Beruflich Dokumente
Kultur Dokumente
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to New Literary History
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during his exile in Turkey and published just after the war, continues
to be widely studied and discussed more than fifty years after its initial
publication.9 There are perhaps several reasons for the success o? Mimesis,
the most obvious being Auerbach's custom of introducing every chapter
with a close reading of a representative work. Auerbach's way of drawing
out the essence of an entire period from the reading of a single text is
a hermeneutic tour de force that has few if any rivals.
* I would like to thank Thomas Beebee and Albert Ascoli for their comments and sugges
tions on this essay, which no doubt improved the finished product.
New Literary History, 2007, 38: 353-369
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354
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355
is not, like the middle style, intended to please and persuade but to
fire with enthusiasm and to carry away" {LL 194). This interpretation
of Longinus is peculiar in that it presents itself as a commonplace. It is
as if Auerbach were unaware that the meaning of hypsos in Longinus's
treatise has provoked much debate and little consensus among classicists,
philologists, and critics. Auerbach's fellow philologist Curtius writes: "the
word hypsos means height not sublimity. High literature, great poetry
and prose?that is the subject."21 In his 1899 edition of Peri hypsous, Rhys
Roberts was convinced that "the object of the author is to indicate the
essentials of a noble and impressive style."22 More recently, W. H. Fyfe's
translation of Longinus often renders fogosas "style," again encouraging
the stylistic interpretation of hypsos. However, in his introduction to Fyfe's
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356
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357
Auerbach writes:
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358
fronted with following problem: in what sense are the high and low
styles "mixed." Does this mean that they are fused with one another to
create a level that lies between them? Definitely not. As was remarked
above, Auerbach rejects the idea that the mixture of the high and the
low will result in a sort of middle or intermediate level of style. Nor does
Auerbach mean that the high and low should be mixed in the sense
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359
And the most moving account of all was the Passion. That the King of Kings was
treated as a low criminal, that he was mocked, spat upon, whipped, and nailed
to the cross?that story no sooner comes to dominate the consciousness of the
people than it completely destroys the aesthetics of the separation of styles; it
engenders a new elevated [hohen] style, which does not scorn everyday life and
which is ready to absorb the sensorily realistic, even the ugly, the undignified,
the physically base. Or?if anyone prefers to have it the other way around?a
new sermo humilis is born, a low style, such as would probably only be applicable
to comedy, but which now reaches out far beyond its original domain, and
encroaches upon the deepest and the highest [H?chste], the sublime [Erhabene]
One could say that the mixture of the grand and humble styles creates
a new kind of "elevated" style, which is simple (paratactic, for example)
instead of ornate and which deals with everyday subjects; or one could
say the opposite: that a new "low" style is created which "encroaches
upon the deepest and the highest, the sublime and the eternal." It is
clear that Auerbach cannot conceptualize the mixture of styles except
in terms of one of the two opposing poles: a new "elevated" style that
comprehends the everyday; or a low style that contains the sublime. The
"mixture" is in fact a dialectic.35 The realism of the Gospels is produced by
on the one side, and a social reality in which people are divided into
classes and treated as more or less human and consequently considered
to be more or less worthy of being represented as the subjects of these
styles and genres, on the other."36 The story of realism is the story of the
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360
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361
within immanence.
The ur-structure of the sublime, the high within the low, travers
all boundaries that separate the domains of the social, the litera
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362
events, so that those events or people, taken from the world in which
he lived, became themselves figures of Christian ideas (for example, of
conversion and salvation), without negating either their historicity or
their reality. Auerbach notes that "many important critics?and indeed
whole epochs of classicistic taste?have felt ill at ease with Dante's close
ness to the actual in the realm of the sublime" (M 185). This sublime
realism of figures, which had reached perfection in the Commedia, was
the cultural form that was best suited for the dissemination of Christian
agitated for the mixture of the sublime and the grotesque; Stendhal's
Racine et Shakespeare advocated the aesthetic modernity of the latter over
the conservatism of the former; and novels such as Le P?re Goriot and Le
Rouge et le Noir elevated the sentimental novel by lending an existential
weight and historical depth to depictions of everyday life. However, it is
difficult to read Mimesis without concluding that for Auerbach the real
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363
reality and the highest and most sublime tragedy, which had conquered
the classical rule of styles" (A?555).
ordering them" (M184). One could argue that such exaggerated dialec
tics as those found in Dante are realistic within his particular worldview,
and that within a worldview based on the contingency of life, in which
the role of the transcendental is replaced by the social, the sublime has
less of a place; sharp dialectical contrasts are attenuated; random move
the grand style" (M515; Auerbach's italics). The dialectic of the high
and the low is still the driving force of realistic representation, even in
are not responsible for their fate. In the association between the victim
and the sublime (which continues to orient our morality and politics),
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364
we have come full circle: realism finds its culmination and fulfillment
in the elevation of the humiliated masses that the Gospels first brought
to light.
