The Idyll And The Epic

Hegel gave lecture series on aesthetics or the philosophy of art in various university terms, but never published a book of his own on this topic. His student, H. G. Hotho, compiled auditors' transcripts from these separate lecture series and produced from them the three volumes on aesthetics in the standard edition of Hegel's collected works. Annemarie Gethmann-Siefert has now published one of these transcripts, the Hotho transcript of the 1823 lecture series, and accompanied it with a very extensive introductory essay treating many issues pertinent to a proper understanding of Hegel's views on art. She persuasively argues that the evidence shows Hegel never finalized his views on the philosophy of art, but modified them in significant ways from one lecture series to the next. In addition, she makes the case that Hotho's compilation not only concealed this circumstance, by the harmony he created out of diverse source materials, but also imposed some of his own views on aesthetics, views that differ from Hegel's and that the ongoing interpretation of the aesthetics part of Hegel's philosophy has unfortunately taken to be Hegel's own. This translation of the German volume, which contains the first publication of the Hotho transcript and Gethmann-Siefert's essay, makes these important materials accessible to the English reader, materials that should put the English-speaking world's future understanding and interpretation of Hegel's philosophy of art on a sounder footing.

Many readers are aware of Alfred Tennyson's treatment of legendary battles in such poems as Boadicea, The Revenge, Battle of Brunanburh, and Achilles over the Trench. Yet among Tennyson's most neglected works are his first battle poems, pieces that reflect the poet's immersion in the literature of the heroic age. J. Timothy Lovelace argues that Tennyson's war poems reflect image patterns of the Illiad and Aeneid , and reinvigorate the heroic ethos that informs these and other ancient texts. Highlighting the heroic aspects of Maud and the Idylls of the King , this book shows that Tennyson's early grounding in the Homeric tradition greatly influenced his later, celebrated work on martial subjects.

Here is an analysis of Tennyson's major poetry that clarifies the poet's relationship to the artistic traditions he so extensively exploited and so radically modified. It is a portrait of Tennyson as manipulator, not mere borrower, of forms. Tennyson and Tradition traces the threads that at the same time unite Tennyson's work and tie it to the traditions the poet believed he had inherited. Pattison shows why Tennyson considered the venerable idyll form a fitting vehicle for his modern portraits--above all the Idylls of the King. Analysis of In Memoriam brings further understanding of Tennyson's poetic credo.

Excerpt from Les Miserables, Vol. 4: The Idyll and the Epic This remarkable epoch is so circumscribed, and is beginning to become so remote from us, that we are able to seize its principal outlines. We will make the attempt. The Restoration was one of those inter mediate phases which are so difficult to define, in which are fatigue, buzzing, murmurs, sleep, and tumult, and which, after all, are nought but the arrival of a great nation at a halting-place. These epochs are peculiar, and deceive the politician who tries to take advantage of them. At the outset the nation only demands repose there is but one thirst, for peace, and only one ambition, to be small, which is the translation of keeping quiet. Great events, great accidents, great adventures, great men, - O Lord! We have had enough of these, and more than enough. Caesar would be given for Prusias, and Napoleon for the Roi d'yvet, who was such a merry little king. Folk have been marching since daybreak and arrive at the evening of a long and rough journey they made their first halt with Mira beau, the second with Robespierre, and the third with Napoleon, and they are exhausted. Everybody insists on a bed. Worn-out devotions, crying heroisms, gorged am bitions, and made fortunes, seek, claim, implore, and solicit, - what? A resting-place, and they have it. They take possession of peace, tranquillity, and lei sure, and feel satisfied. Still, at the same time certain facts arise, demand recognition, and knock at doors on their Side. These facts have emerged from revo lutions and wars they exist, they live, and have the right, - the right of installing themselves in society. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This Companion brings together specially commissioned essays by distinguished international scholars that reflect both the diversity of Victorian poetry and the variety of critical approaches that illuminate it. Approaches Victorian poetry by way of genre, production and cultural context, rather than through individual poets or poems Demonstrates how a particular poet or poem emerges from a number of overlapping cultural contexts. Explores the relationships between work by different poets Recalls attention to a considerable body of poetry that has fallen into neglect Essays are informed by recent developments in textual and cultural theory Considers Victorian women poets in every chapter

György Lukacs was a Hungarian Marxist philosopher, writer, and literary critic who shaped mainstream European Communist thought. Soul and Form was his first book, published in 1910, and it established his reputation, treating questions of linguistic expressivity and literary style in the works of Plato, Kierkegaard, Novalis, Sterne, and others. By isolating the formal techniques these thinkers developed, Lukács laid the groundwork for his later work in Marxist aesthetics, a field that introduced the historical and political implications of text. For this centennial edition, John T. Sanders and Katie Terezakis add a dialogue entitled "On Poverty of Spirit," which Lukács wrote at the time of Soul and Form, and an introduction by Judith Butler, which compares Lukács's key claims to his later work and subsequent movements in literary theory and criticism. In an afterword, Terezakis continues to trace the Lukácsian system within his writing and other fields. These essays explore problems of alienation and isolation and the curative quality of aesthetic form, which communicates both individuality and a shared human condition. They investigate the elements that give rise to form, the history that form implies, and the historicity that form embodies. Taken together, they showcase the breakdown, in modern times, of an objective aesthetics, and the rise of a new art born from lived experience.