By Elizabeth Allen
A Fallen Idol continues to be a God elucidates the ancient uniqueness and value of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so via demonstrating that Lermontov’s works illustrate the situation of residing in an epoch of transition. Lermontov’s specific epoch was once that of post-Romanticism, a time while the twilight of Romanticism was once dimming however the sunrise of Realism had but to seem. via shut and comparative readings, the e-book explores the singular metaphysical, mental, moral, and aesthetic ambiguities and ambivalences that mark Lermontov’s works, and tellingly mirror the transition out of Romanticism and the character of post-Romanticism. total, the publication finds that, even if restricted to his transitional epoch, Lermontov didn't succumb to it; as an alternative, he probed its personality and evoked its ancient import. And the booklet concludes that Lermontov’s works have resonance for our transitional period within the early twenty-first century besides.
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Additional resources for A Fallen Idol Is Still a God: Lermontov and the Quandaries of Cultural Transition
H. Abrams has persuasively demonstrated in The Mirror and the Lamp, imagination to them was no mere mirror of the world, but a lamp whose light reaches into every corner of existence. 24 Percy Bysshe Shelley also described the imagination as a synthesizing—and moral—power in his Defense of Poetry (1821), attesting that “a man, to be greatly good, must imagine intensely and comprehensively” (540). And in the “Preface to Lyrical Ballads” (1798), Wordsworth depicted imagination as a union of thought and feeling that he later said “shapes and creates” by “consolidating numbers into unity” (quoted in Abrams, Mirror, 180).
It is fidelity to the particular . . and also mysterious tantalising vagueness of outline. It is beauty and ugliness. It is art for art’s sake, and art as an instrument of social salvation. 3 Again, this embrace of variousness and contradiction does not mean that Romanticism is everything and therefore nothing. 4 Let me begin my exploration of the various and contradictory Romantic spirit by recapitulating an emblematic but little-known story by the German author Ludwig Tieck entitled “The Runenberg” [“Der Runenberg”] (1802).
21 Being alive, nature was composed of organically connected parts that were born, grew, and decayed while passing on portions of their identity to their progeny. 22 This organicism also bespoke the spiritual unity of all things, bridging the self and nature. Wordsworth, for instance, rhapsodized over how nature offers those who wander A termination, and a last retreat, A Centre . . A Whole without dependence or defect Made for itself; and happy in itself, Perfect Contentment, Unity entire. ], ll.