Auerbach's unease with the sublime in modern realism is a function
the humble can inform the new historical sensibility that is modern
realism's distinctive marker.
Wellek?who, at the moment Auerbach was writing, represented the
school of "theory" in contradistinction to historicism?sees an irresolv
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365
MlDDLEBURY COLLEGE
NOTES
1 "Literary history has been so preoccupied with the setting of a work of literature that
its attempt at analysis of the works themselves have been slight in comparison with the
enormous efforts expended on the study of environment." Ren? Wellek and Austin War
ren, Theory of Literature (New York: Harcourt Brace, 1956), 139.
2 In fact, Auerbach himself attacks literary history in order to avoid being associated
with its most indefensible aspects: "It is true that many scholars, including some to whom
we owe a great deal, became so absorbed in specialization that they forgot the purpose
of their efforts; but this cannot be taken as an argument against a philosophical outlook
which unfortunately they have lost. It is true, too, that preoccupation with biographical
detail, and above all the endeavor to interpret all literary productions as biographical in
the most literal sense, are exceedingly na?ve and often absurd." Erich Auerbach, Literary
Language and Its Public in Late Latin Antiquity and in the Middle Ages (Princeton, NJ: Princeton
translated. This would be unacceptable in any American university, where the doctoral dis
sertation must represent an "original contribution" to the existing body of knowledge.
4 This is not to say that historical approaches to literature have not flourished in certain
contexts in the American academy. Scholarly research is always and necessarily "historicist"
in the broadest sense of the term. It would be instructive here to compare the way in which
verbal artifacts are treated with respect to the visual and plastic arts. There are departments
of "Art History" in every major university, and this appellation is ostensibly designed to
distinguish the study of actual works of art from the practice of creating them. But no
literature department is called "Literary History," even though it must in many cases be
separated from "creative writing."
5 As Auerbach notes, Romance philology finds its inspiration in the German historicist
tradition inaugurated by Herder, reaching its zenith in Hegel.
6 Auerbach writes: "European civilization is approaching the term of its existence; its
history as a distinct entity would seem to be at an end, for already it is beginning to be
engulfed in another, more comprehensive unity. Today, however, European civilization is
still a living reality within the range of our perception. Consequently ... we must today
attempt to form a lucid and coherent picture of this civilization and its unity. I have always
tried, more and more resolutely as time went on, to work in this direction, at least in my
approach to the subject matter of philology, namely literary expression" {LL 6).
7 Up until fairly recently, Curtius's European Literature and the Latin Middle Ages (1948)
was one of the most cited books in humanistic studies; but his magnum opus has largely
been eclipsed by Auerbach's Mimesis.
8 Auerbach, Mimesis: The Representation of Reality in Western Literature, trans. Willard R.
Trask (Princeton, NJ: Princeton Univ. Press, 1953). All quotes from Mimesis will refer to
this edition and will be cited in text and notes as M. I have also consulted the German
original: Mimesis: Dargestellte Wirlichkeit in der abenl?ndischen Literatur (T?bingen and Basel:
A. Franke Verlag, 1946). A fiftieth anniversary edition of the English translation was pub
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Univ. of Nebraska Press, 1982). See also: Seth Lerer, ed., Literary History and the Challenge
of Philology: The Legacy of Erich Auerbach (Stanford, CA: Stanford Univ. Press, 1996); David
Damrosch, "Auerbach in Exile," Comparative Literature 47, no. 2 (1995): 97-117; Emily
Apter, "Global Translatio: The 'Invention' of Comparative Literature, Istanbul, 1933,"
Critical Inquiry 29, no. 2 (2003): 253-81. Most recently, Auerbach's work has become part
of the debate around postcolonial theory. See Paul Reitter, "Comparative Literature in
Exile: Said and Auerbach," in Exile and Otherness: New Approaches to the Experience of the Nazi
CA: Stanford Univ. Press, 2002), 198. This merely begs the question, for one must have a
definition of realism that remains stable over time in order to be able to apply the term
as generally as Auerbach does.
14 Thus it is difficult to square Auerbach's self-understanding of his methodology with
his actual practice, as when he writes the following: "The starting point should not be a
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Green observes that "Auerbach was proceeding from certain valued concepts which, far
from being detached and relativistic for him, were urgently important and ideologically
crucial . . . Auerbach attempted to outline the path of past history and then to use his
version of history as a fortress?an arsenal?from which he could wage a passionate and
vehement war against the possible flow of history in his time." Green, Literary Criticism and
the Structures of History, 14-15.
16 In fact, when one looks up the term "sublime" in the index of the German or English
edition of Mimesis, no page references are provided. Instead one is referred elsewhere:
"see style, humilitas'' (M562). In the German edition, one is referred to Stilmischung, the
mixture of styles.
17 An exception would be Ankersmit's essay "Why Realism," which I referred to earlier.
(It is reprinted in Historical Representation.) I consider Ankersmit's discussion highly prob
lematic, however, and will return to it later in this essay.
