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The Decencies of Debate Abusive language, straw-man arguments and downright ‘fake news’ should have no place in civilised debate, but censoring them is far worse.

In two parts

1858
Queen Victoria 1837-1901
Music: Cyril Scott and Sir Arthur Sullivan

By Isaac Cruikshank (1764-1811), Wikimedia Commons. Licence: Public domain. Source

A debating society, by Isaac Cruikshank.

About this picture …

A cartoon by Scottish artist Isaac Cruikshank (1764–1811), father of the more famous George, showing a debating society grappling with the motion ‘Whether a man’s wig should be dress’d with honey or mustard?’. “Silence, gentlemen! to order, only ten speak at a time!” runs a caption below. “For if you all bray together it’s impossible to decide on this important question.” Cruikshank helpfully draws a donkey into the window to underline the key verb. John Stuart Mill deprecated uncivil language in debate, but believed that policing it hands too much power to the dominant party. The only equitable solution is not to police it at all, and remember that few people are ever persuaded by it.

The Decencies of Debate

Part 1 of 2

Addressing the issue of freedom of speech, John Stuart Mill turned his attention in On Liberty to the use of uncivil discourse and what we now call ‘fake news’. He admitted both were disagreeable and even dangerous, but felt that no action should be taken to police them. Such action makes the Establishment into judge, jury and executioner, and honest dissent is declared a sign of bad or even criminal character.
Abridged

Undoubtedly the manner of asserting an opinion, even though it be a true one, may be very objectionable, and may justly incur severe censure. But the principal offences of the kind are such as it is mostly impossible, unless by accidental self-betrayal, to bring home to conviction.* The gravest of them is, to argue sophistically,* to suppress facts or arguments, to misstate the elements of the case, or misrepresent the opposite opinion. But all this, even to the most aggravated degree, is so continually done in perfect good faith, by persons who are not considered, and in many other respects may not deserve to be considered, ignorant or incompetent, that it is rarely possible on adequate grounds conscientiously to stamp the misrepresentation as morally culpable; and still less could law presume to interfere with this kind of controversial misconduct.

Jump to Part 2

* That is, unless the speaker gives himself away in some fashion, it is impossible to prove satisfactorily that he is dishonest.

* That is, in the manner of the ancient Greek sophists, teachers of oratory who hired themselves out to ambitious and often unscrupulous members of local democratic assemblies. See Rhetoric and the Beast.

Précis

Victorian philosopher John Stuart Mill argued that incivility and misrepresentation of facts in debate are to be deplored, but it is almost impossible to police them without injustice. This is especially the case with misrepresentation, because unless the speaker gives himself away there is no way of proving that he was being dishonest. (53 / 60 words)

Part Two

By Isaac Cruikshank, Wikimedia Commons. Licence: Public domain. Source

About this picture …

An illustration from Dialogues against the Jews by twelfth-century convert from Judaism to Christianity, Peter Alphonsi (fl. 1116). Peter spent several years in England during the reign of Henry I (r. 1100–1135) as court physician. John Stuart Mill was disgusted by the way that Christian churches cracked down on dissent (he did not live to see what scientific atheism would do in China and the USSR), yet he would not have asked any church to abandon the Saviour’s commandments simply to please prevailing opinion. That would not be tolerant: it would be a lack of moral courage, and would reward intolerance in others. See Social Intolerance. The tolerant believer or unbeliever holds firmly to his convictions but he does not force them on others, and he bears their abuse and criticism serenely.

With regard to what is commonly meant by intemperate discussion, namely, invective, sarcasm, personality, and the like, the denunciation of these weapons would deserve more sympathy if it were ever proposed to interdict them equally to both sides; but it is only desired to restrain the employment of them against the prevailing opinion: against the unprevailing they may not only be used without general disapproval, but will be likely to obtain for him who uses them the praise of honest zeal and righteous indignation.

