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The World's Greatest Books [Volumes 1-15, 17-20]
- Автор: Gutenberg
- Год: 1910
- Язык: английский
- Жанр: Культурология
Электронная книга - «The World's Greatest Books [Volumes 1-15, 17-20]». Краткое содержание книги:
The World's Greatest Books — Volume 01 — Fiction от Неизвестный
The World's Greatest Books — Volume 02 — Fiction от Неизвестный
The World's Greatest Books — Volume 03 — Fiction от Неизвестный
The World's Greatest Books — Volume 04 — Fiction от Неизвестный
The World's Greatest Books — Volume 05 — Fiction от Неизвестный
The World's Greatest Books — Volume 06 — Fiction от Неизвестный
The World's Greatest Books — Volume 07 — Fiction от Неизвестный
The World's Greatest Books — Volume 08 — Fiction от Неизвестный
The World's Greatest Books — Volume 09 — Lives and Letters от Неизвестный
The World's Greatest Books — Volume 10 — Lives and Letters от Неизвестный
The World's Greatest Books — Volume 11 — Ancient and Mediæval History от Неизвестный
The World's Greatest Books — Volume 12 — Modern History от Неизвестный
The World's Greatest Books — Volume 13 — Religion and Philosophy от Неизвестный
The World's Greatest Books — Volume 14 — Philosophy and Economics от Неизвестный
The World's Greatest Books — Volume 15 — Science от Неизвестный
The World's Greatest Books — Volume 17 — Poetry and Drama от Неизвестный
The world's greatest books от Mee, Arthur, 1875-1943, joint editor & Hammerton, John Alexander, Sir, 1871-1949, joint editor & McClure, S. S. (Samuel Sidney), 1857-1949, joint editor
The World's Greatest Books — Volume 19 — Travel and Adventure от Неизвестный
The World's Greatest Books — Volume 20 — Miscellaneous Literature and Index от Неизвестный
VI.—Some Illustrative Criticisms
To try and approach Truth on one side after another, not to strive or cry, not to persist in pressing forward on any one side with violence and self-will—it is only thus that mortals may hope to gain any vision of the mysterious goddess whom we shall never see except in outline.
The grand power of poetry is the power of dealing with things so as to awaken in us a wonderfully full, new and intimate sense of them and of our relation with them, so that we feel ourselves to be in contact with the essential nature of those objects, to have their secret, and be in harmony with them, and this feeling calms and satisfies us as no other can. Maurice de Guérin manifested this magical power of poetry in singular eminence. His passion for perfection disdained all poetical work that was not perfectly adequate and felicitous.
His sister Eugénie de Guérin has the same characteristic quality—distinction. Of this quality the world is impatient; it chafes against it, rails at it, insults it, hates it, but ends by receiving its influence and by undergoing its law. This quality at last inexorably corrects the world's blunders, and fixes the world's ideals.
Heine claimed that he was "a brave soldier in the war of the liberation of humanity." That was his significance. He was, if not pre-eminently a brave, yet a brilliant soldier in the war of liberation of humanity. He was not an adequate interpreter of the modern world, but only a brilliant soldier.
Born in 1754, and dying in 1824, Joseph Joubert chose to hide his life; but he was a man of extraordinary ardour in the search for truth and of extraordinary fineness in the perception of it. He was one of those wonderful lovers of light who, when they have an idea to put forth, brood long over it first, and wait patiently till it shines.
GEORGE BRANDES
Main Currents of the Literature of the Nineteenth Century
George Brandes was born in Copenhagen on February 4, 1842, and was educated at the University of Copenhagen. The appearance of his "Æsthetic Studies" in 1868 established his reputation among men of letters of all lands. His criticism received a philosophic bent from his study of John Stuart Mill, Comte, and Renan. Complaint is often made of the bias exhibited by Brandes in his works, which is somewhat of a blemish on the breadth of his judgment. This bias finds its chief expression in his anti-clericalism. His publications number thirty-three volumes, and include works on history, literature, and criticism. He has written studies of Shakespeare, of Lord Beaconsfield, of Ibsen, and of Ferdinand Lassalle. His greatest work is the "Main Currents of the Literature of the Nineteenth Century." The field covered is so vast that any attempted synopsis of the volume is impossible here, so in this place we merely indicate the scope of Brandes's monumental work, and state his general conclusions.
