S. Agnon - Shira

If the artist’s credo put forth by Shira is in one respect distinctly modernist, embracing the idea of art as an unflinching “technique of trouble,” in R. B. Blackmur’s phrase, it also has an oddly medieval feeling. Herbst is a historian of Byzantium versed in the ascetic practices of the early Christians, and the novel draws explicit parallels between the monastic renunciation of worldly life and the withdrawal to the leper hospital that Herbst will choose as his final fulfillment. In some of his earlier fiction, Agnon had set up a simple alternative between art and eros, depicting protagonists who renounce the gratification of desire in the name of the pursuit of art. Here, on the other hand, desire joins hands with art in the magic circle of imminent death, removed from the shallow egotism and the complacent self-deceptions of everyday social existence. This is chiefly what I had in mind earlier when I proposed that in Shira Agnon seeks to move through realism to allegory. And this, I suspect, was precisely the problem that bedeviled him for nearly two decades after the initial élan that produced Books One and Two. How was he to take Herbst, a figure with a certain academic pedigree, a family history, individual work habits and domestic tics, and translate him into the symbolic sphere where poetry, desire, and death were one; and what face could Shira, hitherto also a novelistic character with an individual sensibility and a personal history, show in that ultimate locus of thematic convergences, withdrawn from the worldly realm? There is a structural analogy, though I am not proposing any influence, between the ending of Shira and the ending of Stendhal’s Charterhouse of Parma . Stendhal, too, sought to transport a hero entrammeled in the petty machinations of worldly life to a privileged sphere of lofty withdrawal from the world, and though his novel never actually breaks off like Agnon’s, most critics have felt that the conclusion of this masterpiece of European fiction is huddled, leaping too suddenly from all the complications of the court of Parma to the contemplativeness of the monastery at the very end. Herbst’s planned route to the monastic leprosarium is persuasively traced by Adiel Amzeh, the protagonist of the remarkable story “Forevermore,” which Agnon originally wrote to include in Shira and then decided to publish separately. In the fuller dimensions of the novel, he was unable to find a solid fictional bridge on which Manfred Herbst could cross over from his home and wife and children and academic tasks to that ghastly consecrated realm where a disease-ridden woman whose name means poetry could offer him more than the world ever could. The result was a plot in which after a certain point the central character can only turn and turn again in the circuits of his one obsession, circling back on the apartment where Shira is no longer to be found, revolving in his mind the idea of the tragedy he would write and the memory of the flesh that cannot be forgotten, which are but obverse sides of the same lost coin.

There are certain works of literature that are finally stymied by the bold effort of the writer to pursue a personal vision beyond the limits of precedent and genre. Stendhal’s Charterhouse is a memorable case in point; another, still closer to Shira in its actual incompletion, is Kafka’s The Castle . Confronted with this order of originality, most readers, I think, will be content with the splendid torso, however much they may regret the absence of the fully sculpted figure. In Shira the hero’s final way to the place of poetry and truth, where death hones desire, is indicated rather than fictionally imagined. But Herbst’s descent into an underworld of eros and art, enacted against the background of Jerusalem life in the gathering shadows of a historical cataclysm of inconceivable proportions, is so brilliantly rendered that Shira , even without an ending, deserves a place among the major modern novels.

Robert Alter is Emeritus Professor of Hebrew and Comparative Literature at the University of California, Berkeley. He has written extensively on modern Hebrew literature and on the Bible as well as on the European and American novel.

* “A Novel of the Post-Tragic World,” in my book Defenses of the Imagination: Jewish Writers and Modern Historical Crisis (Philadelphia, 1977).

S. Y. Agnon’s romantic novel, Shira , is an ode to Jerusalem, understated in its tone, complex in its structure, overwhelming in its lyric sweep. When the initial chapters appeared, intermittently in the literary journals of the early 1940s and ‘50s, readers reveled in the fun of identifying the prominent public figures who served as models for many of Agnon’s thinly disguised characters. In the 1970s when the novel was published, posthumously, critics were challenged by the task of decoding the message and dealing with the ambiguous conclusion of the Nobel laureate’s final work.

The novel unfolds on several levels through characters whose actions are ordinary, though weighted with an awareness of motives and alternatives. The actions and thought processes of the central figures — Manfred Herbst, a professor of Byzantine history who is on the brink of middle age; his wife Henrietta, who is more interested in her family, household, social conscience, then in meeting her husband’s needs; Shira, the arrogant nurse with whom Herbst has an affair and, to his dismay, becomes passionately entangled — have an insistently comic dimension that moves Agnon’s painstakingly detailed accounts of an action or thought process beyond the obsessive to the realm of the absurd.

In Shira Agnon writes, at last, about his own time and place: Palestine in the period of the British Mandate, with the Holocaust casting its shadow on the mechanics of life, personal modes, political options. Agnon’s prose is relatively free of nostalgia and pietism, providing wry descriptions of academia, the religious community, political responses ranging from the innocent to the militant, describing a context that one recognizes all too well to this day. Though the narrative line of the novel is rather loose, Agnon’s distinctive prose embodies a very special realm where thought and feeling meet, a powerful and fascinating integral logic that engages the reader and evokes endlessly new meanings from what might otherwise be considered the trivia of everyday life and consciousness.

When I began to discover intimations of Agnon in the events of my own daily life, I realized that he had entered my world just as I had entered his. I began to flow with the text, and Shira (the women at the romantic center of this novel, whose name means poetry/song in Hebrew) was transformed from a fiercely pragmatic figure to a sensual evocation of King Solomon’s beloved. Herbst’s often frantic rambles through modern Jerusalem were enriched by the resonance of familiar verses: “Upon my couch at night I sought the one I love — I must rise and roam the town, in the streets and squares I must seek the one I love.” There are more pointed references to the Song of Songs ( Shir HaShirim in Hebrew) throughout the novel — so that for me King Solomon’s passion inhabits its core. In a crucial scene, toward the end of the novel, Herbst regards a painting of a leper “with panic in his eyes and desire in his heart,” a phrase that echoes Herbst’s tortured relation to Shira and will, undoubtedly resonate even for the common reader who will not make the leap to the verse in Chronicles I, wherein David informs the people that the Lord has chosen Solomon to build the Temple, rejecting David because of the bloody consequences of his affair with Bathsheba.