By Simon Goldhill
How did the Victorians interact with the traditional international? Victorian tradition and Classical Antiquity is a superb exploration of the way the traditional worlds of Greece and Rome motivated Victorian tradition. via Victorian paintings, opera, and novels, Simon Goldhill examines how sexuality and hope, the politics of tradition, and the position of faith in society have been thought of and debated during the Victorian obsession with antiquity.
taking a look at Victorian artwork, Goldhill demonstrates how wish and sexuality, fairly anxieties approximately male wish, 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 in regards to the Roman Empire--he discusses faith and the fierce battles over the church as Christianity started to lose dominance over the innovative stance of Victorian technological know-how and research. Rediscovering a few nice forgotten works and reframing a few extra widespread ones, the e-book deals striking insights into how the Victorian feel of antiquity and our feel 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)
Did Seneca’s philosophy come as regards to Christian beliefs, and if that is so does this make him larger or worse—a query to which Farrar dedicated the great a part of a publication? forty eight The novels supply an emotionally encumbered portrayal of Gibbon’s highbrow probing. The extremism of the early church is re- FOR GOD AND EMPIRE 167 peatedly tempered right into a mild yet ﬁrmly principled competition to the excesses of the empire (wise eyes, fearlessness, and long-suffering integrity are the Victorian watchwords, instead of the violent rejection of kinfolk ties, the obsessiveness of asceticism, or a Eulalia’s willful pursuit of martyrdom, which glossy students may emphasize), yet there is still a rigidity among the novelistic curiosity in advanced and riven characters, and absolutely the moralism of everlasting punishment. What can or should still ensue to a great pagan, in need of conversion and martyrdom? Gibbon is blunt at the dating among Christianity and the major intellectuals of the empire, whom he phrases “the such a lot helpful of the heavenly present”: The names of Seneca, of the elder and more youthful Pliny, of Tacitus, of Plutarch, of Galen, of the slave Epictetus, and of the emperor Marcus Antoninus, embellish the age during which they ﬂourished, and exalt the consideration of human nature. They ﬁlled with glory their respective stations, both in energetic or contemplative lifestyles; their first-class understandings have been enhanced via learn; Philosophy had puriﬁed their minds from the prejudices of well known superstition; and their days have been spent within the pursuit of fact and the perform of advantage. but a majority of these sages (it isn't any much less an item of shock than of shock) ignored or rejected the perfection of the Christian method. Their language or their silence both become aware of their contempt for the growing to be sect. . . . forty nine Gibbon’s classicism has no difﬁculty in seeing the good ﬁgures of the empire as excellent of their look for fact and advantage, and, in actual Enlightenment shades, as freed from prejudice and superstition due to the purifying rationalism of philosophy. but those nice ﬁgures, he ﬁrmly underlines, had no truck with Christianity. back, Gibbon’s tone is discomforting: Is there irony in his use of “perfection” for the Christian method? Whose “surprise” or “concern” is being recorded? The passage either undercuts the simple triumphalism of the arriving of Christianity, and insistently reminds us of the virtues of the boys condemned to everlasting torture. however the novels of the 19th century, against this with the “contempt” Gibbon files, time and again painting historic characters entering touch with Christianity and being inspired by means of it, or maybe changing to it. Seneca meets St. Paul, and so they ﬁnd one another soul pals; Domitian’s wife—even extra ludicrously—is an intimate of St. Luke; even the long run Emperor Titus could make the signal of the pass and is secretly turning into Christian; Acte, Nero’s mistress, is a customary Christian—though Gibbon was once bitterly sarcastic concerning the ﬁgure of the it sounds as if Christian mistress (Marcia) of the Emperor (Commodus): “though it was once most unlikely that she may well reconcile the perform of vice with the precepts of the gospel, she may perhaps wish to compensate for the frailties of her intercourse and occupation by means of stating herself the patroness of the Christians”50—few such snide niceties ﬂare up within the novels.