In Great Books, Denby lives the common adult fantasy of returning to school with some worldly knowledge and experience of life. A gifted story-teller, he leads us on a glorious tour - by turns eloquent, witty, and moving - through the works themselves and through his experiences as a middle-aged man among freshmen. He recounts his failures and triumphs as a reader and student (taking an exam led to a hilarious near-breakdown). He celebrates his rediscovery or new appreciation of such authors as Homer, Plato, the biblical writers, Augustine, Boccaccio, Hegel, Austen, Marx, Nietzsche, and Virginia Woolf. He re-creates the atmosphere of the classroom - the strategies used by a remarkable group of teachers and the strengths and weaknesses of media-age students as they grapple with these difficult, sometimes frightening works. And all year long he watches the students grow and his own life and memories break out of hiding.
Excerpt
Chapter 1
HOMER I
* The Iliad
* Professor Edward Tayler tells us we will build a self
* The college bookstore; my lost attention
* Columbia students then and now
* C.C. begins: Anders Stephanson and the hegemony of the western calendar
* Professor Tayler teaches the Iliad
* Achilles the hero
I had forgotten. I had forgotten the extremity of its cruelty and tenderness, and, reading it now, turning the Iliad open anywhere in its 15,693 lines, I was shocked. A dying word, "shocked." Few people have been able to use it well since Claude Rains so famously said, "I'm shocked, shocked to find that gambling is going on here," as he pocketed his winnings in Casablanca. But it's the only word for excitement and alarm of this intensity. The brute vitality of the air, the magnificence of ships, wind, and fires; the raging battles, the plains charged with terrified horses, the beasts unstrung and falling; the warriors flung facedown in the dust; the ravaged longing for home and family and meadows and the rituals of peace, leading at last to an instant of reconciliation, when even two men who are bitter enemies fall into rapt admiration of each other's nobility and beauty - it is a war poem, and in the Richmond Lattimore translation it has an excruciating vividness, an obsessive observation of horror that causes almost disbelief.
Idomeneus stabbed at the middle of his chest with the spear, and broke the bronze armour about him which in time before had guarded his body from destruction. He cried out then, a great cry, broken, the spear in him, and fell, thunderously, and the spear in his heart was stuck fast but the heart was panting still and beating to shake the butt end of the spear.
(XIII, 438-44)
If I had seen that quaking spear in a shopping-mall scare movie, I would have abandoned the sticky floors and headed for the door. Exploitation and dehumanization! Teenagers never read anything - that's why they love this grisly movie trash! Yet here is the image at the beginning of Western literature, and in its most famous book.
The quivering spear was hair-raising, though there were even more frightening images: eyeballs spitted on the ends of spears and held aloft in triumph, a blade entering at the mouth "so that the brazen spearhead smashed its way clean through below the brain in an upward stroke, and the white bones splintered." Homer records these mutilations with an apparent physical relish that suddenly gives way to bitter sorrow (this is one way the images differ from those in horror movies) and to a yearning for ordinary life, a caress of nostalgia slipped into the mesmerizing catastrophe before us. The exultant violence is shot through with the most profound dismay. The Greeks, camped outside the walls of Troy, are far from home, but home, and everything lovely, proper, and comforting that might happen there, is evoked in heartbreaking flashes. There is the case of
Simoeisios in his stripling's beauty, whom once his mother descending from Ida bore beside the banks of Simoeis when she had followed her father and mother to tend the sheep-flocks. Therefore they called him Simoeisios; but he could not render again the care of his dear parents; he was short-lived, beaten down beneath the spear of high-hearted Aias, who struck him as he first came forward beside the nipple of the right breast, and the bronze spearhead drove clean through the shoulder.
He dropped then to the ground in the dust, like some black poplar...
(IV, 472-82)
The nipple of the right breast. Homer in his terrifying exactness tells us where the spear comes in and goes out, what limbs are severed; he tells us that the dead will not return to rich soil, they will not take care of elderly parents, receive pleasure from their young wives. His explicitness has a finality beyond all illusion. In the end, the war (promoted by the gods) will consume almost all of them, Greeks and Trojans alike, sweeping on year after year, in battle after battle - a mystery in its irresistible momentum, its profoundly absorbing moment-to-moment activity and overall meaninglessness. First one side drives forward, annihilates hundreds, and is on the edge of victory. Then, a few days later, inspired by some god's trick or phantasm - a prod to the sluggish brain of an exhausted warrior - the other side recovers, advances, and carries all before it. When the poem opens, this movement back and forth has been going on for more than nine years.
