By Simon Goldhill
How did the Victorians interact with the traditional global? Victorian tradition and Classical Antiquity is a superb exploration of ways the traditional worlds of Greece and Rome prompted Victorian tradition. via Victorian paintings, opera, and novels, Simon Goldhill examines how sexuality and wish, the politics of tradition, and the function of faith in society have been thought of and debated throughout the Victorian obsession with antiquity.
taking a look at Victorian artwork, Goldhill demonstrates how wish and sexuality, rather anxieties approximately male hope, 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 customary ones, the e-book bargains outstanding insights into how the Victorian feel of antiquity and our feel of the Victorians got here into being.
With a variety of examples and tales, Victorian tradition and Classical Antiquity demonstrates how curiosity within the classical prior formed nineteenth-century self-expression, giving antiquity a different position in Victorian culture.
Read or Download Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity (Martin Classical Lectures) PDF
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Additional resources for Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity (Martin Classical Lectures)
131 Burlesque models of Greek tragedy have been well known; melodrama was once a dominant aesthetic. 132 during this inventive milieu, Gluck’s classicism, revived with all of Berlioz’s dedication to eighteenth-century musical values, did not make any signiﬁcant influence. unlike Paris, the place Racine had remained valuable to the repertoire, London stumbled on Gluck’s model of antiquity anything to stroll out of. Berlioz was once pushed partially by means of the recognition of Offenbach’s Orpheus within the Underworld, which had opened in Paris the former 12 months, 1858. Gluck’s Orphée had remained within the repertoire more often than not via live performance performances of the recognized scenes of Orpheus within the underworld, and Offenbach’s operetta parodied Gluck mercilessly—and, to Berlioz’s chagrin, it used to be an speedy hit (as the well-known can-can has remained). 133 “A soiled par- W H O ok I L L E D C H E VAL I E R G L U C ok ? 111 ody,” he railed, and instructed that the “Polonius class,” as he termed those that did not savour the genuine aesthetic price of Gluck or Berlioz, “ought to be limited to conceal themselves after they visit their favourite parodies in a theatre which it's forbidden to call. ”134 Berlioz used to be now not ready to work out Offenbach’s funny story, and his stirring revival was once a daring restatement of what he observed because the lasting worth of Gluck, a rejoinder to the scoffers. He was once rather prepared to get well the real Gluck from the mess not only of parody but additionally of pasticcio and new, modernizing orchestrations. He privately claimed to degree “the actual hobbies whose culture i do know” (from what assets it truly is challenging to imagine). one hundred thirty five The obsessiveness concerning the unique ranking, which he had proven as a tender guy within the viewers of live performance performances of Gluck, now stumbled on a extra efficient outlet. 136 He had the nerve to check the 1859 creation himself for the magazine des Débats, the place regardless of lavishing compliment on Viardot’s functionality, he took her to activity for her adornments, which went past Gluck’s rating. 137 Berlioz (as Wagner and Mendelssohn knew) may well by no means go away be. This aesthetic combativeness of Berlioz can help us see a few of what made Gluck within the Paris of 1859 diversified from Gluck sixty years past. For Offenbach, Orpheus’s strength to deliver the lifeless to existence via tune takes the shape of revivifying previous Gluck via parodic appropriation; for Berlioz, it's recuperating Gluck himself from the dismissiveness of an uncomprehending modernity. Gluck’s paintings now has develop into totally a vintage, anything to be preferred via a relentless ancient self-consciousness, a part of a longtime culture, a revolution recollected in tranquillity. So in January and February of 1859, P. Hédouin may well retell the forgotten tale of Gluck and his row with Piccinni in Ménestrel—as background, no longer as polemic. 138 even if Berlioz can write that “it is actually old Greece he finds to us in all its majestic and lovely simplicity,” not just are the phrases “majestic and lovely simplicity” clichés now of a well-recognized Romantic Hellenism—this is particularly a lot a Greece we all know instead of the problem that Gluck’s Greece proved to the eighteenth-century audience—but additionally it's a Greece mediated via an eighteenth-century aesthetic, with track that necessarily appeared like the tune of a prior new release, although excitingly reviviﬁed in functionality.