On the Reading of Old Books

Following on the Christmas holiday, here is a little something that is, given the book from which it is taken, tangentially related. Both of these paragraphs are from C. S. Lewis’ Introduction to an edition of Athanasius’ On the Incarnation. They each contain a great deal of wisdom about the reading of old books. First, on actually reading the old books:

“There is a strange idea abroad that in every subject the ancient books should be read only by the professionals, and that the amateur should content himself with the modern books. Thus I have found as a tutor in English Literature that if the average student wants to find out something about Platonism, the very last thing he thinks of doing is to take a translation of Plato off the library shelf and read the Symposium. He would rather read some dreary modern book ten times as long, all about “isms” and influences and only once in twelve pages telling him what Plato actually said. The error is rather an amiable one, for it springs from humility. The student is half afraid to meet one of the great philosophers face to face. He feels himself inadequate and thinks he will not understand him. But if he only knew, the great man, just because of his greatness, is much more intelligible than his modern commentator. The simplest student will be able to understand, if not all, yet a very great deal of what Plato said; but hardly anyone can understand some modern books on Platonism. It has always therefore been one of my main endeavours as a teacher to persuade the young that firsthand knowledge is not only more worth acquiring than secondhand knowledge, but is usually much easier and more delightful to acquire.”

And secondly, on the epistemological benefits of reading the old books:

“Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. All contemporary writers share to some extent the contemporary outlook – even those, like myself, who seem most opposed to it. Nothing strikes me more when I read the controversies of past ages than the fact that both sides were usually assuming without question a good deal which we should now absolutely deny. They thought that they were as completely opposed as two sides could be, but in fact they were all the time secretly united – united with each other and against earlier and later ages – by a great mass of common assumptions. We may be sure that the characteristic blindness of the twentieth century – the blindness about which posterity will ask, “But how could they have thought that?” – lies where we have never suspected it, and concerns something about which there is untroubled agreement between Hitler and President Roosevelt or between Mr. H. G. Wells and Karl Barth. None of us can fully escape this blindness, but we shall certainly increase it, and weaken our guard against it, if we read only modern books. Where they are true they will give us truths which we half knew already. Where they are false they will aggravate the error with which we are already dangerously ill. The only palliative is to keep the clean sea breeze of the centuries blowing through our minds, and this can be done only by reading old books. Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not endanger us. Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction. To be sure, the books of the future would be just as good a corrective as the books of the past, but unfortunately we cannot get at them.”

That said, then, to quote from one very old book, tolle lege.

Death and Material Culture

Christopher Hitchens passed away on Thursday evening from complications related to the cancer he had been fighting for many months. I received this news with a certain startled sadness, even though it was, of course, expected. I hope to post some reflections on Mr. Hitchens with regards to the quality of public discourse in the coming days. For now, I only want to draw attention to a portion of his brother Peter’s reflections published yesterday in the Daily Mail.

Peter Hitchens wrote of one of his last conversations with his brother in which Christopher hoped to return home from the hospital:

“There, he suggested, we could go through his bookshelves, as there were some books and other possessions he wanted me to have. I couldn’t have cared less about these things, but I had greatly hoped to have that conversation, which would have been a particularly good way of saying farewell.”

Admittedly, as Peter Hitchens notes, the objects are nothing compared to the person. But I would think, personally, that they are not therefore entirely insignificant. They are something. And the books especially, for what they meant to the giver, might be a particularly meaningful token.

All of this to say that no one will ever want to go through an e-reader in quite the same way. Only the particularity of the book as object can carry the fullness of meaning and significance that is entailed in passing a thing on to another in this way. It is an aspect of the culture of the book that takes shape around the older form.

This is, in itself, no argument against the utility of e-readers. It is only to note a subtle loss that attends this particular shift in our material culture. And I, for better or for worse, have a temperamental proclivity to register such losses.

Of course, it takes no particular predisposition to register and regret the loss of Mr. Hitchens.

The Machinery of Poetry?

John Stuart Mill in the Westminster Review from 1831:

“It would be a pity that poetry should be an exception to the Great Law of progress that attains in human affairs: and it is not. The machinery of a poem is not less susceptible of improvement than the machinery of a cotton mill; nor is there any better reason why the one should retrograde from the days of Milton than the other from those of Arkwright.”

My only question is this: how does a thinker as subtle as Mill (perhaps I’m giving him too much credit) make such an evidently egregious category mistake? Is it the power of the myth of the machine or is it the power of metaphor? Both I suspect.

“Mechanical in Head and Heart”: Carlyle and Darwin on the Mind as Machine

In last week’s post on Leo Marx and the sources of technological pessimism, I noted that Marx alludes to an 1829 essay by Thomas Carlyle, “Sign of the Times,” in which Carlyle describes his era as an “Age of Machinery.” Here is the fuller context of that phrasing:

“Were we required to characterize this age of ours by any single epithet, we should be tempted to call it, not an Historical, Devotional, Philosophical, or Moral Age, but above all others, the Mechanical Age. it is the Age of Machinery, in every outward and inward sense of that word: the age which, with its whole undivided might, forwards, teaches and practices the great art of adapting means to ends.”

More from Carlyle:

“Not the external and physical alone is now managed by machinery, but the internal and spiritual also …. The same habit regulates not our modes of action alone, but our modes of thought and feeling. Men are grown mechanical in head and heart, as well as in hand. They have lost faith in individual endeavors, and in natural force, of any kind. Not for internal perfection but for external combinations and arrangements for institutions, constitutions, for Mechanism of one sort or another, do they hope and struggle.”

In Christian Worship and Technological Change, Susan J. White, pairs Carlyle’s sentiment with the following passage from Darwin’s “Recollections of the Development of My Mind and Character”:

“I have said that in one respect my mind has changed in the last twenty or thirty years. Up to the age of thirty, poetry of many kinds … gave me great pleasure, and even as a schoolboy I took intense delight in Shakespeare. But now for many years I cannot read a line of poetry; I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music …. My mind seems to have become a kind of machine for grinding general laws out of a large collection of facts.”

First of all, this latter self-diagnosis is terribly sad. One hopes that Darwin’s experience is not suggestive of a general tendency, even as one suspects that it may very well be.

Secondly, Carlyle and Darwin, in their own way, intuited what later scholars including Mumford and McLuhan would formalize into theory: our habits of mind and patterns of thought have a way of adapting themselves to our technological environment.

Ours, however, is no longer an Age of Machinery in the same way. How might we update Carlyle’s and Darwin’s observations to better fit our own time? How might we label our age? How has our technological environment worked its way into our heads and hearts?

Embodied Art

Annie Dillard on the embodied nature of art:

“The body of literature, with its limits and edges, exists outside some people and inside others. Only after the writer lets literature shape her can she perhaps shape literature. In working-class France, when an apprentice got hurt, or when he got tired, the experienced workers said, ‘It is only the trade entering his body.’ The art must enter the body, too. A painter cannot use paint like glue or screws to fasten down the world. The tubes of paint are like fingers; they work only if, inside the painter, the neural pathways are wide and clear to the brain. Cell by cell, molecule by molecule, atom by atom, part of the brain changes physical shape to accommodate and fit paint.

You adapt yourself, Paul Klee said, to the contents of a paintbox. Adapting yourself to the contents of the paintbox, he said, is more important than nature and its study. The painter, in other words, does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint.”

“It is only the trade entering his body.” Love that.

From The Writing Life.