The teacher, a small, compact man, about sixty, walked into the room, and wrote some initials on the board:
W A S P
D W M
W C
D G S I
While most of us tried to figure them out (I had no trouble with the first two, made a lame joke to myself about the third, and was stumped by the fourth), he turned, looking around the class, and said ardently, almost imploringly, "We've only got a year together...." His tone was pleading and mournful, a lover who feared he might be thwarted. There was an alarming pause. A few students, embarrassed, looked down, and then he said: "This course has been under attack for thirty years. People have said" - pointing to the top set of initials - "the writers are all white Anglo-Saxon Protestants. It's not true, but it doesn't matter. They've said they were all Dead White Males; it's not true, but it doesn't matter. That it's all Western civilization. That's not quite true either - there are many Western civilizations - but it doesn't matter. The only thing that matters is this."
He looked at us, then turned back to the board, considering the initials "DGSI" carefully, respectfully, and rubbed his chin. "Don't Get Sucked In," he said at last. Another pause, and I noticed the girl sitting next to me, who has wild frizzed hair and a mass of acne on her chin and forehead, opening her mouth in panic. Others were smiling. They were freshmen - sorry, first-year students - and not literature majors necessarily, but a cross-section of students, and therefore future lawyers, accountants, teachers, businessmen, politicians, TV producers, doctors, poets, layabouts. They were taking Lit Hum, a required course that almost all students at Columbia take the first year of school. This may have been the first teacher the students had seen in college. He wasn't making it easy on them.
"Don't get sucked in by false ideas," he said. "You're not here for political reasons. You're here for very selfish reasons. You're here to build a self. You create a self, you don't inherit it. One way you create it is out of the past. Look, if you find the Iliad dull or invidious or a glorification of war, you're right. It's a poem in your mind; let it take shape in your mind. The women are honor gifts. They're war booty, like tripods. Less than tripods. If any male reading this poem treated women on campus as chattel, it would be very strange. I also trust you to read this and not go out and hack someone to pieces."
Ah, a hipster, I thought. He admitted the obvious charges in order to minimize them. And he said nothing about transcendental values, supreme masterpieces of the West, and the rest of that. We're here for selfish reasons. The voice was pleasant but odd - baritonal, steady, but with traces of mockery garlanding the short, definitive sentences. The intonations drooped, as if he were laying black crepe around his words. A hipster wit. He nearly droned, but there were little surprises - ideas insinuated into corners, a sudden expansion of feeling. He had sepulchral charm, like one of Shakespeare's solemnly antic clowns.
I remembered him well enough: Edward Tayler, professor of English. I had taken a course with him twenty-nine years earlier (he was a young assistant professor then), a course in seventeenth-century Metaphysical poetry, which was then part of the sequence required for English majors at Columbia, and I recalled being baffled as much as intrigued by his manner, which definitely tended toward the cryptic. He was obviously brilliant, but he liked to jump around, keep students off balance, hint and retreat; I learned a few things about Donne and Marvell, and left the class with a sigh of relief. In the interim, he had become famous as a teacher and was now the sonorously titled Lionel Trilling Professor in the Humanities - the moniker was derived from Columbia's most famous English literature professor, a great figure when I was there in the early sixties.
"The Hermeneutic Circle," Tayler was saying. "That's what Wilhelm Dilthey called it. You don't know what to do with the details unless you have a grip on the structure; and at the same time, you don't know what to do with the structure unless you know the details. It's true in life and in literature. The Hermeneutic Circle. It's a vicious circle. Look, we have only a year together. You have to read. There's nothing you'll do in your four years at Columbia that's more important for selfish reasons than reading the books of this course."
Could they become selves? From my position along the side of the classroom, I sneaked a look. At the moment they looked more like lumps, uncreated first-year students. The men sat with legs stretched all the way out, eyes down on their notes. Some wore caps turned backward. They were eighteen, maybe nineteen. In their T-shirts, jeans, and turned-around caps, they had a summer-camp thickness, like counselors just back from a hike with ten-year-olds. Give me a beer. The women, many of them also in T-shirts, their hair gathered at the back with a rubber band, were more directly attentive; they looked at Tayler, but they looked blankly.
