Virgil Quotes

Authors: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Categories: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
I have used the theologians and their treatment of apocalypse as a model of what we might expect to find not only in more literary treatments of the same radical fiction, but in the literary treatment of radical fictions in general. The assumptions I have made in doing so I shall try to examine next time. Meanwhile it may be useful to have some kind of summary account of what I've been saying. The main object: is the critical business of making sense of some of the radical ways of making sense of the world. Apocalypse and the related themes are strikingly long-lived; and that is the first thing to say tbout them, although the second is that they change. The Johannine acquires the characteristics of the Sibylline Apocalypse, and develops other subsidiary fictions which, in the course of time, change the laws we prescribe to nature, and specifically to time. Men of all kinds act, as well as reflect, as if this apparently random collocation of opinion and predictions were true. When it appears that it cannot be so, they act as if it were true in a different sense. Had it been otherwise, Virgil could not have been altissimo poeta in a Christian tradition; the Knight Faithful and True could not have appeared in the opening stanzas of "The Faerie Queene". And what is far more puzzling, the City of Apocalypse could not have appeared as a modern Babylon, together with the 'shipmen and merchants who were made rich by her' and by the 'inexplicable splendour' of her 'fine linen, and purple and scarlet, ' in The Waste Land, where we see all these things, as in Revelation, 'come to nought.' Nor is this a matter of literary allusion merely. The Emperor of the Last Days turns up as a Flemish or an Italian peasant, as Queen Elizabeth or as Hitler; the Joachite transition as a Brazilian revolution, or as the Tudor settlement, or as the Third Reich. The apocalyptic types-empire, decadence and renovation, progress and catastrophe-are fed by history and underlie our ways of making sense of the world from where we stand, in the middest.

Frank Kermode
It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods-though the work was suppressed-'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses , alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

Frank Kermode
Reading list (1972 edition)[edit] 1. Homer - Iliad, Odyssey 2. The Old Testament 3. Aeschylus - Tragedies 4. Sophocles - Tragedies 5. Herodotus - Histories 6. Euripides - Tragedies 7. Thucydides - History of the Peloponnesian War 8. Hippocrates - Medical Writings 9. Aristophanes - Comedies 10. Plato - Dialogues 11. Aristotle - Works 12. Epicurus - Letter to Herodotus; Letter to Menoecus 13. Euclid - Elements 14. Archimedes - Works 15. Apollonius of Perga - Conic Sections 16. Cicero - Works 17. Lucretius - On the Nature of Things 18. Virgil - Works 19. Horace - Works 20. Livy - History of Rome 21. Ovid - Works 22. Plutarch - Parallel Lives; Moralia 23. Tacitus - Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa - Introduction to Arithmetic 25. Epictetus - Discourses; Encheiridion 26. Ptolemy - Almagest 27. Lucian - Works 28. Marcus Aurelius - Meditations 29. Galen - On the Natural Faculties 30. The New Testament 31. Plotinus - The Enneads 32. St. Augustine - On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Nje¡l 36. St. Thomas Aquinas - Summa Theologica 37. Dante Alighieri - The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer - Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci - Notebooks 40. Niccole² Machiavelli - The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus - The Praise of Folly 42. Nicolaus Copernicus - On the Revolutions of the Heavenly Spheres 43. Thomas More - Utopia 44. Martin Luther - Table Talk; Three Treatises 45. Frane§ois Rabelais - Gargantua and Pantagruel 46. John Calvin - Institutes of the Christian Religion 47. Michel de Montaigne - Essays 48. William Gilbert - On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes - Don Quixote 50. Edmund Spenser - Prothalamion; The Faerie Queene 51. Francis Bacon - Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare - Poetry and Plays 53. Galileo Galilei - Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler - Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey - On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes - Leviathan 57. Rene Descartes - Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton - Works 59. Molie¨re - Comedies 60. Blaise Pascal - The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens - Treatise on Light 62. Benedict de Spinoza - Ethics 63. John Locke - Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine - Tragedies 65. Isaac Newton - Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz - Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe - Robinson Crusoe 68. Jonathan Swift - A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve - The Way of the World 70. George Berkeley - Principles of Human Knowledge 71. Alexander Pope - Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu - Persian Letters; Spirit of Laws 73. Voltaire - Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding - Joseph Andrews; Tom Jones 75. Samuel Johnson - The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

Mortimer J. Adler
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