The Man and the Book
This remarkable essay in literary criticism is limited to the first half of the nineteenth century; it concludes with the historical turning-point of 1848. Within this period the author discovers, first, a reaction against the literature of the eighteenth century; and then, the vanquishment of that reaction. Or, in other words, there is first a fading away and disappearance of the ideas and feelings of the preceding century, and then a return of the ideas of progress in new and higher waves.
"Literary history is, in its profoundest significance, psychology, the study, the history of the soul"; and literary criticism is, with our author, nothing less than the interior history of peoples. Whether we happen to agree or to disagree with his personal sympathies, which lie altogether with liberalism and whether his interpretation of these complex movements be accepted or rejected by future criticism, it is at least unquestionable that his estimate of his science is the right one, and that his method is the right one, and that no one stands beside Brandes as an exponent.
The historical movement of the years 1800 to 1848 is here likened to a drama, of which six different literary groups represent the six acts. The first three acts incorporate the reaction against progress and liberty. They are, first, the French Emigrant Literature, inspired by Rousseau; secondly, the semi-Catholic Romantic school of Germany, wherein the reaction has separated itself more thoroughly from the contemporary struggle for liberty, and has gained considerably in depth and vigour; and, thirdly, the militant and triumphant reaction as shown in Joseph de Maistre, Lamennais, Lamartine and Victor Hugo, standing out for pope and monarch. The drama of reaction has here come to its climax; and the last three acts are to witness its fall, and the revival, in its place, of the ideas of liberty and of progress.
"It is one man, Byron, who produces the revulsion in the great drama." And Byron and his English contemporaries, Wordsworth, Coleridge, Scott, Keats and Shelley, hold the stage in the fourth act, "Naturalism in England." The fifth act belongs to the Liberal movement in France, the "French Romantic School," including the names of Lamennais, Lamartine and Hugo in their second phase; and also those of De Musset and George Sand. The movement passes from France into "Young Germany," where the sixth act is played by Heine, Ruge, Feuerbach and others; and the ardent revolutionary writers of France and of Germany together prepare for the great political transformation of 1848.
I.—The Emigrant Literature
At the beginning of our period, France was subjected to two successive tyrannies: those, namely, of the Convention and of the Empire, both of which suppressed all independent thought and literature. Writers were, perforce, emigrants beyond the frontiers of French power, and were, one and all, in opposition to the Reign of Terror, or to the Napoleonic tyranny, or to both; one and all they were looking forward to the new age which should come.
There was, therefore, a note of expectancy in this emigrant literature, which had also the advantage of real knowledge, gained in long exile, of foreign lands and peoples. Although it reacts against the dry and narrow rationalism of the eighteenth century, it is not as yet a complete reaction against the Liberalism of that period; the writers of the emigrant group are still ardent in the cause of Liberty. They are contrary to the spirit of Voltaire; but they are all profoundly influenced by Rousseau.
Chateaubriand's romances, "Atala" and "René," Rousseau's "The New Héloïse" and Goethe's "Werther" are the subjects of studies which lead our critic to a consideration of that new spiritual condition of which they are the indications. "All the spiritual maladies," he says, "which make their appearance at this time may be regarded as the products of two great events—the emancipation of the individual and the emancipation of thought."
Every career now lies open, potentially, to the individual. His opportunities, and therefore his desires, but not his powers, have become boundless; and "inordinate desire is always accompanied by inordinate melancholy." His release from the old order, which limited his importance, has set him free for self-idolatry; the old laws have broken down, and everything now seems permissible. He no longer feels himself part of a whole; he feels himself to be a little world which reflects the great world. The belief in the saving power of enlightenment had been rudely shaken, and the minds of men were confused like an army which receives contradictory orders in the midst of a battle. Sénancour, Nodier and Benjamin Constant have left us striking romances picturing the human spirit in this dilemma; they show also a new feeling for Nature, new revelations of subjectivity, and new ideas of womanhood and of passion.