Tayler handed out a sheet with some quotations. At the top of the page were some verses from the beginning of Genesis.
And God said, Let there be light; and there was light.
And God saw the light, that it was good: And God
divided the light from the darkness....And God said,
Let there be a firmament in the midst of the waters,
and let it divide the waters from the waters.
"You may not believe that God created the universe," Tayler said, mournful, sepulchral, "but, anyway, look what God is doing in this passage. He's setting up opposites. Which is something we do all the time in life. Moral opposites flow from binary opposites. There are people you touch, and people you don't touch. Every choice is an exclusion. How do you escape the binary bind? Look, St. Augustine, whom we'll read later, says that before the Fall there were no involuntary actions. Before the Fall, Adam never had an involuntary erection." Pause, pause..."If Adam and Eve wanted to do something, they did it. But you guys are screwed up; you're in trouble. There's a discrepancy between what you want to do and what you ought to do. You want to go out and have a beer with friends, and you have to force yourself through a series of battles. After the Fall, you fall into dualities."
There were other quotations on the sheet, including one from John Milton, but Tayler didn't say right then what their significance might be. He looked around. Was anyone getting it? Maybe. Was I? We would see. Then he turned all loverlike and earnest once more. And he said it again.
"Look, keep a finger on your psychic pulse as you go. This is a very selfish enterprise."
By the time the action of the Iliad begins, the deed that set off the whole chain of events - a man making off with another man's wife - is barely mentioned by the participants. Homer, chanting his poetry to groups of listeners, must have expected everyone to know the outrageous old tale. Years earlier, Paris, a prince of Troy, visiting the house of the Greek king Menelaus, took away, with her full consent, Helen, the king's beautiful wife. Agamemnon, the brother of the cuckold, then put together a loose federation of kings and princes whose forces voyaged to Troy and laid siege to the city, intending to punish the proud inhabitants and reclaim Helen. But after more than nine years of warfare, the foolish act of sexual abandonment that set the whole cataclysm in motion has been largely forgotten. By this time, Helen, abashed, considers herself merely a slut (her embarrassed appearance on the walls of Troy is actually something of a letdown), and Paris, her second "husband," more a lover than a fighter, barely comes out to the battlefield. When he does come out, and he and Menelaus fight a duel, the gods muddy the outcome, and the war goes on. After nine years, the war itself is causing the war.
How can a book make one feel injured and exhilarated at the same time? What's shocking about the Iliad is that the cruelty and the nobility of it seem to grow out of each other, like the good and evil twins of some malign fantasy who together form a single unstable and frightening personality. After all, Western literature begins with a quarrel between two arrogant pirates over booty. At the beginning of the poem, the various tribes of the Greeks (whom Homer calls Achaeans - Greece wasn't a national identity in his time), the various tribes assembled before the walls of Troy are on the verge of disaster. Agamemnon, their leader, the most powerful of the kings, has kidnapped and taken as a mistress from a nearby city a young woman, the daughter of one of Apollo's priests; Apollo has angrily retaliated by bringing down a plague on the Greeks. A peevish, bullying king, unsteady in command, Agamemnon, under pressure from the other leaders, angrily gives the girl back to her father. But then, demanding compensation, he takes for himself the slave mistress of Achilles, his greatest warrior. The women are passed around like gold pieces or helmets. Achilles is so outraged by this bit of plundering within the ranks that he comes close to killing the king, a much older man. Restraining himself at the last minute, he retires from the combat and prays to his mother, the goddess Thetis, for the defeat of his own side; he then sits in his tent playing a lyre and "singing of men's fame" (i.e., his own) as his friends get cut up by the Trojans. What follows is a series of battles whose savagery remains without parallel in our literature.
It is almost too much, an extreme and bizarre work of literary art at the very beginning of Western literary art. One wants to rise to it, taking it full in the face, for the poem depicts life at its utmost, a nearly ceaseless activity of marshaling, deploying, advancing, and fleeing, spelled by peaceful periods so strenuous - the councils and feasts and games - that they hardly seem like relief at all. Reading the poem in its entirety is like fronting a storm that refuses to slacken or die. At first, I had to fight my way through it; I wasn't bored but I was rebellious, my attention a bucking horse unwilling to submit to the harness. It was too long, I thought, too brutal and repetitive and, for all its power as a portrait of war, strangely distant from us.
Continues...
Excerpted from Great Booksby Denby, David Excerpted by permission.
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