Sympathy in American literature

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Gesa Stedman

"In this new study, Gesa Stedman mines the vein of emotion in Victorian writing to unearth new insights into the ways literature responded to the dramatic social and political changes then taking place." "Through an examination of the history of key Victorian emotion words, the major topics that dominate the discourses on emotions in this era, and the central fictional and non-fictional 'paradigm scenarios' which constitute these discourses, Stedman shows how slowly written representatives of the 'passions' change in the 19th century. She argues that in texts about feelings, Victorian authors seem to attempt to delay or halt on a discursive level what can no longer be stopped on any other level of their culture and society." "Reading fictional texts alongside non-fictional works, this study highlights the tensions between the need of 19th-century writers to control 'storms of passion' and their effects, and their need to express feelings. Contemporary research from various disciplines such as sociology, ethnology and history inform this study, which juxtaposes canonical material such as Dicken's Hard Times, Charlotte Bronte's Shirley and Germaine de Stael's Corinne with popular novels and non-fictional texts such as The Education of the Heart, by Sarah Ellis, and Darwin's The Expression of Emotion in Man and Animals. The analysis deals with emotions applying to both genders, but includes a special section examining the representation of emotion in relation to women." "Stemming the Torrent provides new insights into the literature of the period, and brings to light important new material for the scholars interested in the philosophy and psychology of emotions."--Jacket.

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Penelope Murray and T.S. Dorsch

This anthology brings together core classical texts for understanding literature. The selections from Plato illustrate the poetic philosopher's surprising exclusion of poets from his ideal republic. In his response, Poetics, Aristotle draws on the works of the great Greek playwrights to defend the value of the art. Horace's The Art of Poetry is a vivid practitioner's guide that promotes a style of poetic craftsmanship rooted in wisdom, ethical insight, and decorum. Longinus's On the Sublime explores the nature of inspiration in poetry and prose. This volume is a work of great value and interest to classicists, students, and writers.

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John Sutherland

In Is Heathcliff a Murderer? (well, is he?) John Sutherland investigates thirty-four conundrums of nineteenth-century fiction. Applying these 'real world' questions to fiction is not in any sense intended to catch out the novelists who are invariably cleverer than their most defectively inclined readers. Typically, one finds a reason for the seeming anomaly. Not blunders, that is, but unexpected felicities and ingenious justifications. In Is Heathcliff a Murderer? John Sutherland, recently described by Tony Tanner as 'a sort of Sherlock Holmes of literature', pays homage to the most rewarding of critical activities, close reading and the pleasures of good-natured pedantry.

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Wallace Fowlie

Wallace Fowlie provides an uncommonly well-written survey of French Symbolism by way of analyzing key poems in relation to the historical and literary contexts in which they were written. The literary symbol, as it has been used since Baudelaire's time, has in Fowlie's view a closer relationship with the religious spirit of humanity than with any practical or didactic use. Symbolism has been a major focus of literary study since Baudelaire's Correspondances, which can be seen as a succinct manifesto. It has provided an aesthetic basis for works that have elements of both myth and allegory. These are among the most impressive works of literature since 1850, which have reacted strongly against a realistic art of precision in order to reflect preoccupations that are religious and philosophical. After tracing the background of Symbolism from Romanticism to "Art for Art's Sake," Fowlie considers the work of Nerval, Baudelaire, Mallarmé, Rimbaud, Laforgue, Corbiére, and Verlaine. He then recapitulates the major features of Symbolism and illustrates its continuity to our day. Fowlie sees Symbolism and modern poetry not as the art of rules and obstacles, but rather as the art of triumph over obstacles and the transcendence of human adventure and experience. He concludes with penetrating analyses of the poetic practice of Valéry, Claudel, St. John Perse, and René Char.