Macmillan, 1966), 76. In his translation of Longinus, G. M. A. Grube dispenses with the term
sublime altogether! Drawing his inspiration from Welsted's translation of 1712 (London),
which renders the title as On the Sovereign Perfection of Great Writing, Grube translates Peri
hypsous as On Great Writing. Grube notes that not only is sublime a misleading translation
of hypsos, but the word hypsos itself can be misleading, since it was used by Dionysius of
Halicarnassus to describe the grand style. "For the purposes of this translation, we shall
be much closer to the meaning of hypsos and its derivatives and synonyms throughout if
we render them by a quite general word such as 'greatness' or 'great writing' and the
like." Longinus, On Great Writing, trans. G. M. A. Grube (Indianapolis, IN: Hackett, 1991),
xi. The use of the word "sublime" in connection with Longinus's treatise only came into
general use after Boileau's translation had been widely disseminated.
20 Interestingly, Auerbach places a quote from Longinus (9.2) at the head of his chapter:
"Sublimity is the echo of elevation of thought" {LL 181).
21 Ernst Curtius, European Literature in the Latin Middle Ages, trans. Willard R. Trask
(Princeton, NJ: Princeton Univ. Press, 1983), 398.
22 Longinus, On the Sublime, ed. and trans. W. Rhys Roberts (Cambridge: Cambridge
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24 In the late seventeenth and early eighteenth centuries, Boileau commanded great
respect and attention among European literati. He was considered an unimpeachable
authority on matters literary, and thus his endorsement of Longinus was enough to propel
the unknown Greek critic into instant notoriety.
25 My translation of: "Il faut donc savoir que par Sublime, Longin n'entend pas ce que
les orateurs appellent le style sublime: mais cet extraordinaire et ce merveilleux qui frappe
dans le discours, et qui fait qu'un ouvrage enl?ve, ravit, transporte. Le style sublime veut
toujours de grands mots; mais le Sublime peut se trouver dans une seule pens?e, dans une
seule figure, dans un seul tour de paroles." Longinus, Trait? du sublime, trans. Boileau, ed.
and intro. Francis Goyet (Paris: Le Livre de Poche, 1995), 70.
26 Like Longinus, Auerbach's conception of sublimity is ethical at bottom. The mixture
of sublimity and humility demonstrates the moral superiority of the Gospels to pagan
literature, which stems from the democratic conception of man instituted through the
mixture of sublimitas and humilitas.
27 The rejection of ornate or bombastic rhetoric cohered with the stated ideal of simplicity
in neoclassical poetics. Longinus's preference for Atticism over Asianism is transformed in
seventeenth-century France into the quarrel between classicism and the baroque. George
Kennedy observes that "[Longinus's treatise] certainly belongs to the classicizing, Atticizing
movement of this whole period." Kennedy, A New History of Classical Rhetoric (Princeton,
NJ: Princeton Univ. Press, 1994), 192. Boileau found in Longinus a powerful ally in his
effort to Atticize French eloquence.
28 Auerbach sees Dante as heralding a rebirth of the sublime; the Divine Comedy represents
a "revival of ancient sublimity in a new creation" {LL 232). However, he also observes that
the "sublime style of antiquity was not revived by pure imitation, but sprang anew from
a new world of which the ancient masters knew nothing" {LL 233). It is the personal
element in Dante, a nascent individualism, enabled by what Auerbach calls figurai real
ism?correspondence between the concrete and the ideal, the historical particular and
the transcendental universal?that makes possible the rebirth of sublimity at the dawn of
29 One could conclude that Auerbach's use of the term sublime is too unreliable to draw
out any theoretical implications. Or one could simply assume that Auerbach has something
particular in mind when he uses the term, which, while never made explicit, is nevertheless
sublime in this sentence." The sublime is a substantive, not an adjective referring to the
sentence itself or to its style. In addition, Auerbach makes a gesture toward the subjective
pole of sublimity?its effect on the audience?which was deemed an intrinsic part of the
notion by both Longinus and Boileau: "fills the listener with a shuddering awe."
33 In Macbeth, for instance, the murder of King Duncan is followed immediately by the
comic scene with the porter. I will return to Hugo's aesthetics at the end of this essay.
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Oscar B?rge, fwd. Charles Taylor (Princeton, NJ: Princeton Univ. Press, 1997).
40 See, for instance, Gauchet, Disenchantment, 101, where the translator renders the phrase
M. B. Debevoise and Franklin Philip (Princeton, NJ: Princeton Univ. Press, 1997), 34.
42 More literarily, Auerbach's title should be rendered: Dante, Poet of the Earthly World
{Dante als Dichter der irdischen Welt). A new edition of this work has just been published:
Dante, Poet of the Secular World, trans. Ralph Manheim, intro. Michael Dirda (New York:
New York Review of Books, 2007).
92.
But there is still the problem of what to do with contingent (that is, French) realism.
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