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The new sound-sphere is global. It ripples at great speed across languages, ideologies, frontiers and races. The economics of this musical Esperanto is staggering. Rock and pop breed concentric worlds of fashion, setting and life-style. Popular music has brought with it sociologies of private and public manner, of group solidarity. The politics of Eden come loud.
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We come after. We know now that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day's work at Auschwitz in the morning. To say that he has read them without understanding or that his ear is gross, is cant. In what way does this knowledge bear on literature and society, on the hope, grown almost axiomatic from the time of Plato to that of Matthew Arnold, that culture is a humanizing force, that the energies of spirit are transferable to those of conduct?
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To shoot a man because one disagrees with his interpretation of Darwin or Hegel is a sinister tribute to the supremacy of ideas in human affairs — but a tribute nevertheless.
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Men are accomplices to that which leaves them indifferent.
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The new pornographers subvert this last, vital privacy; they do our imagining for us. They take away the words that were of the night and shout them over the roof-tops, making them hollow.
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Words that are saturated with lies or atrocity do not easily resume life.
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There is something terribly wrong with a culture inebriated by noise and gregariousness.
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Language can only deal meaningfully with a special, restricted segment of reality. The rest, and it is presumably the much larger part, is silence.
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Where God clings to our culture, to our routines of discourse, He is a phantom of grammar, a fossil embedded in the childhood of rational speech. So Nietzsche (and many after him). This essay argues the reverse. It proposes that any coherent understanding of what language is and how language performs, that any coherent account of the capacity of human speech to communicate meaning and feeling is, in the final analysis, underwritten by the assumption of God's presence.
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The letter kills the spirit. The written text is mute in the face of responding challenge. It does not admit of inward growth and correction. Text subverts the absolutely vital role of memory.
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Language is the main instrument of man's refusal to accept the world as it is.
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If there is a chronic infirmity by which every teacher ought to be afflicted, it is, indeed, hope.
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To many men... the miasma of peace seems more suffocating than the bracing air of war.
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There are three intellectual pursuits, and, so far as I am aware, only three, in which human beings have performed major feats before the age of puberty. They are music, mathematics, and chess.
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What worthwhile book after the Pentateuch has been written by a committee?
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The Oresteia, King Lear, Dostoevsky's The Devils no less than the art of Giotto or the Passions of Bach, inquire into, dramatize, the relations of man and woman to the existence of the gods or of God.
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The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men's genius.
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Literary criticism has about it neither rigour nor proof. Where it is honest, it is passionate, private experience seeking to persuade.
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It is not the literal past that rules us, save, possibly, in a biological sense. It is images of the past. These are often as highly structured and selective as myths. Images and symbolic constructs of the past are imprinted, almost in the manner of genetic information, on our sensibility. Each new historical era mirrors itself in the picture and active mythology of its past.
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What I affirm is the intuition that where God's presence is no longer a tenable supposition and where His absence is no longer a felt, indeed overwhelming weight, certain dimensions of thought and creativity are no longer attainable. And I would vary Yeats's axiom so as to say: no man can read fully, can answer answeringly to the aesthetic, whose "nerve and blood" are at peace in sceptical rationality, are now at home in immanence and verification. We must read as if.
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The journalistic vision sharpens to the point of maximum impact every event, every individual and social configuration; but the honing is uniform.
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I am and remain a Marxist. Because otherwise I could not be a proofreader… If California triumphs, there will be no need of proofreaders. Machines will do it better. Or all texts will be audiovisual, with self-correctors built in. Night after night after night, Carlo, I work till my brain aches. So as to get it absolutely right… Getting it right. The holiness of it. The self-respect. Gran Dio, Carlo, you must see what I'm driving at. Utopia simply means getting it right! Communism means taking the errata out of history. Out of man. Reading proofs.
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Literature and the arts are also criticism in a more particular and practical sense. They embody an expository reflection on, a value judgement of, the inheritance and context to which they pertain.
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Almost overwhelmingly, European culture, at the close of this millennium, is that of the museum. Who among us believes that we shall witness a new Dante, a Shakespeare of the 21st Century, a Mozart to come?
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As the glossaries lengthen, as the footnotes become more elementary and didactic, the poem, the epic, the drama, move out of balance on the actual page. As even the more rudimentary of mythological, religious or historical references, which form the grammar of Western literature, have to be elucidated, the lines of Spenser, of Pope, of Shelley or of Sweeney Among the Nightingales, blur away from immediacy. Where it is necessary to annotate every proper name and classical allusion in the dialogue between Jessica and Lorenzo in the garden at Belmont, or in Iachimo's stealthy rhetoric when he emerges in Imogen's bedchamber, these marvellous spontaneities of enacted feeling become "literary" and twice-removed.
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Women began their inner emancipation by their access to literature, by access to the world through books; an access they could not have socially or politically, or of course economically, in the world at large.
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The capacity for imaginative reflex, for moral risk in any human being is not limitless; on the contrary, it can be rapidly absorbed by fictions, and thus the cry in the poem may come to sound louder, more urgent, more real than the cry in the street outside. The death in the novel may move us more potently than the death in the next room.
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We cannot turn back. We cannot choose the dreams of unknowing. We shall, I expect, open the last door in the castle, even if it leads, perhaps because it leads, on to realities which are beyond the reach of human comprehension and control. And we shall do so with that desolate clairvoyance, so marvellously rendered in Bartok's music, because opening doors is the tragic merit of our identity.
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We are still waging Peloponnesian wars. Our control of the material world and our positive science have grown fantastically. But our very achievements turn against us, making politics more random and wars more bestial.
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A sentence always means more. Even a single word, within the weave of incommensurable connotation, can, and usually does.
George Steiner
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Quote of the day
Nobody ever did anything very foolish except from some strong principle.
William Lamb, 2nd Viscount Melbourne
George Steiner
Creative Commons
Born:
April 23, 1929
Died:
February 3, 2020
(aged 90)
Bio:
Francis George Steiner was a French-born American literary critic, essayist, philosopher, novelist, and educator. He has written extensively about the relationship between language, literature and society, and the impact of the Holocaust.
Known for:
After Babel (1975)
Real presences (1986)
The Idea of Europe: An Essay (2004)
Tolstoy or Dostoevsky (1960)
The death of tragedy (1961)
Most used words:
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human
man
language
art
literature
life
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poem
culture
spirit
dreams
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