George Steiner quotes - page 3
George Steiner was a French-born literary critic, essayist, and philosopher known for his deep engagement with literature, language, and culture. His insightful works explored the relationship between language, translation, and the human condition. He greatly influenced modern literary criticism and the philosophy of literature. Here are 100 of his quotes:
Those who proclaim and apply to poetic works a "theory of criticism," a "theoretical hermeneutic" are, today, the masters of the academy and the exemplars in the high gossip of arts and letters. Indeed, they have clarioned "the triumph of the theoretical." They are, in truth, either deceiving themselves or purloining from the immense prestige and confidence of science and technology an instrument ontologically inapplicable to their own material. They would enclose water in a sieve.
George Steiner
The absolute scholar is in fact a rather uncanny being. He is instinct with Nietzsche's finding that to be interested in something, to be totally interested in it, is a libidinal thrust more powerful than love or hatred, more tenacious than faith or friendship - not infrequently, indeed, more compelling than personal life itself. Archimedes does not flee from his killers, he does not even turn his head to acknowledge their rush into his garden when he is immersed in the algebra of conic sections.
George Steiner
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 As even the more rudimentary of mythological, religious or historical references, which form the grammar of Western literature, have to be elucidated, the lines of Spenser, of Pope, of Shelley or of Sweeney Among the Nightingales, blur away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.
George Steiner
Though acts of reception and of understanding are in some measure fictions of ordered intuition, myths of reason, this truth does not justify the denial of intentional conduct. It is as absurd to discard as mendacious, as anarchically opaque, the bearing of contextual probability and suggestion, as it is to invest in such probability any blind trust. The negations of post-structuralism and of certain varieties of deconstruction are precisely as dogmatic, as political as were the positivist equations of archival historicism. The "emptiness of meaning" postulate is no less a priori, no less a case of despotic reductionism than were, say, the axioms of economic and psycho-sociological causality in regard to the generation of meaning in literature and the arts in turn-of-the-century pragmatism and scientism.
George Steiner
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.
George Steiner
Tragedy springs from outrage; it protests at the conditions of life. It carries in it the possibilities of disorder, for all tragic poets have something of the rebelliousness of Antigone. Goethe, on the contrary, loathed disorder. He once said that he preferred injustice, signifying by that cruel assertion not his support for reactionary political ideals, but his conviction that injustice is temporary and reparable whereas disorder destroys the very possibilities of human progress. Again, this is an anti-tragic view; in tragedy it is the individual instance of injustice that infirms the general pretence of order. One Hamlet is enough to convict a state of rottenness.
George Steiner
Literary criticism should arise out of a debt of love. In a manner evident and yet mysterious, the poem or the drama or the novel seizes upon our imaginings. We are not the same when we put down the work as we were when we took it up. To borrow an image from another domain: he who has truly apprehended a painting by Cézanne will thereafter see an apple or a chair as he had not seen them before. Great works of art pass through us like storm-winds, flinging open the doors of perception, pressing upon the architecture of our beliefs with their transforming powers. We seek to record their impact, to put our shaken house in its new order. Through some primary instinct of communion we seek to convey to others the quality and force of our experience. We would persuade them to lay themselves open to it. In this attempt at persuasion originate the truest insights criticism can afford.
George Steiner
That is to say that every single book will be magnetized, will be ordered under complicated mathematical clusters, by related subjects, and semantic markers. You will state your questions, or the subject you are interested in, and the computer will find the books for you. Instataneous retrieval brings with it enormous changes in our relation to the history of a subject, because there is a cut-off point in all these systems beond which the previous books are no longer relevant. They have been adequately subsumed in the later ones. You have a completely different way of organsing knowledge-an immensely efficient and in many ways powerfully logical way, but which blocks the essential motion of the hand reaching along a shelf and stumbling on what it did not know was there. When these great knowledge and data-banks, as they are called, are operative there will come a whole change in the way the human mind and eye live with books.
George Steiner
In the United States dramatically, here fortunately much less so, the book store as we have known it is dying. In the United States it is now largely an emporium, featuring music, records, Christmas cards, a large range fo semi-cultural and kitsch products with books fighting for their actual spatial lives. In some of the great university towns such as New Haven, or Princeton, within the past decade, the last good book stores have had to close, and what we have now are text book emporia which are not book stores, but store-houses bracketed according to set reading lists: in other words-where there is none of the genius of waste which a great book store has, where you cannot find what you are not looking for, which is the very essence of a book store.
George Steiner
The private ownership of great art, its seclusion from the general view of men and women, let alone from that of interested amateurs and scholars, is a curious business. The literal disappearance of a Turner or a Van Gogh into some Middle Eastern or Latin-American bank vault to be kept as investment and collateral, the sardonic decision of a Greek shipping tycoon to put an incomparable El Greco on his yacht, where it hangs at persistent risk - these are phenomena that verge on vandalism.
George Steiner
Do the identifications with fictions, the inner, tidal motions of pathos and libido which the novel, the film, the painting, the symphony unleash within us somehow immunize us against the humbler, less formed, but actual claims of suffering and of need in our surroundings? Does the cry in the tragic play muffle, even blot out, the cry in the street?
George Steiner
Almost alone among cognitive-aesthetic movements and strategies of interpretation, deconstruction neither champions any body of past literature or art, nor does it act as vanguard or advocate for any contemporary or incipient school. The New Criticism and T. S. Eliot strove for the revaluation of Metaphysical poetry so as to underwrite, in turn, certain tactics of modenity. Aristotle was advocate for Sophocles. Deconstruction is, intentionally, marginal (a key trope) to all histories of taste and manifestos for innovation.
George Steiner
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.
George Steiner
Even where it is manipulated by major talents, deconstruction tends to bear either on marginal texts (Sade, Lautréamont), or on secondary work by a great writer (Barthes on Balzac's Sarrazine). The classics of deconstruction, in Jacques Derrida or Paul De Man, are "misreadings" not of literature but of philosophy; they address themselves to philosophical linguistics and the theory of language. The masks they seek to strip off are those worn by Plato, by Hegel, by Rousseau, by Nietszche or Saussure. Deconstruction has nothing to tell us of Aeschylus or Dante, of Shakespeare or Tolstoy.
George Steiner
The really deep divergence between the humanistic and scientific sensibilities is one of temporality. Very nearly by definition, the scientist knows that tomorrow will be in advance of today. A twentieth-century schoolboy can manipulate mathematical and experimental concepts inaccessible to a Galileo or a Gauss. For a scientist the curve of the future is positive. Inevitably, the humanist looks back.
George Steiner
George Steiner
Photo:
TheNexusInstitute (youtube),
CC BY 3.0
Occupation: American Critic
Born: April 23, 1928
Died: February 3, 2020
Quotes count: 100
Wikipedia: George Steiner
Related authors
