Aesthetic literature

The British decadent writers were much influenced by the Oxford professor Walter Pater and his essays published during 1867–68, in which he stated that life had to be lived intensely, with an ideal of beauty. His text Studies in the History of the Renaissance (1873) was very well regarded by art-oriented young men of the late 19th century. Writers of the Decadent movement writers used the slogan "Art for Art's Sake" (L'art pour l'art), ("expresses a philosophy that the intrinsic value of art, and the only "true" art, is divorced from any didactic, moral or utilitarian function. Such works are sometimes described as "autotelic", from the Greek autoteles, “complete in itself”, a concept that has been expanded to embrace "inner-directed" or "self-motivated" human beings.)

the origin of which is debated. Some claim that it was invented by the philosopher Victor Cousin, although Angela Leighton in the publication On Form: Poetry, Aestheticism and the Legacy of a Word (2007) notes that the phrase was used by Benjamin Constant as early as 1804.^[3] It is generally accepted to have been promoted by Théophile Gautier in France, who interpreted the phrase to suggest that there was not any real association between art and morality.

The artists and writers of Aesthetic style tended to profess that the Arts should provide refined sensuous pleasure, rather than convey moral or sentimental messages. As a consequence, they did not accept John Ruskin and Matthew Arnold's utilitarian conception of art as something moral or useful.^{[ citation needed ]} Instead, they believed that Art did not have any didactic purpose; it need only be beautiful. The Aesthetes developed a cult of beauty, which they considered the basic factor of art. Life should copy Art, they asserted. They considered nature as crude and lacking in design when compared to art. The main characteristics of the style were: suggestion rather than statement, sensuality, great use of symbols, and synaesthetic effects—that is, correspondence between words, colours and music. Music was used to establish mood.^{[ citation needed ]}

Predecessors of the Aesthetics included John Keats and Percy Bysshe Shelley, and some of the Pre-Raphaelites. In Britain the best representatives were Oscar Wilde and Algernon Charles Swinburne, both influenced by the French Symbolists, and James McNeill Whistler and Dante Gabriel Rossetti. The style and these poets were satirised by Gilbert and Sullivan's comic opera Patience and other works, such as F. C. Burnand's drama The Colonel, and in comic magazines such as Punch.

Compton Mackenzie's novel Sinister Street makes use of the type as a phase through which the protagonist passes as he is influenced by older, decadent individuals. The novels of Evelyn Waugh, who was a young participant of aesthete society at Oxford, describe the aesthetes mostly satirically, but also as a former participant. Some names associated with this assemblage are Robert Byron, Evelyn Waugh, Harold Acton, Nancy Mitford, A.E. Housman and Anthony Powell.

Characteristics of Modernism:

Key terms: Victorianism, faith and doubt, self-scrutiny, imperialism, propriety, Evangelicalism, Utilitarianism, social Darwinism, "higher criticism,"improvement, natural selection.

IThe word "Victorian" and the concept of Victorianism conjure up a rich and contradictory complex of images for us: a time of strict rules, formal manners, rigidly defined roles, sexual prudery, propriety, respectability, earnestness, duty, pious conventionality, overdecoration, elaborate houses and furniture, and people who were, as the period introduction in the Longman Anthology notes, "as well-upholstered as their furniture." This was the age of muttonchop whiskers and crocheted stockings to cover the piano "limbs" (we're too polite to say "legs" in public, gasp!). It was also the period of Jack the Ripper, of Dr. Jekyll and Mister Hyde, of the penny-dreadful novel and Sherlock Holmes, of great men keeping mistresses in bordellos, of women going off to missionary society meetings to improve the lives of the ignorant while child chimneysweeps suffocated in their chimneys.

