By Simon Goldhill
How did the Victorians have interaction with the traditional international? Victorian tradition and Classical Antiquity is a superb exploration of ways the traditional worlds of Greece and Rome inspired Victorian tradition. via Victorian paintings, opera, and novels, Simon Goldhill examines how sexuality and hope, the politics of tradition, and the function of faith in society have been thought of and debated in the course of the Victorian obsession with antiquity.
taking a look at Victorian paintings, Goldhill demonstrates how wish and sexuality, fairly anxieties approximately male hope, have been represented and communicated via classical imagery. Probing into operas of the interval, Goldhill addresses principles of citizenship, nationalism, and cultural politics. and during fiction--specifically nineteenth-century novels concerning the Roman Empire--he discusses faith and the fierce battles over the church as Christianity started to lose dominance over the revolutionary stance of Victorian technology and research. Rediscovering a few nice forgotten works and reframing a few extra universal ones, the e-book deals impressive insights into how the Victorian feel of antiquity and our experience of the Victorians got here into being.
With quite a lot of examples and tales, Victorian tradition and Classical Antiquity demonstrates how curiosity within the classical earlier formed nineteenth-century self-expression, giving antiquity a special position in Victorian culture.
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Additional resources for Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity (Martin Classical Lectures)
107 (Berlioz was once constantly a difﬁcult personality. Mendelssohn wrote, “I can't let you know how the sight of him depresses me,” and Wagner was once no much less dismissive: “The sight of him, considering the future of that anonymous absurdity [The Trojans], as though the salvation of the realm and of his personal soul relied on it, used to be greater than i'll belly. ”108 Their shared visceral distaste used to be fairly another way inspired, in fact, and in Wagner’s case was once fueled by way of a posh envy up to a cultured confrontation. ) Later, W H O ok I L L E D C H E VAL I E R G L U C ok ? one hundred and five le Gouvé heard Berlioz speak brilliantly approximately Gluck usually: “When he spoke, the total of him was once in it. The eloquence of his phrases used to be greater by way of his expression, his gestures, tone of voice, exclamations of enthusiasm, and people surprising ﬂashes of encouraged imagery that are sparked via the stimulus of a listener putting on each be aware. ”109 (The final clause slyly notes Berlioz’s self-dramatizing desire for an viewers and his audience’s a little bit uncomfortable recognition of it. ) Berlioz wrote frequently and passionately approximately Gluck in newspaper and magazine articles110 and in his letters (Berlioz, not like Wagner, is a fabulous author, and his autobiography’s sharp wit and amazing self-conﬁdence makes for a very good learn, but in addition demonstrates how he can make himself so unpopular). He extensively utilized Gluck as his significant resource for examples in his examine of orchestration. His writing frequently shows the fanatical enthusiasm that le Gouvé describes: “As nobody may possibly problem [Gluck] in strength, veracity, grandeur, strength, within the improvement of tragic ardour, within the expression of grief or in scenes of terror, he was once said missing in grace, freshness, melody. . . . One wonders the place the pallid specimens that have been most popular to him are actually. ”111 Berlioz’s love of Gluck is combative, and deeply tied up along with his personal battles to have his personal song famous. Berlioz is pursuing Gluck’s innovative luck, a hit now touched with the entire luster that the Romantic move may provide to the progressive artist’s solitary ﬁght. Berlioz is suffering not only to rehabilitate Gluck, pushed aside within the mid-century as boring and outdated, but in addition to reconstruct a family tree of recent track, innovative hero to progressive hero. (It is a well-known narrative method within the historical past of significant males. ) Berlioz’s personal father, a physician, was once by no means supportive of his son’s collection of occupation, and Berlioz present in Gluck a classy father. As he wrote in a letter in 1858 after a functionality of his personal song, along with his attribute mix of bragadaccio and unexpected, profitable self-awareness: “I believe that if Gluck back to earth, he might say of me whilst he heard it, ‘Truly this is often my son. ’ That’s no longer precisely modest of me, is it? ”112 This was once how Berlioz used to be arrange to conceive his future: as le Sueur wrote to Berlioz’s father, justifying the boy’s selection of occupation after Berlioz ﬁnally received the Prix de Rome in 1830, “Nothing can hinder his being .