understanding the Peoples of the United States, from 1900 to the Civil Rights Era,” or “Crusading for Justice: On Gender, Sexuality, Racial Violence, Media, Rights,” but the only traditional American political history course was “The Civil War and Reconstruction.”1 A Great Courses customer, by contrast, can choose from a cornucopia of American history not yet divvied up into the fiefdoms of race, gender, and sexual orientation, with multiple offerings in the American Revolution, the constitutional period, the Bill of Rights, and the intellectual influences on the country’s founding. There are lessons here for the academy, if it will only pay them heed.
The Great Courses, originally called The Teaching Company, wasn’t begun with the goal of creating an antidote to today’s politicized academy. Tom Rollins, chief counsel and chief of staff to Senator Ted Kennedy’s Labor and Human Services Committee, quit his post in 1989 with the idea of finding the most charismatic college professors and having them tape college-level courses for the adult-education market.
Rollins, then thirty-three, soon discovered that his assumptions about the university—that it existed, in his words, “to transmit to the young everything the civilization has figured out so far and to discover new things”—were not shared by everyone in the academy. “My first baptism came quickly,” he said. One of his earliest hires was Rick Roderick, a philosophy professor at Duke University, whom Rollins describes as to the left of Karl Marx. Nothing disqualifying there, so long as a professor injects his political views into a course only if relevant. Roderick had already recorded two popular courses for the company and was in the middle of his third when he let fly the observation that we shouldn’t bother to listen to anyone—Ronald Reagan came immediately to mind, he said—who scored too low on the “DQ index.” (That would be the “Dan Quayle index,” after the purportedly stupid vice president.) Roderick went on to speculate on tape that the only reason Nancy Reagan had ever had power was that she “gave the best head in Hollywood.” At this point, Rollins, who had considerable capital resting on the success of Roderick’s course, intervened: “Rick, I’m deleting this material.” Roderick coolly replied: “Tom, truth is a defense to libel.” Ultimately, the index stayed in; Nancy Reagan’s alleged source of power was out.2
An American literature course by two theory-drenched Ivy League professors provided another early learning experience. The professors made little effort to conceal their contempt for the presumed racism and sexism of their audience and of the authors they were discussing. Within a month of the course’s release, customers were calling the company to complain about the lecturers’ condescending tone. In an institution that would live or die according to its customers’ satisfaction, Rollins couldn’t afford to alienate his audience. He destroyed all the master tapes of the course, so that no further copies could ship out, even accidentally. “Teaching shouldn’t be an opportunity for a professor to get off his chest burning issues that no one would listen to except students,” Rollins said, sadder but wiser about the academy. “People want to know what the field has discovered; they aren’t interested in your personal views.”
Some of the early surprises involved the camera’s power to terrify even seasoned lecturers. By 1992, Rollins was living in an attic, after burning through his retirement savings to invest in his company. Maxed out on his credit cards and having sold twelve of his thirteen Washington power suits, he had bet everything he had left on a history of Western philosophy course, for which his customer polling indicated a huge demand. A $10,000-a-day film crew had set up in the basement of the Georgetown University School of Medicine, ready to tape the course’s Machiavelli lecture—but the Columbia University professor who was supposed to deliver it was nowhere to be found. Rollins assumed that he was having a last smoke in the stairwell; instead, he found him there curled into a fetal position. “If I have to leave this stairwell, I will either throw up or faint,” vowed the professor, a large, strapping fellow. “I need Machiavelli in thirty seconds!” Rollins called out. Michael Sugrue, one of the two other lecturers in the course and a historian of colonial America, volunteered. He gave a superb talk, and the series became one of the company’s biggest sellers. Another professor in a different course actually did throw up before the taping—but then gave an excellent presentation on Greek civilization.
Despite several brushes with mortality in its start-up years, after a decade, the firm was earning $20 million in sales. From the start, some customers developed an intensely personal relationship with the product, accusing Rollins of failing if he wasn’t constantly putting out new material. “They’d call me to say, ‘C’mon, Tom, I’m done with your latest; when’s the next one out?’ It was like intellectual crack.” The audience—mostly older professionals with successful careers—sees the liberal arts as a life-changing experience, observes Louis Markos, an English professor at Houston Baptist University who has recorded courses on C. S. Lewis and on literary criticism for the company. “They are hungry for this material.”
The company markets deftly to that hunger. The catalogs are learning opportunities in their own right, tantalizingly laying out the material that each course will cover, such as the contributions and foibles of the Renaissance popes. This peekaboo strategy presumes a burning desire for knowledge on the reader’s part. “Starting with the Renaissance, the culture of the West exploded,” begins the description of a Western civilization series. Then it irresistibly reels the reader in: “Over the next 600 years, rapid innovations in philosophy, technology, economics, military affairs, and politics allowed w
hat once had been a cultural backwater left by the collapse of the Roman Empire to dominate the world. But how—and why—did this happen? How did the decentralized agrarian principalities of medieval Europe remake themselves into great industrial nation-states? How and why did absolutism rise and then yield to democratic liberalism?”
In promoting its wares, the Great Courses breaks one academic taboo after another. The advertising copy for “Books That Have Made History: Books That Can Change Your Life” asserts: “Beginning with the definition of a great book as one that possesses a great theme of enduring importance, noble language that elevates the soul and ennobles the mind, and a universality that enables it to speak across the ages, Professor [J. Rufus] Fears examines a body of work that offers an extraordinary gift of wisdom to those willing to receive it”—a statement so reckless that it would get its proponent thrown out of the Modern Language Association’s annual convention. Indeed, one could take the company’s definition of literature in another course description as a rebuke to the prevailing academic mores, not least in its very use of the word “literature” rather than the usual “text”: “While we sometimes think of literature as anything written, it is in fact writing that lays claim to consideration on the grounds of beauty, form, and emotional effect.” The Great Courses’ uninhibited enthusiasm is so alien to contemporary academic discourse that several professors who have recorded for the firm became defensive when I asked them about their course descriptions, emphatically denying any part in writing the copy—as if celebrating beauty were something to be ashamed of.
The most striking thing about the Great Courses’ humanities curriculum, however, is how often the same thinkers appear across a large range of courses. The canon has been “problematized” in the academy, but it is alive and well in these recordings. Plato, Aristotle, Cicero, Paul, Erasmus, Galileo, Bacon, Descartes, Hobbes, Spinoza, Dante, Chaucer, Spenser, Shakespeare, Cervantes, Milton, Molière, Pope, Swift, Goethe, and others are foregrounded again and again as touchstones of our civilization. This repetition occurs not because the company is on a mission to resuscitate the canon but because customers want it. The insatiability of the demand for such courses surprises even the producers themselves. “We were reexamining the same material,” said Rollins, “and I kept wondering: ‘How can customers keep buying “Great Ideas of Philosophy” and “Great Minds of the Western Intellectual Tradition”?’ But people bought both. They wanted different takes on Kant, Socrates, and the Enlightenment.”
The Diversity Delusion Page 24