The Victorian era, spanning from 1832–1901, was a period of dramatic change the world over, and especially in England, with the rapid extension of colonialism through large portions of Africa, Asia, and the West Indies, making England a preeminent center of world power and relocating the perceived center of Western Civilization from Paris to London. The rapid growth of London, with a population of 6.5 million by the time of Victoria's death, evidenced a marked change due to industrialization away from a way of life based on the ownership of land to a modern urban economy based on trade and manufacturing. Dramatic changes in manufacturing, rapid growth of the British economy, and seemingly continual expansion of England's colonized territories resulted in mixed sentiments, with some writers such as Thomas Babbington Macauley applauding change and the superior civilization of England and other writers such as Mathew Arnold and Thomas Carlyle expressing more trepidation and concern about this era of change. It was true that the "sun never set on the British Empire," but the cost of obtaining and maintaining that empire on human lives and on ethical practices was high indeed.

The Victorian early period (1832–48) can be described as a time of dramatic change with the improvement of the railroads and the country's first Reform Parliament, but it was also a time of economic distress. Even with the Reform Bill of 1832, extending voting privileges to the lower middle classes and redistributing parliamentary representation to break up the conservative landowner's monopoly of power, England's economic troubles could not be entirely solved. By the end of this Time of Troubles, the Chartists, among others, succeeded in introducing important economic reforms, such as the repeal of the Corn Laws and the introduction of a system of Free Trade. It's estimated that in the early 1840s, the life of a working man in one of the factory cities (Manchester, Birmingham, Liverpool, etc.) was about 20 years because of the poor conditions. A great part of the population of Britain still did not have the vote, and the working poor became even poorer as workhouses, poorhouses, and orphanages became cheap sources of disposable labor. "To go on the parish" as a destitute person was a virtual death sentence in many parts of England--constables would try to drive the poor into another village so that their own village wouldn't have to support the poor people. The modern concept of "dumping" the poor practiced in the 21st century by many hospitals and social organizations has its origins here. As a result, the period that saw such remarkable prosperity for some also saw the formation of an underclass of the poor, reflected in works like Dickens' Oliver Twist or Hard Times. (Not even the Second Reform Bill of 1867 or the Education Act of 1870 truly remedied this disparity.)

The historian Asa Briggs refers to the following period of the Victorian era as " The Age of Improvement. " Although the mid- Victorian period (1848–70) was not free of the previous period's problems, it was a time of overall prosperity and general social satisfaction with further growth of the empire improving trade and economic conditions. This was also a period in which industry, technology, and science were celebrated with renewed vigor. The development of railroads made it possible to journey from London to Glasgow in a day, to have the morning's newspapers in Scotland by midnight. Macadam's paving system and a well-developed stagecoach system made travel across the length and breadth of Britain easily possible--and reformist efforts to make it illegal to travel or work on the Sabbath were shot down by the efforts of writers like Dickens, who pointed out that such Evangelical attempts to legislate morality were in fact further ways of discriminating against the poor.

By this point, however, the Church of England had evolved into three major divisions, with conflicting beliefs about religious practice, and faith and doubt became the central religious question of the age. The "High Church" wanted to return to ceremony and trappings in the Church of England; the "Low Church" Methodists and Evangelicals located in the cities preached Biblical inerrancy, and sought to promote enthusiasm in religious works. Meanwhile the Broad Church, the mainstream Church of England, tried to soldier on in the face of the greatest challenges to established faith the world had ever seen. Empiricism and the work of Hume led to rationalist challenges to religion, including Utilitarianism, developed by Jeremy Bentham and James Mill, which argued that the greatest good is that which gives the greatest happiness to the greatest number of people (no matter what the consequences to the minority). Science in the work of the geologist Lyell and the writers Thomas Henry Huxley and Charles Darwin, laid open the historical workings of Nature over eons, making it less possible to believe in the neoclassical concept of a Divine Architect in the face of mutability, natural selection, geology, competition, and the unquestionable evidence of the evolution of species. (Remember that many of these discoveries were made by clergymen; the term " scientist " did not occur until 1840!) "Higher Criticism" had a similar effect in its perception of the Bible as a historical text subject to human interpolation and error, and George Eliot's translation of Strauss' Life of Jesus and Bishop Colenso's work on the Pentateuch lay bare the undeniable evidence for errancy in scriptural transmission, to the dismay of many complacent readers.

