Deconstructing "Zen and the Art of Motorcycle Maintenance"

Classicism and Romanticism: Opposing Realms of Consciousness or Consituents of Quality?
by Anna Chan

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In his book Zen and the Art of Motorcycle Maintenance, Robert M. Pirsig proposes that all human understanding is divided into two categories: classic and romantic. Yet, he also adds another dimension to the division: Quality. In other words, classic and romantic are merely terms of value. The christening and differentiation of art, music and literature into the two counter-modes are only relative to each other; classic and romantic realities are, if not entirely the same, derivatives of one foundation, Quality. This binding element is the value system necessary in the search for the ultimate truth.

Pirsig's separation of human consciousness can be summarized by the following passage:

"The romantic mode is primarily inspirational, imaginative, creative, intuitive. Feelings rather than facts predominate. 'Art' when it is opposed to 'Science' is often romantic. It does not proceed by reason or by laws. It proceeds by feeling, intuition and esthetic conscience.... The classic mode, by contrast, proceeds by reason and by laws - which are themselves underlying forms of thought and behavior.... The classic style is straightforward, unadorned, unemotional, economical and carefully proportioned. Its purpose is not to inspire emotionally, but to bring order out of chaos and make the unknown known." (endnote 1)

This short and seemingly simple abstract of Pirsig's rather complicated theory is already, in itself, problematic. It appears that Pirsig is denigrating the Romantics as whimsical characters devoid of any intellectual craving or capabilities. On the other hand, the Classicists are depicted as cold, stiff intellectual robots who are programmed to dissect every bit of information that is provided to them.

Obviously, such labeling is obscene if not inaccurate. Some of the most scholarly works of literature are written by romantics; yet, at the same time, music from the romantic period reflects the freedom of dynamic movement which is not characteristic of the restrained, orderly form of classical music. If, strictly speaking, Art is romantic and Science is classical, then there should be little difference between the classical and the romantic artist. Yet, there are striking differences. Hence, we end up with the same categorizing within a category.

The modern term 'classic' is derived from the Latin classicus, which was used to denote a citizen of the highest class. (endnote 2) Later, the word became classique in French, classical in English and klassik in German. Classique is, in the earliest definitions, rendered as "classical, formall, orderlie, in due or fit ranke; also, approved, authenticall, chiefe, principall." This definition can be further broken down into:

(1) formal discipline,
(2) model of excellence,
(3) supplemented by Greek or Latin antiquity,
(4) is opposed to 'romantic,' which is understood as morbid and unruly. (endnote 3)

Both Haydn and Mozart, qua composers of the previously defined 'classical' era, created works which reflected the "attitude of genuine modesty and willing restraint, personal and artistic." (endnote 4) Technical skill, straightforward dynamics (such as harmony and cadences) and strength in simplicity were stressed, in addition to composing within or around certain conventions. The duty of the classical musician is to please the public; to compose something too hard or unorthodox would mean a lack of respect for both the public and the divine.

On the other hand, Beethoven was a classicist-turned-romanticist. The French Revolution, which, in the belief of many critics, had ignited the historical transition of classicism into romanticism, greatly impacted many artists, writers, and musicians. Beethoven himself was also effected, and his later works reflected "his tendency towards the mysterious and gloomy." He was the father of romantic composition, and embodied the "wild, extravagant, boundless, isolated..." (endnote 5)

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