Yet whatever mischief arises from their use, is greatest when they are employed against the comparatively defenceless; and whatever unfair advantage can be derived by any opinion from this mode of asserting it, accrues almost exclusively to received opinions. The worst offence of this kind which can be committed by a polemic, is to stigmatize those who hold the contrary opinion as bad and immoral men. To calumny of this sort, those who hold any unpopular opinion are peculiarly exposed, because they are in general few and uninfluential, and nobody but themselves feels much interest in seeing justice done them.

Copy Book

Précis

Furthermore, said Mill, those who police discussions for incivility or misrepresentation tend to be people in power, which means that marginal opinions will suffer much more than fashionable ones. Worst of all is when those who do not take the fashionable line are labelled as bad and hate-filled people, since no one will stand up for them. (57 / 60 words)

Source

From ‘On Liberty’ (1858) by John Stuart Mill (1806-1873).

Suggested Music

1 2 3

Symphony No. 1 (1899)

2. Andante Con Moto

Cyril Scott (1879-1970)

Performed by the BBC Philharmonic with Martyn Brabbins.

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‘The Gondoliers’

In a quiet contemplative fashion

Sir Arthur Sullivan (1842-1900)

Performed by the D’Oyly Carte Opera Chorus with the New Symphony Orchestra Of London, conducted by Isidore Godfrey.

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Transcript / Notes

Quartet – Marco, Giuseppe, Gianetta, Tessa.

IN a contemplative fashion,
And a tranquil frame of mind,
Free from every kind of passion,
Some solution let us find.

Let us grasp the situation,
Solve the complicated plot –
Quiet, calm deliberation
Disentangles every knot.

TESSA. I, no doubt, Giuseppe wedded –

[Meanwhile, the others sing ‘In a contemplative fashion,’ etc.]

That’s, of course, a slice of luck.
He is rather dunder-headed,
Still distinctly, he’s a duck.

GIANETTA. I, a victim, too, of Cupid,
Marco married – that is clear.
He’s particularly stupid,
Still distinctly, he’s a dear.

MARCO. To Gianetta I was mated;
I can prove it in a trice:
Though her charms are overrated,
Still I own she’s rather nice.

GIUSEPPI. I to Tessa, willy-nilly,
All at once a victim fell.
She is what is called a silly,
Still she answers pretty well.

MARCO. Now when we were pretty babies
Some one married us, that’s clear –

GIANETTA. And if I can catch her
I’ll pinch her and scratch her
And send her away with a flea in her ear.

GIUSEPPI. He whom that young lady married,
To receive her can’t refuse.

TESSA. If I overtake her
I’ll warrant I’ll make her
To shake in her aristocratical shoes!

GIANETTA (to TESSA). If she married your Giuseppe
You and he will have to part –

TESSA (to GIANETTA). If I have to do it
I’ll warrant she’ll rue it
I’ll teach her to marry the man of my heart!

TESSA (to GIANETTA). If she married Messer Marco
You’re a spinster, that is plain –

GIANETTA. (to TESSA). No matter – no matter.
If I can get at her
I doubt if her mother
Will know her again!

ALL. Quiet, calm deliberation
Disentangles every knot!

(Exeunt, pondering.)

Symphony No. 1 (1899)

3. Allegretto

Cyril Scott (1879-1970)

Performed by the BBC Philharmonic with Martyn Brabbins.

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How To Use This Passage

You can use this passage to help improve your command of English.

IRead it aloud, twice or more. IISummarise it in one sentence of up to 30 words. IIISummarise it in one paragraph of 40-80 words. IVMake notes on the passage, and reconstruct the original from them later on. VJot down any unfamiliar words, and make your own sentences with them later. VIMake a note of any words that surprise or impress you, and ask yourself what meaning they add to the words you would have expected to see. VIITurn any old-fashioned English into modern English. VIIITurn prose into verse, and verse into prose. IXAsk yourself what the author is trying to get you to feel or think. XHow would an artist or a photographer capture the scene? XIHow would a movie director shoot it, or a composer write incidental music for it?

For these and more ideas, see How to Use The Copy Book.

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