Reviews. Oscar Wilde

Чтение книги онлайн.

СКАЧАТЬ of great value, but in the present condition of criticism it seems to us that it would be more useful to emphasise the fact that each art has its separate method of expression. The essay on Tasso, however, is delightful reading, and the position the poet holds towards modern music and modern sentiment is analysed with much subtlety. The essay on Marino also is full of interest. We have often wondered whether those who talk so glibly of Euphuism and Marinism in literature have ever read either Euphues or the Adone. To the latter they can have no better guide than Mr. Symonds, whose description of the poem is most fascinating. Marino, like many greater men, has suffered much from his disciples, but he himself was a master of graceful fancy and of exquisite felicity of phrase; not, of course, a great poet but certainly an artist in poetry and one to whom language is indebted. Even those conceits that Mr. Symonds feels bound to censure have something charming about them. The continual use of periphrases is undoubtedly a grave fault in style, yet who but a pedant would really quarrel with such periphrases as sirena de’ boschi for the nightingale, or il novella Edimione for Galileo?

      From the poets Mr. Symonds passes to the painters: not those great artists of Florence and Venice of whom he has already written, but the Eclectics of Bologna, the Naturalists of Naples and Rome. This chapter is too polemical to be pleasant. The one on music is much better, and Mr. Symonds gives us a most interesting description of the gradual steps by which the Italian genius passed from poetry and painting to melody and song, till the whole of Europe thrilled with the marvel and mystery of this new language of the soul. Some small details should perhaps be noticed. It is hardly accurate, for instance, to say that Monteverde’s Orfeo was the first form of the recitative-Opera, as Peri’s Dafne and Euridice and Cavaliere’s Rappresentazione preceded it by some years, and it is somewhat exaggerated to say that ‘under the régime of the Commonwealth the national growth of English music received a check from which it never afterwards recovered,’ as it was with Cromwell’s auspices that the first English Opera was produced, thirteen years before any Opera was regularly established in Paris. The fact that England did not make such development in music as Italy and Germany did, must be ascribed to other causes than ‘the prevalence of Puritan opinion.’

      These, however, are minor points. Mr. Symonds is to be warmly congratulated on the completion of his history of the Renaissance in Italy. It is a most wonderful monument of literary labour, and its value to the student of Humanism cannot be doubted. We have often had occasion to differ from Mr. Symonds on questions of detail, and we have more than once felt it our duty to protest against the rhetoric and over-emphasis of his style, but we fully recognise the importance of his work and the impetus he has given to the study of one of the vital periods of the world’s history. Mr. Symonds’ learning has not made him a pedant; his culture has widened not narrowed his sympathies, and though he can hardly be called a great historian, yet he will always occupy a place in English literature as one of the remarkable men of letters in the nineteenth century.

      Renaissance in Italy: The Catholic Reaction. In Two Parts. By John Addington Symonds. (Smith, Elder and Co.)

      Конец ознакомительного фрагмента.

      Текст предоставлен ООО «ЛитРес».

      Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

      Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.

