Illuminations

  CONTENTS

  COVER

  ABOUT THE BOOK

  ABOUT THE AUTHOR

  ALSO BY WALTER BENJAMIN

  TITLE PAGE

  INTRODUCTION

  Walter Benjamin: 1892–1940, by Hannah Arendt

  UNPACKING MY LIBRARY

  A Talk about Book Collecting

  THE TASK OF THE TRANSLATOR

  An Introduction to the Translation of Baudelaire’s Tableaux parisiens

  THE STORYTELLER

  Reflections on the Works of Nikolai Leskov

  FRANZ KAFKA

  On the Tenth Anniversary of His Death

  MAX BROD’S BOOK ON KAFKA

  And Some of My Own Reflections

  WHAT IS EPIC THEATRE?

  ON SOME MOTIFS IN BAUDELAIRE

  THE IMAGE OF PROUST

  THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION

  THESES ON THE PHILOSOPHY OF HISTORY

  EDITOR’S NOTE

  INDEX OF NAMES

  COPYRIGHT

  About the Book

  Illuminations contains the most celebrated work of Walter Benjamin, one of the most original and influential thinkers of the 20th Century: ‘The Work of Art in the Age of Mechanical Reproduction’, ‘The Task of the Translator’ and ‘Theses on the Philosophy of History’, as well as essays on Kafka, storytelling, Baudelaire, Brecht’s epic theatre, Proust and an anatomy of his own obsession, book collecting.

  This now legendary volume offers the best possible access to Benjamin’s singular and significant achievement, while Hannah Arendt’s introduction reveals how his life and work are a prism to his times.

  About the Author

  Walter Benjamin (1892-1940) was a philosopher, translator and critic. Born in Berlin into a prosperous Jewish family, he made a precarious living as a literary journalist, championing the drama of Bertolt Brecht and translating the work of Baudelaire and Proust. He is most famous for his essays ‘The Task of the Translator’ (1923) and ‘The Work of Art in the Age of Mechanical Reproduction’ (1936). With the rise of the Nazis in 1933, he emigrated for Paris, and in 1940 he fled for the Spanish border, where he committed suicide.

  BY THE SAME AUTHOR

  The Origin of German Tragic Drama

  The Concept of Art Criticism in German Romanticism

  Understanding Brecht

  The Writer of Modern Life: Essays on Charles Baudelaire

  On Hashish

  Berlin Childhood Around 1900: Hope in the Past

  One-Way Street

  Charles Baudelaire: A Lyric Poet in the Era of High Capitalism

  Moscow Diary

  The Arcades Project

  Introduction

  WALTER BENJAMIN: 1892–1940

  I. THE HUNCHBACK

  Fama, that much-coveted goddess, has many faces, and fame comes in many sorts and sizes – from the one-week notoriety of the cover story to the splendour of an everlasting name. Posthumous fame is one of Fama’s rarer and least desired articles, although it is less arbitrary and often more solid than the other sorts, since it is only seldom bestowed upon mere merchandise. The one who stood most to profit is dead and hence it is not for sale. Such posthumous fame, uncommercial and unprofitable, has now come in Germany to the name and work of Walter Benjamin, a German-Jewish writer who was known, but not famous, as contributor to magazines and literary sections of newspapers for less than ten years prior to Hitler’s seizure of power and his own emigration. There were few who still knew his name when he chose death in those early fall days of 1940 which for many of his origin and generation marked the darkest moment of the war – the fall of France, the threat to England, the still intact Hitler-Stalin pact whose most feared consequence at that moment was the close co-operation of the two most powerful secret police forces in Europe. Fifteen years later a two-volume edition of his writings was published in Germany and brought him almost immediately a succès d’estime that went far beyond the recognition among the few which he had known in his life. And since mere reputation, however high, as it rests on the judgment of the best, is never enough for writers and artists to make a living that only fame, the testimony of a multitude which need not be astronomical in size, can guarantee, one is doubly tempted to say (with Cicero), Si vivi vicissent qui morte vicerunt – how different everything would have been ‘if they had been victorious in life who have won victory in death.’

