By Marshall Brown, Hugh Bar Nisbet
This most modern quantity within the celebrated Cambridge background of Literary feedback addresses literary feedback of the Romantic interval, mainly in Europe. Its seventeen chapters are by means of across the world revered lecturers and discover a variety of key themes and issues. The e-book is designed to assist readers find crucial info and to advance methods and viewpoints
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Extra resources for The Cambridge History of Literary Criticism: Romanticism (Cambridge History of Literary Criticism, Volume 5)
The historical system is free from any hindrance of arbitrary rules and is able to depict circumstances and sentiments in their objective and integral reality, thereby generating positive moral eCects. This diCerent theatre takes Shakespeare as its model and symbol, whom Manzoni considers, together with Virgil, to be one of humankind’s greatest poets, especially in his ability to instil his poetry with ethical urgency. In Manzoni’s criticism, aesthetic judgment and moral judgment always coincide as the consequence of his principle that the knowledge of the true is man’s fundamental concern, and its faithful portrayal is in itself an education (Scritti).
H. Butcher (1894) and which continued to hold sway throughout the ﬂoruit of the New Criticism and of Wellek himself, is really quite inconceivable without the mediatory inﬂuence of Coleridge. Cambridge Histories Online © Cambridge University Press, 2008 24 Paul H. Fry The key passages are the ones in which Aristotle insists that the ‘parts’ of a tragedy have a necessary order that cannot be rearranged, and says also that you cannot have an animal (zoon) that is too long or short. Although it seems quite obvious to recent commentators that the interdict against exchanging parts is grossly macroscopic (you cannot have your exodos before your parodos, for example, but you can put a metaphor anywhere you like as long as there are not too many), and that the passage allegedly concerning organic animal life is actually about a schema or blueprint of an animal, this was by no means obvious to the disciples of Butcher.
Chateaubriand, however, fully and systematically exploits this idea and, most importantly, enriches it through his own talent. This is truly why he is so important for the history of criticism. We are no longer dealing with the criticism of a man of letters who judges those who belong to his own generation and those of previous generations, but, on the contrary, with a man of genius who perceives genius because it meets his own standard. We are no longer in the presence of a criticism of faults, a cavilling and at times petty examination of works of the spirit, but rather, in Chateaubriand’s own words, of a ‘criticism of beautiful things’.