By Frederic Ewen
Selection impressive educational name for 2008A Half-Century of Greatness paints a brilliant and dramatic photograph of the artistic considered mid- to overdue 19th century Europe and the impression of the unsuccessful revolutions of 1848. It finds frequently unforeseen hyperlinks among novelists, poets, and philosophers from England, Germany, Austria, Hungary, Russia, and Ukraine—especially Dickens, Carlyle, Mill, the Brontës, and George Eliot; Hegel, Strauss, Feuerbach, Marx, Engels, Wagner, and a number of other German poets; the Hungarian poet Sándor Petöfi; Gogol, Dostoevsky, Bakunin, and Herzen in Russia, and the good Ukrainian poet Shevchenko. Ewen is going directly to hint the transition from Romanticism to Victorianism, or what he calls “the Victorian compromise”—the ascendancy of the center class.The booklet was once reconstructed and edited via Dr. Jeffrey Wollock from Ewen’s ultimate manuscript. It contains the author's personal reference citations all through, a reconstructed bibliography, and an up to date “further analyzing” list.This is Ewen’s final paintings, the long-lost spouse to his Heroic mind's eye. jointly, those books current a landscape of the social, political, and inventive facets of ecu Romanticism, specially foreshadowing and complementing contemporary paintings at the relation of Marxism to romanticism. a person attracted to what Lukacs referred to as “Romantic anticapitalism,”; who appreciates such books as Marshall Berman's Adventures in Marxism or E.P. Thompson's The Romantics (1997), will locate Ewen’s paintings a welcome boost.
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Extra info for A Half-Century of Greatness: The Creative Imagination of Europe, 1848-1884
Causes [he told his Lanark audience in 1816] over which I could have no control, removed in early days the bandage which covered my mental sight ... The causes which fashioned me in the womb ... 1 He had risen fast when a very young man, and could have every incentive and temptation to enrich himself, like others, proﬁting from the interminable hours of 13 14 e n g l a n d a t t h e g r e a t d i v i d e labor of the children, women and men in the cotton factories. At eighteen he was already manager of a Manchester cotton enterprise, soon become a partner in it, and rapidly developed the reputation of one of the most enterprising and astute cotton mill administrators in England or Scotland.
The idea was high and worthy, but its realization meant, ﬁrst of all, repatching himself. The idea of writing a veiled autobiography of his spirit took root in 1830, when Carlyle’s material resources were low indeed, his reputation as a writer, despite his translations, the Carlyle 29 important Life of Schiller, and numerous periodical contributions, yet in the balance. He was still deep in the valleys of self-doubt. But this, his new work, was to be the theoretical manifesto of a new Credo, as seven years later, under more favorable circumstances, his second major achievement, The French Revolution, was to be the practical exposition and exempliﬁcation of his ideas as reﬂected on the stage of world history.
All else is illusion. The world is a neutral, if indeed not hostile, machine. Human life is ringed by Necessity. There is no Freedom. Man lives in the “hot fever of anarchy and misery,” shut off from all hope. ’ A feeble unit in the middle of a threatening Inﬁnitude [Teufelsdröck continues], I seemed to have nothing given me but eyes, whereby to discern my own wretchedness. ”20 Carlyle 31 Utterly shattered, Teufelsdröck wanders through the “dirty little street of SaintThomas d’Enfer”—just as Carlyle had in Leith Walk, Edinburgh—when suddenly he is struck by a startling question: What art thou afraid of?
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