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The Arcades Project - Operi

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higher concreteness, redemption of periods of decline, revision of periodization,<br />

presently stands at such a point, and its utilization in a reactionary or a revolu­<br />

tionary sense is now being decided. In this regard, the writings of the Surrealists<br />

and the new book by Heidegger' point to one and the same crisis in its two<br />

possible solutions. [Sl,6]<br />

Remy de Gourmont on the " Histoire de la societe fraw;aise pendant la Revolution<br />

ct sous Ie Directoire": "It was the fundamental originality of the Goncourts to<br />

create history with the very detritus of history." Remy de Gourmont Le IIm Livre<br />

des masques (Paris, 1924), p. 259. [Sla,l]<br />

"If one takes from history only the most general facts, tll0se which lend them­<br />

selves to parallels and to theories, then it suffices, as Schopenlmuer said, to read<br />

only the morning paper and Herodotus. All the rest intervening-the evident<br />

and fatal repetition of the most distant and the most recent facts-becomes<br />

tedious and useless!' Remy de Courmont, Le 11"" Livre des masques (Paris, 1924),<br />

p. 259. <strong>The</strong> passage is not entirely clear. <strong>The</strong> wording would lead one to assume<br />

that repetition in the course of history concerns the great facts as much as tlle<br />

small. But the author himself probably has in mind only the former. Against this<br />

it should be shown that, precisely in the minutiae of the "intervening;' the<br />

eternally selfsame is manifest. [Sla,2]<br />

<strong>The</strong> constmctions of history are comparable to military orders that discipline the<br />

true life and confine it to barracks. On the other hand: the street insurgence of<br />

the anecdote. <strong>The</strong> anecdote brings things near to us spatially, lets them enter our<br />

life. It represents the strict antithesis to the sort of history which demands "empa­<br />

thy;' which makes everything abstract. <strong>The</strong> same technique of nearness may be<br />

practiced, calendrically, with respect to epochs. Let us inmgine that a man dies on<br />

the very day he turns fifty, which is the day on which his son is born, to whom<br />

the same thing happens, and so on. If one were to have the main commence at<br />

the time of the birtll of Christ, the result would be that, in the tinle since we<br />

began our chronological reckoning, not forty men have lived. Thus, the unage of<br />

a historical course of time is totally transfonned as soon as one brings to bear on<br />

it a standard adequate and comprehensible to human life. This pathos of near­<br />

ness, the hatred of the abstract configuration of history in its "epochs," was at<br />

work in the great skeptics like Anatole France. [Sla,3]<br />

<strong>The</strong>re has never been an epoch that did not feel itself to be "modern" in the sense<br />

of eccentric, and did not believe itself to be standing directly before an abyss. <strong>The</strong><br />

desperately clear consciousness of being Ul the middle of a crisis is something<br />

chronic in humanity. Every age unavoidably seems to itself a new age. <strong>The</strong><br />

"nl0deln;' however, is as varied in its meaning as the different aspects of one and<br />

the same kaleidoscope. [Sla,4]<br />

COll1ection between the colportage intention and the deepest theological inten­<br />

tion. It mirrors it back darkly, displaces into the space of contemplation what

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