Walter Benjamin, an Aesthetic of Redemption - Monoskop

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Chapter Four
From Messianism to Materialism
Despite its pronounced esotericism, Benjamin's early literary criticism is consistent, at times single-minded, in the
pursuit of its program. At issue is the ''fallen" character of human history, which takes on the appearance of "natural
history," a history that is consigned to an inexorable fate of decay and decline. The subjective corollary of this fate is
inescapable network of guilt which originates with man's expulsion from Paradise and which serves as a ceaseless
testimony to the seemingly infinite distance that separates historical man from the state of grace represented by the
Messianic era. Benjamin takes his stand, initially, in the midst of profane life. And from his lowly station in the
fallen historical world, he sifts through the ruins of bygone ages for traces of redeemed life in the hope that if these
traces can be renewed for the present, the link between the Messianic era, the key to which is mysteriously inscribed
in man's past, and the present era, however godforsaken it may appear, can be, if not guaranteed, at least prevented
from fading into oblivion. The paradox, the magic, the labor of Sisyphus of Benjamin's early aesthetics consisted in
his effort to conjure images of "Messianic time" in the midst of an iniquitous historical era that could only seem
emphatically removed from all hope of salvation.
In contrast, the aesthetic concerns of the later Benjamin are hardly so univocal in character. They traverse a spectrum
ranging from a rather narrow historical materialist approach to understanding cultural phenomena ("Paris of the
Second Empire in Baudelaire" and "Eduard Fuchs: Historian and Collector") and
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