  Posthumous fame is too odd a thing to be blamed upon the blindness of the world or the corruption of a literary milieu. Nor can it be said that it is the bitter reward of those who were ahead of their time – as though history were a race track on which some contenders run so swiftly that they simply disappear from the spectator’s range of vision. On the contrary, posthumous fame is usually preceded by the highest recognition among one’s peers. When Kafka died in 1924, his few published books had not sold more than a couple of hundred copies, but his literary friends and the few readers who had almost accidentally stumbled on the short prose pieces (none of the novels was as yet published) knew beyond doubt that he was one of the masters of modern prose. Walter Benjamin had won such recognition early, and not only among those whose names at that time were still unknown, such as Gerhard Scholem, the friend of his youth, and Theodor Wiesengrund Adorno, his first and only disciple, who together are responsible for the posthumous edition of his works and letters.1 Immediate, instinctive, one is tempted to say, recognition came from Hugo von Hofmannsthal, who published Benjamin’s essay on Goethe’s Elective Affinities in 1924, and from Bertolt Brecht, who upon receiving the news of Benjamin’s death is reported to have said that this was the first real loss Hitler had caused to German literature. We cannot know if there is such a thing as altogether unappreciated genius, or whether it is the daydream of those who are not geniuses; but we can be reasonably sure that posthumous fame will not be their lot.

  Fame is a social phenomenon; ad gloriam non est satis unius opinio (as Seneca remarked wisely and pedantically), ‘for fame the opinion of one is not enough,’ although it is enough for friendship and love. And no society can properly function without classification, without an arrangement of things and men in classes and prescribed types. This necessary classification is the basis for all social discrimination, and discrimination, present opinion to the contrary notwithstanding, is no less a constituent element of the social realm than equality is a constituent element of the political. The point is that in society everybody must answer the question of what he is – as distinct from the question of who he is – which his role is and his function, and the answer of course can never be: I am unique, not because of the implicit arrogance but because the answer would be meaningless. In the case of Benjamin the trouble (if such it was) can be diagnosed in retrospect with great precision; when Hofmannsthal had read the long essay on Goethe by the completely unknown author, he called it ‘schlechthin unvergleichlich’ (‘absolutely incomparable’), and the trouble was that he was literally right, it could not be compared with anything else in existing literature. The trouble with everything Benjamin wrote was that it always turned out to be sui generis.

  Posthumous fame seems, then, to be the lot of the unclassifiable ones, that is, those whose work neither fits the existing order nor introduces a new genre that lends itself to future classification. Innumerable attempts to write à la Kafka, all of them dismal failures, have only served to emphasize Kafka’s uniqueness, that absolute originality which can be traced to no predecessor and suffers no followers. This is what society can least come to terms with and upon which it will always be very reluctant to bestow its seal of approval. To put it bluntly, it would be as misleading today to recommend Walter Benjamin as a literary critic and essayist as it would have been misleading to recommend Kafka in 19
24 as a short-story writer and novelist. To describe adequately his work and him as an author within our usual framework of reference one would have to make a great many negative statements, such as: his erudition was great, but he was no scholar; his subject matter comprised texts and their interpretation, but he was no philologist; he was greatly attracted not by religion but by theology and the theological type of interpretation for which the text itself is sacred, but he was no theologian and he was not particularly interested in the Bible; he was a born writer, but his greatest ambition was to produce a work consisting entirely of quotations; he was the first German to translate Proust (together with Franz Hessel) and St.-John Perse, and before that he had translated Baudelaire’s Tableaux parisiens, but he was no translator; he reviewed books and wrote a number of essays on living and dead writers, but he was no literary critic; he wrote a book about the German baroque and left behind a huge unfinished study of the French nineteenth century, but he was no historian, literary or otherwise; I shall try to show that he thought poetically, but he was neither a poet nor a philosopher.

