“Society Is a Simple and Beautiful Science”
This chapter investigates British socialism’s symbolic birth: Robert Owen’s unveiling of his plan for an entirely new social order in the summer of 1817. Although Owen has been canonized as a stalwart of the political left, his proposals baffled and enraged partisans across the ideological spectrum. Commentators had great difficulty deciding whether his “Plan” was radical or reactionary—or even if it was “political” at all. Using the vitriolic debates that consumed the Plan as a focal point (and drawing on contemporary commentators as varied as William Hazlitt, Thomas Malthus, and George Cruikshank), this chapter undertakes a revisionary interpretation of Owenite socialism that uncovers its latent aesthetic core. Owen and his followers have long been associated with utilitarian indifference, if not downright vulgarian insensitivity, to the arts. However, Owen’s very ambition to govern citizens without recourse to the state or the Church rests upon an aesthetic substratum. This chapter demonstrates that the curriculum Owen designed to produce human beings who would not require “politics” to produce consensus relies upon extensive training in the musical arts to inculcate the principle of universal harmony. The final part of this chapter locates the origins of British anti-socialist rhetoric at the juncture of Malthusian political economy and anti-Jacobin polemic.