Abstract

What importance does “race” have as a meaningful category in the study of literature and the shaping of critical theory? If we attempt to answer this question by examining the history of Western literature and its criticism, our initial response would probably be “nothing” or, at the very least, “nothing explicitly.” Indeed, until the past decade or so, even the most subtle and sensitive literary critics would most likely have argued that, except for aberrant moments in the history of criticism, race has not been brought to bear upon the study of literature in any apparent way. Since T. S. Eliot, after all, the canonical texts of the Western literary tradition have been defined as a more or less closed set of works that somehow speak to, or respond to, “the human condition” and to each other in formal patterns of repetition and revision. And while most critics acknowledge that judgment is not absolute and indeed reflects historically conditioned presuppositions, certain canonical works do seem to transcend value judgments of the moment, speaking irresistibly to the human condition. The question of the place of texts written by the Other in the proper study of “literature,” “Western literature,” or “comparative literature” has, until recently, remained an unasked question, suspended or silenced by a discourse in which the canonical and the noncanonical stand as the ultimate opposition. In much of the thinking about the proper study of literature in this century, race has been an invisible quantity, a persistent yet implicit presence.This was not always the case, we know. By mid-nineteenth century, “national spirit” and “historical period” had become widely accepted categories within theories of the nature and function of literature which argued that the principal value in a great work of literary art resided in the extent to which these categories were reflected in that work of art Montesquieu’s De l’esprit des lois considered a culture’s formal social institution as the repository of its “guiding spirit,” while Giambattista Vico’s principi di una scienza nuova read literature against a complex pattern of historical cycles. Friedrich and August von Schlegel managed rather deftly to bring “both national spirit and historical period” to bear upon the interpretation of literature, as W. Jackson Bate has shown. But it was Hippolyte-Adolphe Taine who made the implicit explicit by postulating “race, moment, and milieu” as positivistic criteria through which any work could be read and which, by definition, any work reflected. Taine’s History of English Literature was the great foundation upon which subsequent nineteenth-century notions of “national literatures” would be constructed. Henry Louis Gates, Jr. is professor of English, comparative literature, and African studies at Cornell University. He has edited several books and has written Figures in Blood and The Signifying Monkey.