By Frederic Ewen
Selection remarkable educational name for 2008A Half-Century of Greatness paints a bright and dramatic photo of the artistic considered mid- to overdue 19th century Europe and the impression of the unsuccessful revolutions of 1848. It unearths frequently unforeseen hyperlinks among novelists, poets, and philosophers from England, Germany, Austria, Hungary, Russia, and Ukraine—especially Dickens, Carlyle, Mill, the Brontës, and George Eliot; Hegel, Strauss, Feuerbach, Marx, Engels, Wagner, and a number of other German poets; the Hungarian poet Sándor Petöfi; Gogol, Dostoevsky, Bakunin, and Herzen in Russia, and the good Ukrainian poet Shevchenko. Ewen is going directly to hint the transition from Romanticism to Victorianism, or what he calls “the Victorian compromise”—the ascendancy of the center class.The publication was once reconstructed and edited by way of Dr. Jeffrey Wollock from Ewen’s ultimate manuscript. It contains the author's personal reference citations all through, a reconstructed bibliography, and an up-to-date “further analyzing” list.This is Ewen’s final paintings, the long-lost significant other to his Heroic mind's eye. jointly, those books current a landscape of the social, political, and inventive elements of ecu Romanticism, specially foreshadowing and complementing contemporary paintings at the relation of Marxism to romanticism. a person drawn to what Lukacs referred to as “Romantic anticapitalism,”; who appreciates such books as Marshall Berman's Adventures in Marxism or E.P. Thompson's The Romantics (1997), will locate Ewen’s paintings a great addition.
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Additional info for A Half-Century of Greatness: The Creative Imagination of Europe, 1848-1884
2 It was a bold thing to try to transform the image of Goethe that prevailed in the literate English mind up to that point. For the English at large, and the Scots as well, the outstanding representative of German letters was Friedrich Schiller. 3 22 e n g l a n d a t t h e g r e a t d i v i d e In Goethe, Carlyle saw a grander replica of himself in the journey from unbelief to belief: “At one time, we found him in darkness, and now he is in light; he was once an Unbeliever, and now he is a Believer .
Close thy Byron; open thy Goethe! —Thomas Carlyle Amidst the clamors of protest, adjuration, warning and counsel, and the turmoils accompanying popular agitation for reform, there was also one voice that forcefully penetrated to the ears of the generation of the 1830s and the 1840s. It was the voice of a Scotsman who in June 1834 settled in London, and established himself at an address destined to become a celebrated landmark. Thomas Carlyle and his wife, Jane Welsh Carlyle, accompanied by their maid Bessie Barnett and a canary, took a lease on a house at 5, Cheyne Row, Chelsea.
To fashion his own life not according to the vacuous tenets of the petty bourgois— to ﬁght the “philistines” of his day that gloriﬁed and worshipped a “materialistic” existence of the business-counter—to develop his inner predilections and talents no matter where that led—that was the goal Wilhelm Meister set himself. With repugnance 24 e n g l a n d a t t h e g r e a t d i v i d e he turns away from the ideal of a business career in order to nourish his own great passion—the theatre. ” Wilhelm becomes the protector of the strange Italian girl, Mignon, and befriends her mysterious companion the Harpist.
A Half-Century of Greatness: The Creative Imagination of Europe, 1848-1884 by Frederic Ewen