To Read the Iliad

This, for Tolstoy, opens the path to regeneration, and is the proper function of art. Vocation - talent - is obedience to an inner need: to fulfil it is the artist's purpose and his duty. Nothing is more false than the view of the artist as a purveyor, or a craftsman whose sole function is to create a beautiful thing, as Flaubert, or Renan, or Maupassant mantain. There is only one human goal, and it is equally binding on all men, landowners, doctors, barons, professors, bankers, peasants: to tell the truth, and be guided by it in action, that is, to do good, and to persuade others to do so. That God exists, or the Iliad is beautiful, or that men have a right to be free and also equal, are all eternal and absolute truths. Therefore we must persuade men to read the Iliad and not pornographic French novels, and to work for an equal society, not a theocratic or political hierarchy.

Isaiah Berlin, "Tolstoy and Enlightenment"

in Russian Thinkers. Penguin, Londres: 2008.

e tu: és um raposa ou um ouriço?

There is a line among the fragments of the Greek poet Archilochus which says: "The fox knows many things, but the hedgehog knows one big thing". Scholars have differed about the correct interpretation of these dark words, which may mean no more than that the fox, for all his cunning, is defeated by the hedgehog's one defence. But, taken figuratively, the words can be made to yield a sense in which they mark one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general. For there exists a great chasm between those, on the one side, who relate everything to a single central vision, one system, less or more coherent or articulate, in terms of which they understand, think and feel — a single, universal, organising principle in terms of which alone all that they are and say has significance — and, on the other side, those who pursue many ends, often unrelated and very contradictory, connected, if at all, only in some de facto way, for some pyschological or physiological cause, related to no moral or aesthetic principle. These last lead lives, performe acts and entertain ideas that are centrifugal rather than centripal; their thought is scattered or diffused, moving on many levels, seizing upon the essence of a vast variety of experiences and objects for what they are themselves, without, consciously or unconsciously, seeking to fit them into, or exclude from, any one unchanging, all-embracing, sometimes self-contradictory and incomplete, at times fanatical, unitary inner vision. The first kind of intellectual and artistic personality belongs to the hedgehogs, the second to the foxes; and without insisting on a rigid classification, we may, without too much fear of contradiction, say that, in this sense, Dante belongs to the first category, Shakespeare to the second; Plato, Lucretius, Pascal, Hegel, Dostoevsky, Nietzsche, Ibsen, Proust are, in varying degrees, hedgehogs; Herodotus, Aristotle, Montaigne, Erasmus, Molière, Goethe, Pushkin, Balzac, Joyce are foxes.

Isaiah Berlin, "The Hedgehog and The Fox — An Essay on Tolstoy's View of History"

in Russian Thinkers. Penguin, Londres: 2008.