Wittgenstein did not address the question of history directly or extensively. But his vision of language is pervasively historical and has implications for the way we do literary history. This chapter examines the idea of use at the heart of Wittgenstein’s vision of language, especially how it differs from the question of context, and how it is related to “forms of life.” After exemplifying these concepts in Wittgenstein by revisiting some of the early remarks in the Philosophical Investigations, I explore the Oxford English Dictionary (OED) to show how the teaching of the differences in the use of words is at the heart of its practice. Finally, I highlight the work of an exemplary critic, William Empson, who regarded his work as an important corrective to the OED, and whose work is highly attuned to the history of use. The implications of Wittgenstein’s vision of language with its fundamental revision of linguistic agency show that much contemporary historical criticism is not historical enough.

Chapter 3, “Sense and Sensibility and Suffering,” begins from the philosophical writings of Ludwig Wittgenstein on the problem of other minds. Wittgenstein, like Adam Smith, positions suffering and pain as the paradigmatic experiences in discussion of other minds. (Austin’s paradigmatic feeling is anger.) This chapter deploys a flattened point of view in terms of what it means to be “insensible,” particularly in relation to the non-human paper and ink fictional characters in an “early” Austen novel. It also provides close reading of Sense and Sensibility through a Cavellian exploration of the philosophical problems of skepticism and acknowledgment. Cavell presents his own reading of late Wittgenstein as one of an intimate frustration with the workings of criteria. Such an experience models a necessarily and potentially productive frustration that modern novel readers often report with the main character/trait pairings of Sense and Sensibility. The chapter promotes the interest of otherwise flat writing as modeling forms of resiliency. These critical practices are especially vital to reading Austen’s fiction before her great success in writing novels of inwardness.

This chapter argues for the rebirth of pastoral in the twenty-first century: as a genre responsive to climate change, mindful of the extinction of many species, and bearing the unique insights of indigenous peoples, with their memory of past catastrophes and their vision for a sustainable future. Woven into this argument are three classic American authors -- Washington Irving, Henry David Thoreau, and Herman Melville – each preoccupied with the subjection of Native peoples, but imagining very different fates for them. In Irving, the ruthless ascendency of colonial settlers makes Native demise a foregone conclusion. Moby-Dick, on the other hand, tells a more conflicting story. In spite of the casual reference to the “extinction” of the Pequots, the persistence of Native characters throughout the novel suggests that they might be here to stay. It is Tashtego’s “red arm and hammer” that we see at the book’s climactic end. Thoreau also equivocates, at one point showing the Abenaki as more firmly ensconced in their habitat than he himself can ever be. In this way, he looks forward to the pastoral affirmation of indigenous survival in the philosophy of Kyle Powys Whyte, and the climate activism of the Standing Rock Sioux tribe.

In the twentieth century, the aftermath of Wilde’s trial generates a new interest in the Dark Lady sequence as a means of heterosexualising Shakespeare and his Sonnets. Their powerful appeal as expressions of male-male desire continues, however, in the work of Wilfred Owen, and the chapter explores the nostalgia and hostility which the Sonnets aroused among soldiers in World War I. Post-war, the Sonnets become a vehicle for modernist poetics through the work of Laura Riding and Robert Graves, and their citation by William Empson makes them central to New Criticism. Whilst the biographical interpretation of the Sonnets intensifies through the Shakespeare novel, the idea of the Dark Lady, focused particularly on Sonnet 130, opens up new possibilities for women and women of colour to re-voice the Sonnets at the end of the century.