When we come to cultural and artistic parallels the scene proves far more complex. On the one hand we find a fairly perfect correspondence between two ages that, in different ways but with identical educational Utopias and with equal ideological camouflage of their paternalistic aim to control minds, try to bridge the gap between learned culture and popular culture through visual communication. In both periods the select élite debates written texts with alphabetic mentality, but then translates into images the essential data or knowledge and the fundamental structure of the ruling ideology. The Middle Ages are the civilization of vision, where the cathedral is the great book in stone, and is indeed the advertisement, the TV screen, the mystic comic strip that must narrate and explain everything, the nations of the earth, the arts and crafts, the days of the year, the seasons of sowing and reaping, the mysteries of the faith, the episodes of sacred and profane history, and the lives of the saints (great models of behavior, as superstars and pop singers are today, an élite without political power, but with great charismatic power).
Alongside this massive popular-culture enterprise there proceeds the work of composition and collage that learned culture is carrying out on the flotsam of past culture. Take one of the magic boxes of Cornell or Arman, a collage of Ernst, a useless machine of Munari or Tinguely, and you will find yourself in a landscape that has nothing to do with Raphael or Canova but has a lot to do with medieval aesthetic taste. In poetry there are centos and riddles, the kennings of the Irish, acrostics, verbal compounds of multiple quotations that recall Pound and Sanguined, the lunatic etymological games of Virgil of Bigorre and Isidore of Seville, who immediately suggest Joyce (as Joyce knew), the poetry treatises and their temporal exercises of composition, which read like a script for Godard, and especially the taste for collecting and listing. Which then became concrete in the treasure-rooms of princes or cathedrals, where they preserved indiscriminately a thorn from the cross of Jesus, an egg found inside another egg, a unicorn’s horn, St. Joseph’s engagement ring, the skull of St John at the age of twelve [sic].
And over all reigned a total lack of distinction between aesthetic objects and mechanical objects (a robot in the form of a cock, artistically engraved, was given by Harun al Rashid to Charlemagne, a kinetic jewel if ever there was one); and there was no difference between the object of “creation” and the object of curiosity, or between the work of the artisan and that of the artist, between the “multiple” and the unique piece, and, least of all, between the curious trouvaille (the art nouveau lamp and a whale’s tooth) and the work of art. All was ruled by a taste for gaudy color and a notion of light as a physical element of pleasure. It is of no importance that, in the past, golden vases were encrusted with topazes set to reflect the rays of the sun coming through the stained glass of a church, and now there is the multimedia orgy of any Electric Circus, with strobe lights and water effects.
Huizinga said that to understand medieval aesthetic taste you have to think of the sort of indiscriminate reaction an astonished bourgeois feels when viewing a curious and precious object. Huizinga was thinking in terms of post-Romantic aesthetic sensibility, today we would find this sort of reaction is the same as that of a young person seeing a poster of a dinosaur or motorcycle or a magic transistorized box in which luminous beams rotate, a cross between a technological model and a sciencefiction promise, with some elements of barbarian jewelry.
An art not systematic but additive and compositive, ours and that of the Middle Ages: Today as then the sophisticated elitist experiment coexists with the great enterprise of popularization (the relationship between illuminated manuscript and cathedral is the same as that between MOMA and Hollywood), with interchanges and borrowings, reciprocal and continuous; and the evident Byzantinism, the mad taste for collecting, lists, assemblage, amassing of disparate things is due to the need to dismantle and reconsider the flotsam of a previous world, harmonious perhaps, but by now obsolete.
Nothing more closely resembles a monastery (lost in the countryside, walled, flanked by alien, barbarian hordes, inhabited by monks who have nothing to do with the world and devote themselves to their private researches) than an American university campus. Sometimes the prince summons one of those monks and makes him a royal counselor, sends him as envoy to Cathay; and he moves from the cloister to secular life with indifference, becoming a man of power and trying to rule the world with the same aseptic perfection with which he collected his Greek texts. Whether his name is Gerbert de Aurillac or McNamara, Bernard of Clairvaux or Kissinger, he can be a man of peace or a man of war (like Eisenhower, who wins some battles and then retires to a monastery, becoming president of a university, only to return to the service of the empire when the crowd calls him as its charismatic hero).
But it is doubtful that these monastic centers will have the task of recording, preserving, and transmitting the wealth of past culture, perhaps through complicated electronic devices that will recall it a piece at a time, stimulating its reconstruction without ever revealing its secrets fully. The other Middle Ages produced, at the end, the Renaissance, which took delight in archeology; but actually the Middle Ages did not carry out any systematic preservation; rather it performed a heedless destruction and a disordered preservation: It lost essential manuscripts and saved others that were quite negligible; it scratched away marvelous poems to write riddles or prayers in their place, it falsified sacred texts, interpolating other passages and, in doing so, wrote “its own” books. The Middle Ages invented communal society without possessing any precise information on the Greek polis, it reached China thinking to find men with one foot or with their mouths in their bellies, it may have arrived in America before Columbus, using the astronomy of Ptolemy and the geography of Eratosthenes.
Our own Middle Ages, it has been said, will be an age of “permanent transition” for which new methods of adjustment will have to be employed. The problem will not so much be that of preserving the past scientifically as of developing hypotheses for the exploitation of disorder, entering into the logic of conflictuality. There will be born—it is already coming into existence—a culture of constant readjustment, fed on Utopia. This is how medieval man invented the university, with the same carefree attitude that the vagabond clerks today assume in destroying it, and perhaps transforming it. The Middle Ages preserved in its way the heritage of the past but not through hibernation, rather through a constant retranslation and reuse; it was an immense work of bricolage, balanced among nostalgia, hope, and despair.
Under its apparent immobility and dogmatism, this was paradoxically a moment of “cultural revolution.” Naturally the whole process is characterized by plaques and massacres, intolerance and death. Nobody says that the Middle Ages offer a completely jolly prospect. As the Chinese said, to curse someone:
“May you live in an interesting period.”
3
THE GODS OF THE UNDERWORLD
The Sacred Is Not Just a Fashion
In 1938, coming from the pleasant town of Smallville, there arrived in the city of Metropolis Clark Kent, alias Superman; and by now everybody knows everything about him. But even in those far-off days of neotechnological capitalism, when in Chicago they were compiling the International Encyclopedia of Unified Science and considered the propositions of the metaphysical philosophers meaningless, there was nothing mysterious about Superman. The boy’s ability to fly like a plane and lift ocean liners as if they were twigs could be scientifically explained. He came from Krypton, where, as is well known, gravity is different, and so it was normal for him to have superpowers. Even his extraordinary memory derived from the fact that, again thanks to gravity, he developed better than other boys his age a talent for speed reading, which for that matter was already being taught in the universities.
There was nothing mystical about the Superman of history.
As we enter the 1980’s, the movie Superman is quite a different matter. First of all, it is no accident that he should have an onerous father like Marlon Brando, whose story takes up almost half the film, or that his father should impart to the child about to leave for Earth a Knowledge of which we know nothing, concretized in stalagmites of diamond, a material about as symbolic as anything imaginable. Or that
