George Steiner

A theory becomes ‘classical’ when it is thought to have been understood, which is to say left behind or constructively challenged. Where a theory is forceful enough, there is, inevitably, a sense in which it consumes its object and, thus, itself. These are Hegelian concepts and they bear directly on the theory of the evolution of literary forms which Lukács derived critically from Hegel. Roughly put, Hegel attached the origin, maturity and decline of the major genres in Western literature to corresponding epochs of consciousness. These, in turn, generated and were generated by (the dialectic) historical, ideological and social realities. The heroic epic enacted conditions of life and perception of an archaic social order. It yielded to the conflicts between individuation and society, between the familial and the political represented in drama. Out of the erosion of the mythological-polytheistic or theistic components in drama came the novel.

A suggestive history of Western moral, literary and political sensibility could be written in terms of the relative status, at given periods and in different societies, of Homer and Virgil. The actual Homeric texts come late into European Christendom. Dante knew of the ‘sovereign poet’ only by hearsay and via derivative epics. The Virgilian presence is continuous. Christological readings of the Fourth Eclogue bestow on Virgil an aura of prophetic illumination. He is known as a magician and sibylline prognosticator in Medieval Italy. The Renaissance ranks Homer as almost divine, but is Virgilian in its poetic practices and aesthetics. Generally, the Enlightenment and early Romanticism – Shelley would be an instance – are Homeric in preference. But an artist such as Turner sees in Virgil the prophetic witness to the imperial politics and aesthetic tone of the times. Angles of incidence and of interpretation are complicated by the deepening understanding of the decisive but often oblique status of the Iliad and Odyssey ‘inside’ the Aeneid, and by the realisation, even more challenging, of the ways in which Virgil’s epic retrospectively alters our responses to Homer.’

Oddly enough, philosophers, even of the most technical and abstract tenor, can generate personal mythologies. Very early, the aura of legend haloed Pythagoras and Empedocles. Wittgenstein is now the object of a considerable corpus of poetry and fiction in which the strangeness, the sometimes histrionic apartness and reputed violence, of his truth-seeking takes on a romantic, mythical cast. Baruch Spinoza has been a perennial source of imagery or fable. Even those unacquainted with his writings know of a thinker of utmost purity, of utmost abstention from mundanity, who ground optical lenses for a precarious living. They will have some intimation of a pariah of exigent genius wholly committed to meditations of the loftiest, most abstract order, of a man whose brief life (1632-1677) was spent in sombre isolation from his native community and contemporaries. No matter that this picture is, in decisive aspects, false. It adheres with a kind of obstinate radiance to the author of the Theologico-Political Treatise and the Ethics.

Roll out the drum and blow the fife. 1989 is close at hand, and with it the bicentennial of the French Revolution. Well over a hundred international colloquia will mark the occasion. They will range from platitudinous immensities – ‘the rights of man’, ‘Europe and America after the fall of the Bastille’, ‘the French Revolution and the Third World’ – to genuinely worthwhile specificities (‘music and drama during the Jacobin regime’, ‘clandestine presses and the dissemination of revolutionary doctrines’). Publishers are poised to pour out a veritable cornucopia of books, acta, learned monographs and anthologies on the history of France and of Europe from 1789 to 1800. The monumental Dictionary of the Revolution, put together by Furet and a galaxy of Continental historians, is out in France. A day-by-day calendar of events throughout France, beginning with the disorders in the provinces during 1788, is in process of publication. Museums, national, civic, metropolitan and local, are announcing pertinent exhibitions. Plays, operas, ballets, old and newly-commissioned, on French Revolutionary themes, will be staged. Hymns pro and con, by Cherubini, Beethoven, Berlioz, will echo to the searchlit skies. Arguably, though that word is inappropriately cautionary, the 14th of July 1789, that day proclaimed by Fox to be the most glorious in the history of man, is more immediate to world-wide remembrance than is any other (the date of the birth of Christ is problematic and its resonance far from universal).’