By Elizabeth Allen
A Fallen Idol remains to be a God elucidates the old specialty and value of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so through demonstrating that Lermontov’s works illustrate the of residing in an epoch of transition. Lermontov’s specific epoch was once that of post-Romanticism, a time whilst the twilight of Romanticism used to be dimming however the sunrise of Realism had but to seem. via shut and comparative readings, the e-book explores the singular metaphysical, mental, moral, and aesthetic ambiguities and ambivalences that mark Lermontov’s works, and tellingly mirror the transition out of Romanticism and the character of post-Romanticism. total, the publication unearths that, even though restricted to his transitional epoch, Lermontov didn't succumb to it; in its place, he probed its personality and evoked its old import. And the ebook concludes that Lermontov’s works have resonance for our transitional period within the early twenty-first century besides.
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Additional info for A Fallen Idol Is Still a God: Lermontov and the Quandaries of Cultural Transition
We might find exceptions, but they will turn out to prove the rule—any action is superior to no action at all. Goethe’s Faust dramatically exemplifies this point, and Goethe’s God applauds him for it under the credo: “Man errs as long as he will strive” (87), and humans learn too easily to rest. Errors or not, earnest striving and zealous actions express and enhance the integrity of the self. Romantic love, and other consuming emotions like sublime awe, became an extension of that same ideal, integrated self, as Tieck’s Christian discovers.
Underscoring the import of the entire book, this conclusion emphasizes that through his struggles with the quandaries of cultural transition, Lermontov not only spoke of his own times, he also speaks to us today. t wo Romanticism and Its Twilight in Western Europe and Russia the integrity of european romanticism Of all the periods in Western cultural history—except perhaps the Renaissance—none has provoked more academic debate than Romanticism. 1 And by now everyone who takes up the subject knows A.
And in the “Preface to Lyrical Ballads” (1798), Wordsworth depicted imagination as a union of thought and feeling that he later said “shapes and creates” by “consolidating numbers into unity” (quoted in Abrams, Mirror, 180). At the same time, these synthetic powers of the imagination can give rise to visions, including those of art, that reveal elemental realities and connections among things otherwise hidden from view (such as Christian’s perception of jewels within dirty rocks). Romanticists depended on the imagination to uncover what reason or science could not uncover, to discover the living spirit in nature, and to discern the true meaning of experience.