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Compare a passage from the Imaginary Conversations with a passage from Gibbon or Johnson, to show the difference between the classic and the pseudo-classic style. Compare one of Landor's characters, in Imaginary Conversations, with the same character in history. Jane Austen. How does Jane Austen show a reaction from Romanticism? What important work did she do for the novel?
He was perfectly satisfied with the no-place, no-where with the vague temple, or palace hall, or public square where, as in the country of the abstract, the action of pseudo-classic tragedy always takes place, or, more properly speaking, the talking of pseudo-classic tragedy always goes on; he was perfectly satisfied with sending in a servant or a messenger to inform the public of a murder or suicide committed behind the scenes; he was perfectly satisfied with taking up a story, so to speak, at the eleventh hour, without tracing it to its original causes or developing it through its various phases.
We have preserved from the ancients that emphasis of versification which was so well fitted to languages of strong quantity and marked accent, to vast theatres, to a declamation that had an instrumental accompaniment; and then we have given up simplicity of plot and dialogue, and all truth of situation. La Motte nearly fifty years before had attacked the pseudo-classic drama.
This is the Paris conjured from the past with such magic art by Victor Hugo in "Notre Dame," and gradually to be swept away in the next centuries by the Renaissance, pseudo-classic and Napoleonic builders and destroyers, until to-day scarcely a wrack is left behind.
Like Gray and Goldsmith, he wavered between Pseudo-classic and the new romantic ideals, and for this reason, if for no other, his early work is interesting, like the uncertainty of a child who hesitates whether to creep safely on all fours or risk a fall by walking.
Instead of developing the colonial simplicity on lines of dignity and harmony to modern use, we stuck on the pseudo-classic, we broke out in the Mansard, we broke all up into the whimsicalities of the so-called Queen Anne, without regard to climate or comfort. The eye speedily tires of all these things. It is a positive relief to look at an old colonial mansion, even if it is as plain as a barn.
Instead of developing the colonial simplicity on lines of dignity and harmony to modern use, we stuck on the pseudo-classic, we broke out in the Mansard, we broke all up into the whimsicalities of the so-called Queen Anne, without regard to climate or comfort. The eye speedily tires of all these things. It is a positive relief to look at an old colonial mansion, even if it is as plain as a barn.
This poem of the Exodus is on the model of the pseudo-classic productions of the Germany of his day; the influence of Klopstock's Messias, for instance, is striking. Depth of thought, feeling for art, and original poetic imagination are lacking in Shire Tiferet. Practically it is nothing more than an oratorical paraphrase of the Biblical recital.
They represent chiefly the seats of state used by sovereigns on the occasions of grand banquets, or of some ecclesiastical function, and from the valuable collections of these documents in the National Libraries of Paris and Brussels, some illustrations are reproduced, and it is evident from such authorities that the designs of State furniture in France and other countries dominated by the Carlovingian monarchs were of Byzantine character, that pseudo-classic style which was the prototype of furniture of about a thousand years later, when the Cæsarism of Napoleon I., during the early years of the nineteenth century, produced so many designs which we now recognise as "Empire."
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