/9j/4AAQSkZJRgABAQAAAQABAAD/2wBDAAMCAgMCAgMDAwMEAwMEBQgFBQQEBQoHBwYIDAoMDAsK CwsNDhIQDQ4RDgsLEBYQERMUFRUVDA8XGBYUGBIUFRT/2wBDAQMEBAUEBQkFBQkUDQsNFBQUFBQU FBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBQUFBT/wAARCAWgA4QDASIA AhEBAxEB/8QAHgAAAAcBAQEBAAAAAAAAAAAAAAECAwQFBgcICQr/xABhEAABAwIFAwMBBQUFBgID ASEBAgMRBAUABhIhMQcTQSJRYRQIFTJxgSNCkaGxCRZSwdEXJDNi4fBy8TSCkqK00iVDU7IYJjdE Y3aTlcIZKDU4VFdzdHWDlGSjs8NVVtP/xAAZAQEBAQEBAQAAAAAAAAAAAAAAAQIDBAX/xAA2EQAC AQMCBgAFAwMDBAMAAAAAARECITESQQMiMlFhcRNCgaGxBJHwFFJiI3LBBTND4VOS0f/aAAwDAQAC EQMRAD8A+YyTBBnBqM7+MBUSY4GCEwfbAoEmDPg4BmT84NU/pgeN+DxgQMfhgzPjCIn88KVM784O DP8AzYAIyU+Z8jBCfGAkEnbnB+DHGAAr3HGDSSPO2EiQPjzgGYHtgUBG+FJ2TB5PGEmdI/lgGSd+ cCAjxgySUgeRycDfVE74IAztzgACQZHOAd/EDB88cecATHuMABHzxgjzgzMDyMFwBP6YAUCQI/hh AEGOD7YNUz84PfVzvgAyfSBG/n3wkSNx4wYkn2OCgwY484ANW5BExgJ2kxgCf0wDxPjxgUIzPthQ Jj58YLxv+mCMzvzgQIc4WdwNoI53wW8wPxYJMk7c4AA3OFKOoz4/LBEbbfrgDgnxgAkmN/GAT8c4 B9/3cCCAJ/TABiQmD+mExv8AOFEGd+cCDMfvYAMmRA9t8JEzsOMATqwfIMcecABZ1EEcYCDBB8cY AmD7ecEQYHtgUCuSff3wpKtKfIJ4wXjf9MEZn5wIDz7YUTtx6vOBuP8AxYSAdWAAk+rbxg1GYI4w Py484IAwfbABp2MxtgjIMnBqmPjxgbwJP5YACVFII9+MF8RgyDO/OAAZ/wCb3wAColMeRucEkwZA 4wADO3OD8bfrgAKM8ceMBBgknjAHB9sAgx8YFCMjnf5wY2THB8YBkATuMAyDvzgQTxhaj6QPbnbA +P3/AHwSZnbnABD8sGozHtgjJ4/XA/pgA0+/jBKBJk4NXHx4wOBvuPGAAJHuD4wUTtg1Azv5wIM8 +rAAn0ge3OCAPI8YAmdtjg94Mbe+AAszv44wSDBk8YA4PtgGdIJ4wKBR332woGER5PGEnxP6YCgZ +cCA84UT6QPPnBQZ+cEAdXzgAJkEEYNRkz4wDxtPzgJ3/LzgAIMbnjBEQdxgHge2DiInjAAAgeZ8 YKDgEGd9zg99X/NgAGSmN/nBJO8jkYABnbnBxIMfrgALUTHkDASdO/jAHHxgjwPbAAVgxASQeTxg GQBJ2wSpnfnAAwr92PPnBb6gPOCAM7cjAAAk7DBqEmefnA3IMfrgJ4M8YACfSZwRknBke3HjBcDf 9MAKBhMe/GE74BBB35wYBmOVYAMmUjbcc4SBM4CZnbnB7x6ePOACMkYNB0kE/wA8BMwfbzgHj4wK EeTPnChKR/QYSQYE8YMgzvgQKN+N8KUZTAHHOBvMfve+EidW2AAJnbxg1b7+MAbgxx5wBMT4wAE7 fl74I87+cAgwPbB7wJ48YAMbDj1eMIwZ/FvzhW+r/mwARnTAG45wSRuInBpBB2wOQY/XAAVvxxg0 HSZ8RggNifHnAMkfGBQlc4UlRSCPJ4wUQBP6DBGQd+cCA8xwfbBk+mOTgQdX/N74LeeN8AFvgYXq G2wwMQsCYjnA5EjjBqOszxggIE4pA/Enj2wR2jzg42nz5wJ0jY84AHG07+/tggDqjAIk7GZwe0/H vgA/xHY7/wBcJAO5mMCN9ztg9lD2IwAFeoSNh7YKIEnz4wBsJP8ADBncSOcAER55+cHxseff2wXA 5k+cDTvtxgAaTMYV

СКАЧАТЬ