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The study of history requires investigation, imagination, empathy, and respect. Reverence just doesn't enter into it. ↗
There is a degree of emotional impact in the nature poetry of the eighteenth century which marks a shift in sensibility towards what came to be called 'the sublime'. The concept, from classical Greek, came to England through the French of Boileau, and reached its definitive explication in Edmund Burke's Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (1757-59). This is a key text of the times, displaying an emphasis on feelings and on imagination, which is almost the antithesis of the neoclassical insistence on form and reason. Burke's idea of the sublime goes beyond natural beauty (although the beauty of nature is very much a part of it) and goes into the realms of awe, or 'terror'. The sublime is, for Burke, 'productive of the strongest emotion which the mind is capable of feeling'. Terror, emotion, feeling: all these represent a break from the intellectual rigours of the Augustan age, and are in one sense a reaction against the new pressures of society and bourgeois concerns. ....... The link between the sublime and terror is most clearly seen in the imaginative exaggeration of the Gothic novel - a form which concentrated on the fantastic, the macabre and the supernatural, with haunted castles, spectres from the grave and wild landscapes. It is significant that the term 'Gothic' originally had mediaeval connotations: this is the first of several ways of returning to pre-Renaissance themes and values which is to be found over the next hundred years or so. The novels of the 1760s to the 1790s, however, gave the term 'Gothic' the generic meaning of horror fantasy. The Castle of Otranto (1764) by Horace Walpole (son of the prime minister Sir Robert Walpole) was the first of this kind, and the sub-genre has flourished ever since. ......... Like many texts of its times, Walpole's novel purported to be a translation of an ancient manuscript dating from the eleventh or twelfth century. There was a strange fashion for these mediaeval rediscoveries, Thomas Chatterton and James Macpherson (Ossian) being notable contributors to the trend. Whether this was a deliberate avoidance of boastful originality or an attempt to give the works involved some spurious historical validity is not clear. Peter Ackroyd's novel Chatterton (1987) examines the phenomenon. ↗
#age
Some people insist that 'mediocre' is better than 'best.' They delight in clipping wings because they themselves can't fly. They despise brains because they have none. ↗
Reading Mrs Gaskell's Life of Charlotte Brontë after Jane Eyre is a curious experience. The subject of the biography is recognisably the same person who wrote the novel, but the effect of the two books is utterly different. The biography is indeed depressing and painful reading. It captures better, I believe, than any any subsequent biography the introverted and puritan pessimist side of Charlotte Brontë, and conveys the real dreariness of the world of privation, critical discouragement and limited opportunity that so often made her complain in her letters that she felt marked out for suffering. Jane Eyre, on the other hand, is exhilarating reading, partly because the reader, far from simply pitying the heroine, is struck by her resilience, and partly because the novel achieves such an imaginative transmutation of the drab. Unlike that of Jane Austen's Fanny Price or Dickens's Arthur Clennam or John Harmon, Jane Eyre's response to suffering is never less than energetic. The reader is torn between exasperation at the way she mistakes her resentments and prejudices for fair moral judgements, and admiration at the way she fights back. Matthew Arnold, seeking 'sweetness and light' was repelled by the 'hunger, rebellion and rage' that he identified as the keynotes of the novel. One can see why, and yet feel that these have a more positive effect than his phrase allows. The heroine is trying to hold on to her sense of self in a world that gives it little encouragement, and the novel does put up a persuasive case for her arrogance and pugnacity as the healthier alternatives to patience and resignation. That the book has created a world in which the golden mean seems such a feeble solution is both its eccentricity and its strength. ↗
As Peret asserts, the value of such stories resides in the fact that they respond to direct social necessity but in a way that is not obvious in a society dominated by what is utilitarian and functional. Rather they represent a natural surplus of imaginative abundance that may confound or reinforce the way we perceive the world, but which never does so in a simple way. Even though they may have no direct social use, they nonetheless embody the actual state of real relations between people. ↗
Wanting to be someone else is a waste of who you are ↗
#inspirational #misattributed #self-acceptance #inspirational
In life one of Midnight’s favourite movies had been It’s a Wonderful Life, a touching story where a man called George Bailey is shown how poor the world would have been if he’d never existed, but now the young ghost of Midnight Merlot was sat imagining himself not as the kind hero of his own narrative, but, - but as the anti-George. ↗
--Your headache-- I am trying to imagine it Your head is in your hands The nurse is pouring pills onto a plate November again Too late Your headache It is a bird Wounded, in leaves Its sweet bird’s nest is full of pain in a distant place November There are daisies In the ruined garden, still blooming strangely And in a manic yellow hat, the old lady And the old man, dead in his bed And their daughter, the saint: Her dark, religious hair gets tangled in the branches She is screaming, grabbing While the nurses play Mozart in another room While the bats fly over the roof Snatch the black notes from the blackness Laughing You cry I am going to die I can see them through this window Their little black capes The touching ugliness of their little faces ↗
And out of that hopeless attempt has come nearly all that we call human history—money, poverty, ambition, war, prostitution, classes, empires, slavery—the long terrible story of man trying to find something other than God which will make him happy. ↗