  Still, in the rare moments when he cared to define what he was doing, Benjamin thought of himself as a literary critic, and if he can be said at all to have aspired to a position in life it would have been that of ‘the only true critic of German literature’ (as Scholem put it in one of the few, very beautiful letters to the friend that have been published), except that the very notion of thus becoming a useful member of society would have repelled him. No doubt he agreed with Baudelaire, ‘Être un homme utile m’a paru toujours quelque chose de bien hideux.’ In the introductory paragraphs to the essay on Elective Affinities, Benjamin explained what he understood to be the task of the literary critic. He begins by distinguishing between a commentary and a critique. (Without mentioning it, perhaps without even being aware of it, he used the term Kritik, which in normal usage means criticism, as Kant used it when he spoke of a Critique of Pure Reason.)

  Critique [he wrote] is concerned with the truth content of a work of art, the commentary with its subject matter. The relationship between the two is determined by that basic law of literature according to which the work’s truth content is the more relevant the more inconspicuously and intimately it is bound up with its subject matter. If therefore precisely those works turn out to endure whose truth is most deeply embedded in their subject matter, the beholder who contemplates them long after their own time finds the realia all the more striking in the work as they have faded away in the world. This means that subject matter and truth content, united in the work’s early period, come apart during its afterlife; the subject matter becomes more striking while the truth content retains its original concealment. To an ever-increasing extent, therefore, the interpretation of the striking and the odd, that is, of the subject matter, becomes a prerequisite for any later critic. One may liken him to a paleographer in front of a parchment whose faded text is covered by the stronger outlines of a script referring to that text. Just as the paleographer would have to start with reading the script, the critic must start with commenting on his text. And out of this activity there arises immediately an inestimable criterion of critical judgment: only now can the critic ask the basic question of all criticism – namely, whether the work’s shining truth content is due to its subject matter or whether the survival of the subject matter is due to the truth content. For as they come apart in the work, they decide on its immortality. In this sense the history of works of art prepares their critique, and this is why historical distance increases their power. If, to use a simile, one views the growing work as a funeral pyre, its commentator can be likened to the chemist, its critic to an alchemist. While the former is left with wood and ashes as the sole objects of his analysis, the latter is concerned only with the enigma of the flame itself: the enigma of being alive. Thus the critic inquires about the truth whose living flame goes on burning over the heavy logs of the past and the light ashes of life gone by.

  The critic as an alchemist practising the obscure art of transmuting the futile elements of the real into the shining, enduring gold of truth, or rather watching and interpreting the historical process that brings about such magical transfiguration – whatever we may think of this figure, it hardly corresponds to anything we usually have in mind when we classify a writer as a literary critic.

  There is, however, another less objective element than the mere fact of being unclassifiable which is involved in the life of those who ‘have won victory in death.’ It is the element of bad luck, and this factor, very prominent in Benjamin’s life, cannot be ignored here because he himself, who probably never thought or dreamed about posthumous fame, was so extraordinarily aware of it. In his writing and also in conversation he used to speak about the ‘little hunchback,’ the ‘bucklicht Männlein,’ a German fairy-tale figure out of Des Knaben Wunderhorn, the famous collection of German folk poetry.

  Will ich in mein Keller gehn,

  Will ich in mein Küchel gehn,

  Will mein Weinlein zapfen;

  Will mein Süpplein kochen;

  Steht ein bucklicht Männlein da,

  Steht ein bucklicht Männlein da,

  Tät mir’n Krug wegschnappen.

