215. (Marcel Proust)

In the fifth volume of Recherche, The Captive, Baron de Charlus refers to a visit he has recently paid to the famed writer, Bergotte, who has been for some time dead. Even after reading the explanatory note, I wanted to believe that the Baron was supposed to be shown in a lie, but even the aging Charlus would not commit such a blunder. Neither, though, … Continue reading 215. (Marcel Proust)

214. (T.S. Eliot)

When someone says that something possesses the quality of the literary, or refers to the literary or even artistic imagination, they refer, I’ve suggested, to a special sort of imaginative tact: one that apprehends bodily experience. On the one hand, it might be said that not all literature is or should be about the body; on the other hand, it might be said that any … Continue reading 214. (T.S. Eliot)

213. (Marcel Proust)

Aristotle, whose “hexis” is not passive habit, but whose thought of human happiness and nature turns on habituation, tells us that tragedy differs from history in that the latter is concerned with the actual and the former with the probable. By probable, he is taken to mean and likely did mean, something that could have taken place, given what we know through probabilistic reasoning. But … Continue reading 213. (Marcel Proust)

212. (Sebastian Rödl )

Sebastian Rödl is not in this post, but he is behind it. It takes off from his Categories of the Temporal, and contains also some moves borrowed from his newest Self-Consciousness and Objectivity (the idea of a completion that is only complete in containing its own incompletion, for instance). It comes out of some re-reading of Gadamer too, and thinking about how Rödl and Gadamer might be set into conversation. … Continue reading 212. (Sebastian Rödl )

211. (Percy Shelley)

Shelley’s poetry has challenged some of the finest critics, and even Hazlitt, who stands opposed to Shelley’s most notable detractors, such as Eliot and Hazlitt, is chary in his praise. It’s thought now that the matter is behind us, but that is only because the matter of critical argument over taste isn’t much done, but taste remains a standing challenge to powers of articulation and … Continue reading 211. (Percy Shelley)

210. (Thomas Hobbes)

It’s often said that Leviathan has the excellence of great literature, that it is one of the finest prose works in the language, and the opinion is not just that of philosophers. To the many good reasons for appreciating what Hobbes effects in and to language, one might speculate that Leviathan is distinctly literary in its excellence, and that it’s being so, while being at … Continue reading 210. (Thomas Hobbes)

209. (Marcel Proust)

From the “Proust and Other Matters” blog, a debate from an old Yahoo Proust listserv, over the name of “Cambremer,” which features as a joke first in Swann’s Way, but then centrally in Sodom and Gomorrah, when the lift boy fails to correct his pronunciation, “Camembert”: Dear Sharon, Today, I just wanted to correct your interpretation of the jokes about the name Cambremer. The joke about the name … Continue reading 209. (Marcel Proust)