Story

That ‘story’ bit in history:

Villemessant, the founder of Le Figaro, characterized the nature of information in a famous formulation. “To my readers,” he used to say, “an attic fire in the Latin Quarter is more important than a revolution in Madrid.” This makes strikingly clear that it is no longer intelligence coming from afar, but the information which supplies a handle for what is nearest that gets the readiest hearing. The intelligence that came from afar—whether the spatial kind from foreign countries or the temporal kind of tradition—possessed an authority which gave it validity, even when it was not subject to verification. Information, however, lays claim to prompt verifiability. The prime requirement is that it appear “understandable in itself.” Often it
is no more exact than the intelligence of earlier centuries was. But while the latter was inclined to borrow from the miraculous, it is indispensable for information to sound plausible. Because of this it proves incompatible with the spirit of storytelling. If the art of storytelling has become rare, the dissemination of information has had a decisive share in this state of affairs.

Every morning brings us the news of the globe, and yet we are poor in noteworthy stories. This is because no event any longer comes to us without already being shot through with explanation. In other words, by now almost nothing that happens benefits storytelling; almost everything benefits information.

The first storyteller of the Greeks was Herodotus. In the fourteenth chapter of the third book of his Histories there is a story from which much can be learned. It deals with Psammenitus. When the Egyptian king Psammenitus had been beaten and captured by the Persian king Cambyses, Cambyses was bent on humbling his prisoner. He gave orders to place Psammenitus on the road along which the Persian triumphal procession was to pass. And he further arranged that the prisoner should see his daughter pass by as a maid going to the well with her pitcher. While all the Egyptians were lamenting and bewailing this spectacle, Psammenitus stood alone, mute and motionless, his eyes fixed on the ground; and when presently he saw his son, who was being taken along in the procession to be executed, he likewise remained unmoved. But when afterwords he recognized one of his servants, an old, impoverished man, in the ranks of the prisoners, he beat his fists against his head and gave all the signs of deepest mourning. From this story it may be seen what the nature of true storytelling is. The value of information does not survive the moment in which it was new. It lives only at that moment; it has to surrender to it completely and explain itself to it without losing any time. A story is different. It does not expend itself. It preserves and concentrates its strength and is capable of releasing it even after a long time. Thus Montaigne referred
to this Egyptian king and asked himself why he mourned only when he caught sight of his servant. Montaigne answers: “Since he was already overfull of grief, it took only the smallest increase for it to burst through its dams.” Thus Montaigne. But one could also say: The king is not moved by the fate of those of royal blood, for it is his own fate. Or: We are moved by much on the stage that does not move us in real life; to the king, this servant is only an actor. Or: Great grief is pent up and breaks forth only with relaxation. Seeing this servant was the relaxation. Herodotus offers no explanations. His report is the driest. That is why this story from ancient Egypt is still capable after thousands of years of arousing astonishment and thoughtfulness. It resembles the seeds of grain which have lain for centuries in the chambers of the pyramids shut up airtight and have retained their germinative power to this day.

– Walter Benjamin, “The Story Teller” (1936)

Author: sepoy

what is the vertiginous chapati saying to me?

1 thought on “Story”

  1. Mansha Yad, Manto and Nadeem are my favourite story tellers. They wrote beautiful linear stories. And bieng a punjabi reader of urdu literature i loved thier diction too. Ishfaq ahmad could write beautiful prose but lacked the story. Infact his prose was more poetic than most peoples poetry.

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