Page 37 - Cultural Theory and Popular Culture an Introduction

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Matthew Arnold 21

Arnold (1960) called his various proposals, quoting the Duke of Wellington, ‘a
revolution by due course of law’ (97). What it amounts to is a revolution from above,
a revolution to prevent popular revolution from below. It works on the principle that
a reform given is always better than a reform taken, forced or won. Popular demands
are met, but in such a way as to weaken claims for further demands. It is not that
Arnold did not desire a better society, one with less squalor, less poverty, less ignor-
ance, etc., but that a better society could never be envisaged as other than a society in
which the new urban middle class were ‘hegemonic’ (see Chapter 4).
Most of what I have said is a roundabout way of saying that the first grand theorist
of popular culture had in fact very little to say about popular culture, except, that is, to
say that it is symptomatic of a profound political disorder. Culture is not the main con-
cern of Arnold’s work; rather the main concern is social order, social authority, won
through cultural subordination and deference. Working-class culture is significant to
the extent that it signals evidence of social and cultural disorder and decline – a break-
down in social and cultural authority. The fact that working-class culture exists at all is
evidence enough of decline and disorder. Working-class ‘anarchy’ is to be suppressed
by the harmonious influences of culture – ‘the best that has been thought and said in
the world’.
Many of Arnold’s ideas are derived from the Romantic critique of industrialism (see
Williams, 1963). One writer in particular seems especially relevant, Samuel Taylor
Coleridge. Coleridge (1972) distinguishes between ‘civilisation’ (‘a mixed good, if not
far more a corrupting influence’) and ‘cultivation’ (‘the harmonious development of
those qualities and faculties which characterise our humanity’) (33). To simplify,
Coleridge suggests that civilization refers to the nation as a whole; cultivation is the
property of a small minority, whom he calls the ‘clerisy’. It is the function of the cultiv-
ated clerisy to guide the progress of civilization:

the objects and final intention of the whole order being these – preserve the stores,
and to guard the treasures, of past civilisation, and thus to bind the present to the
past; to perfect and add to the same, and thus to connect the present with the
future; but especially to diffuse through the whole community, and to every native
entitled to its laws and rights, that quantity and quality of knowledge which was
indispensable both for understanding of those rights, and for the performance of
the duties correspondent (34).

Arnold builds on Coleridge’s ideas. Instead of a clerisy, he writes of ‘aliens’ or ‘the
remnant’. But the purpose is essentially the same: the mobilization of culture to police
the unruly forces of mass society. According to Arnold, history shows that societies
have always been destroyed by ‘the moral failure of the unsound majority’ (1954: 640).
Such a reading of history is hardly likely to inspire much confidence in democracy – let
alone in popular culture. Arnold’s vision is based on a curious paradox; the men and
women of culture know the best that has been thought and said, but for whom are they
preserving these treasures when the majority is unsound and has always been, and always
will be, unsound? The inescapable answer seems to be: for themselves, a self-perpetuating