  Hat mein Töpflein brochen.fn1

  The hunchback was an early acquaintance of Benjamin, who had first met him when, still a child, he found the poem in a children’s book, and he never forgot. But only once (at the end of A Berlin Childhood around 1900), when anticipating death he attempted to get hold of ‘his “entire life” … as it is said to pass before the eyes of the dying,’ did he clearly state who and what it was that had terrified him so early in life and was to accompany him until his death. His mother, like millions of other mothers in Germany, used to say, ‘Mr Bungle sends his regards’ (Ungeschickt lässt grüssen) whenever one of the countless little catastrophes of childhood had taken place. And the child knew of course what this strange bungling was all about. The mother referred to the ‘little hunchback,’ who caused the objects to play their mischievous tricks upon children; it was he who had tripped you up when you fell and knocked the thing out of your hand when it went to pieces. And after the child came the grown-up man who knew what the child was still ignorant of, namely, that it was not he who had provoked ‘the little one’ by looking at him – as though he had been the boy who wished to learn what fear was – but that the hunchback had looked at him and that bungling was a misfortune. For ‘anyone whom the little man looks at pays no attention; not to himself and not to the little man. In consternation he stands before a pile of debris’ (Schriften I, 650–52).

  Thanks to the recent publication of his letters, the story of Benjamin’s life may now be sketched in broad outline; and it would be tempting indeed to tell it as a sequence of such piles of debris since there is hardly any question that he himself viewed it in that way. But the point of the matter is that he knew very well of the mysterious interplay, the place ‘at which weakness and genius coincide,’ which he so masterfully diagnosed in Proust. For he was of course also speaking about himself when, in complete agreement, he quoted what Jacques Rivière had said about Proust: he ‘died of the same inexperience that permitted him to write his works. He died of ignorance … because he did not know how to make a fire or open a window’ (‘The Image of Proust’). Like Proust, he was wholly incapable of changing ‘his life’s conditions even when they were about to crush him.’ (With a precision suggesting a sleepwalker his clumsiness invariably guided him to the very centre of a misfortune, or wherever something of the sort might lurk. Thus, in the winter of 1939–40 the danger of bombing made him decide to leave Paris for a safer place. Well, no bomb was dropped on Paris, but Meaux, where Benjamin went, was a troop centre and probably one of the very few places in France that was seriously endangered in those months of the phony war.) But like Proust, he had every reason to bless the curse and to repeat the strange prayer at the end of the folk poem with which he closes his childhood memoir:

  Liebes Kin
dlein, ach, ich bitt,

  Bet fürs bucklicht Männlein mit.fn2

  In retrospect, the inextricable net woven of merit, great gifts, clumsiness, and misfortune into which his life was caught can be detected even in the first pure piece of luck that opened Benjamin’s career as a writer. Through the good offices of a friend, he had been able to place ‘Goethe’s Elective Affinities’ in Hofmannsthal’s Neue Deutsche Beiträge (1924–25). This study, a masterpiece of German prose and still of unique stature in the general field of German literary criticism and the specialized field of Goethe scholarship, had already been rejected several times, and Hofmannsthal’s enthusiastic approval came at a moment when Benjamin almost despaired of ‘finding a taker for it’ (Briefe I, 300). But there was a decisive misfortune, apparently never fully understood, which under the given circumstances was necessarily connected with this chance. The only material security which this first public breakthrough could have led to was the Habilitation, the first step of the university career for which Benjamin was then preparing himself. This, to be sure, would not yet have enabled him to make a living – the so-called Privatdozent received no salary – but it would probably have induced his father to support him until he received a full professorship, since this was a common practice in those days. It is now hard to understand how he and his friends could ever have doubted that a Habilitation under a not unusual university professor was bound to end in catastrophe. If the gentlemen involved declared later that they did not understand a single word of the study, The Origin of German Tragedy, which Benjamin had submitted, they can certainly be believed. How were they to understand a writer whose greatest pride it was that ‘the writing consists largely of quotations – the craziest mosaic technique imaginable’ – and who placed the greatest emphasis on the six mottoes that preceded the study: ‘No one … could gather any rarer or more precious ones’? (Briefe I, 366). It was as if a real master had fashioned some unique object, only to offer it for sale at the nearest bargain centre. Truly, neither anti-Semitism nor ill will toward an outsider – Benjamin had taken his degree in Switzerland during the war and was no one’s disciple – nor the customary academic suspicion of anything that is not guaranteed to be mediocre need have been involved.