The later period (1870–1901) was a time of changing attitudes about colonialism, industrialization, and scientific advancement. Rebellions and war in the colonial territories made the public increasingly more aware of the costs of empire. Various events challenged the sense of England's endless prosperity as a world power, such as the emergence of Bismarck's Germany and its threats to English naval and military positions and the expansion of the American grain industry, driving down the price of English grain. Socialist movements grew out of this discontentment, as well as a melancholy spirit in the writing of the end of the century. Even as John Stuart Mill and other Evangelicals encouraged the beginnings of suffrage for women, through the reform of marital laws and child custody, the Queen was opposing it as disgusting and suggesting that its supporters should be whipped. Oscar Wilde's making a pun of "earnest," a typical and sincerely used mid-Victorian word, is typical of a dying Victorianism. At the same time, the new technologies of photography and sound recording mean that for the first time, we can see and hear what our forebears sounded like--perhaps one of the reasons why we have a better sense of the Victorian period than of many of its predecessors.

Three genres dominate the Victorian period, as the conditions of publishing, including the prominence of the periodical press, dramatically shaped the form of literature. Serialization of novels, for example, allowed for an author to alter the shape of his narrative based on public response to earlier installments. In the later years of the era, authors started to position themselves in opposition to this broad reading public and serialization gave way to three-volume editions. The Victorian novel was primarily concerned with representing a social reality and the way a protagonist sought and defined a place within this reality and fiction came to be the dominant genre. The increased popularity of periodicals also allowed the nonfiction essay to become a widespread and popular literary genre. Works such as Darwin's On the Origin of Species and Ruskin's Stones of Venice sold as well as Dickens did. Victorian narrative poetry dominated the era, with Victorian poets seeking to represent psychology in new ways through the use of self-scrutiny and the dramatic monologue. As one wit put it, the speakers in Victorian poetry are not so much heard as overheard. Tennyson in In Memoriam expressed a typical Victorian ambivalence about revealing so much private feeling: "I sometimes hold it half a sin / To put in words the grief I feel."

Ezra Pound: "Make it new."

Ezra Pound: "Make it new."

"The artist is always beginning," Ezra Pound once wrote. "Any work of art which is not a beginning, an invention, a discovery is of little worth. The very name Troubadour means a 'finder,' one who discovers."
In his first published book of poems, A Lume Spento, the Pound of 1908 is still very much a late nineteenth-century poet, steeped in the archaisms of the Pre-Raphaelites. A mere four years later, in Ripostes, he has reinvented himself as a modernist proponent of "Imagism," before moving on, in rapid succession, to the avant-garde aesthetics of Vorticism and translations from the Chinese (Cathay), the Japanese ("Noh" or Accomplishment), the Provençal (Arnaut Daniel), and the Latin ("Homage to Sextus Propertius"). Each of these forays into new identities and new languages constituted, as Pound himself explained, a "search for oneself," which entailed "casting off complete masks of the self in each poem."
The title Pound chose for the first comprehensive collection of his shorter poems in 1926 was, significantly, Personae—Latin for "masks." Whether writing in the form of Browningesque dramatic monologues, medieval canzoni, satirical epigrams, Confucian analects, or Sophoclean tragic choruses, Pound in his poems presents us with a medley of masks whose multiple and contradictory features helped shape the face of American poetry in the 20th century.
In his dedication of The Waste Land, T. S. Eliot paid homage to Ezra Pound as "il miglior fabbro"—that is, "the better craftsman"—Dante's term for the Troubadour poet Arnaut Daniel. Pound remains a vital ancestral presence in the lineage of American modernist and post-modernist poetry. The list of his descendants includes not only William Carlos Williams, Marianne Moore, Louis Zukofsky, George Oppen, and Charles Olson, but also the Beats and, more recently, the Language Poets—all of whom in their own fashion learned their craft from his work while observing his central imperative: "Make it new."

Дата добавления: 2015-11-14