Download A Fallen Idol Is Still a God: Lermontov and the Quandaries by Elizabeth Allen PDF

By Elizabeth Allen

A Fallen Idol continues to be a God elucidates the historic area of expertise and value of the seminal nineteenth-century Russian poet, playwright, and novelist Mikhail Iurevich Lermontov (1814-1841). It does so through demonstrating that Lermontov’s works illustrate the of residing 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 constrained to his transitional epoch, Lermontov didn't succumb to it; as a substitute, he probed its personality and evoked its old 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

Example text

For post-Romantic irony does not fail to acknowledge the potential validity of one or more conflicting possibilities, but it does fail to discover the standards or ideals that integrated cultural values provide for judging and choosing among those possibilities. Thus post-Romantic irony betokens the romanticism and its twilight  psychological and moral uncertainty and unease pervading the “centre-less” period of post-Romanticism, when insufficient cultural integrity reigned to guide complex judgments and choices.

Must there still be in the depths of the Earth! Could one but sound their secret beds and raise them up, and snatch them to oneself! ” (232). Thus inspired, he runs romanticism and its twilight  off with the Woodswoman. Soon thereafter his father dies, and his wife eventually remarries, only to sink into poverty and despair. Christian returns to visit his wife only once, appearing “all in tatters, barefoot, sunburned to a black brown color in the face, deformed still further by a long matted beard; he wore no covering on his head, but had twisted a garland of green branches through his hair, which made his wild appearance still more strange and haggard” (233).

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). It relates the tale of a young hunter, Christian, who abandons his family, friends, and familiar way of life on a pleasant plain and heads off into the mountains to pursue his dreams of discovering an unknown, exotic world amid nature’s sublimity.

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