By Elizabeth Allen
A Fallen Idol remains to be a God elucidates the historic uniqueness and value of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so by means of demonstrating that Lermontov’s works illustrate the of dwelling in an epoch of transition. Lermontov’s specific epoch used to be 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 ebook explores the singular metaphysical, mental, moral, and aesthetic ambiguities and ambivalences that mark Lermontov’s works, and tellingly replicate the transition out of Romanticism and the character of post-Romanticism. total, the booklet unearths that, even supposing restrained to his transitional epoch, Lermontov didn't succumb to it; as a substitute, he probed its personality and evoked its historic import. And the publication concludes that Lermontov’s works have resonance for our transitional period within the early twenty-first century besides.
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Extra resources for A Fallen Idol Is Still a God: Lermontov and the Quandaries of Cultural Transition
Underscoring the import of the entire book, this conclusion emphasizes that through his struggles with the quandaries of cultural transition, Lermontov not only spoke of his own times, he also speaks to us today. t wo Romanticism and Its Twilight in Western Europe and Russia the integrity of european romanticism Of all the periods in Western cultural history—except perhaps the Renaissance—none has provoked more academic debate than Romanticism. 1 And by now everyone who takes up the subject knows A.
Whatever these characters suffer, they suffer it all-consumingly, almost superhumanly. The very concentration of their emotional intensity exudes Romantic integrity. In the light of the central elements in the constellation of Romantic ideals, values, and beliefs—the self, love, nature, and imagination, as well as the Romantic affinities for fragments and irony, along with the Romantic sense of integrity and integration that informed them all even while comprising melancholy and misery—we would expect to see the transition out of Romanticism occurring with the declining influence of these elements.
Errors or not, earnest striving and zealous actions express and enhance the integrity of the self. Romantic love, and other consuming emotions like sublime awe, became an extension of that same ideal, integrated self, as Tieck’s Christian discovers. In fact, for some, only intense Romantic love could complete and romanticism and its twilight unify the self ’s capacious wholeness. “Genuine love excludes all oppositions,” Hegel remarked in his discourse on love (quoted in Abrams, Natural Supernaturalism, 294), and in his “Essay on Love” Shelley declared, “Love is the bond and the sanction which connects not only man with man but with everything which exists” (516–17).