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Updated: May 8, 2025
He thought he was serving official Classicism, which still boasts of his name, but in reality he dominated it; and, whilst he was an imitator of Raphael, he was a powerful Realist.
It grounded its claim to classicism on a fancied resemblance to the Roman poets of the golden age of Latin poetry, the reign of the Emperor Augustus. Its authors saw themselves each as a second Vergil, a second Ovid, most of all a second Horace, and they believed that their relation to the big world, their assured position in society, heightened the resemblances.
As Spingarn points out, Ben Jonson was first led to classicism in poetical theory by the example of Sidney. But during the intervening years the scholars of Holland had supplanted those of Italy; and whereas Sidney derived his Aristotelianism from Scaliger and Minturno, Jonson derived his even more from Pontanus, Heinsius, and Lipsius and from the Latin rhetoricians, Cicero and Quintilian.
The eighteenth century novel demands separate treatment, and of the other prose authors the most eminent, Edward Gibbon, belongs to historical rather than to literary studies. It is time to turn to poetry. There orthodox classicism still held sway; the manner and metre of Pope or Thomson ruled the roost of singing fowl.
It is a curious and interesting fact that when, as in this case, the spirit of classicism reveals itself anew, its never-dying influence can be the motive for work as fresh and modern as that of Corot. It is also true that the rigid enforcement of the study of drawing was a healthy influence on Corot's early life.
With the English literary criticism in the second half of the Seventeenth Century, when the influence of French classicism was in the ascendant, this study is not concerned.
The poetry of Wordsworth and Coleridge shows the revolutionary reaction against classicism in literature and tyranny in government; but their verse raises no cry of revolt against the proprieties and moral restrictions of the time.
If I were to endeavour to oppose them I should say that classical art is clear, it is perfectly grasped in form, it satisfies the intellect, it awakes an emotion absorbed by itself, it definitely guides the will; romantic art is touched with mystery, it has richness and intricacy of form not fully comprehended, it suggests more than it satisfies, it stirs an unconfined and wandering emotion, it invigorates an adventurous will; classicism is whole in itself and lives in the central region, the white light, of that star of ideality which is the light of our knowledge; romanticism borders on something else, the rosy corona round about our star, carrying on its dawning power into those unknown infinities which embosom the spark of life.
But they would find enough classicism at Ansbach, he promised them, and he entered with sympathetic intelligence into their wish to see this former capital when March told him they were going to stop there, in hopes of something typical of the old disjointed Germany of the petty principalities, the little paternal despotisms now extinct.
With the breaking up of old forms of government caused by the French Revolution, came the dislocation of the old conventional modes of thought. Classicism in literature was dead, having weighed like an incubus upon the fancy and fresh life of many generations. England and Germany were at the head of the new movement, which was at a later period to be joined to France.
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