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In the humanist world following Erasmus, man is at the centre of the universe. Man becomes largely responsible for his own destiny, behaviour and future. This is the new current of thought which finds its manifestation in the writing of the 1590s and the decades which follow. The euphoria of Elizabeth's global affirmation of authority was undermined in these years by intimations of mortality: in 1590 she was 57 years old. No one could tell how much longer her golden age would last; hence, in part, Spenser's attempts to analyse and encapsulate that glory in an epic of the age. This concern about the death of a monarch who - as Gloriana, the Virgin Queen - was both symbol and totem, underscores the deeper realisation that mortality is central to life. After the Reformation, the certainties of heaven and hell were less clear, more debatable, more uncertain. ↗
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Few poets better convey the uneasy transition from Victorianism to Modernism than Thomas Hardy. His novels, written between 1870 and 1895, made him not only the recorder of his distinctive region of 'Wessex', but the explorer of the transition of lives and minds from the age of traditional values and religious certainties to the age of godlessness and modern tragedy, a transition sometimes described as 'the clash of the modern'. ↗
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She had some hidden reason of her own for attaching great importance to this choosing what her mother was to wear. What was the reason, Mrs. Ramsay wondered, standing still to let her clasp the necklace she had chosen, divining, through her own past, some deep, some buried, some quite speechless feeling that one had for one's mother at Rose's age. Like all feelings felt for oneself, Mrs. Ramsay thought, it made one sad. It was so inadequate, what one could give in return; and what Rose felt was quite out of proportion to anything she actually was. And Rose would grow up; and Rose would suffer, she supposed, with these deep feelings, and she said she was ready now... ↗
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Mrs. Almond lived much farther up town, in an embryonic street with a high number—a region where the extension of the city began to assume a theoretic air, where poplars grew beside the pavement (when there was one), and mingled their shade with the steep roofs of desultory Dutch houses, and where pigs and chickens disported themselves in the gutter. These elements of rural picturesqueness have now wholly departed from New York street scenery; but they were to be found within the memory of middle-aged persons, in quarters which now would blush to be reminded of them. ↗
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When I was twenty-something, I asked my father, “When did you start feeling like a grownup?” His response: “Never. ↗
They stood in the courtyard of Swangard Palace, too cold to be comfortable despite the sun, and they looked fully on one another, knowing that they were friends, and would always be. A lot of water under this bridge too, Mark thought, with something like awe. He was growing older. Old enough to feel the current of what had been flowing under him, leading to his future. Old enough to look back over his shoulder, and see his past behind him, and grieve for what was gone, and honour its memory. He felt, suddenly, how much it would hurt him if Val died; felt an echo of that pain, knowing that the Valerian he had known, fluffy and peering and hapless and altogether wonderful: this Valerian was already dying. Not physically, of course, but the man he remembered from that first night in Swangard Palace would be gone the next time they met, though his ghost would linger on in Val forever, and in their memories. Three cheers for ghosts, Mark thought. Three cheers for the dead. Of course Val would be much the same: better, even. As full of wonder and delight, with big pockets full of puzzles and fascinating stories about the lives of ants and ingenious designs for windmills that would do your washing. And they would still be friends, excellent friends. It could even be better next time. But it would never be the same. ↗
