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- W2494893044 abstract "The older Carlyle got, the less he liked to speculate about aesthetics’, writes Georg Tennyson; ‘… the pre-Sartor Carlyle is far from being a man without an aesthetic’ (SCR, p. 88). True enough, given the preoccupation revealed in his Journal; for the rest, his post-Sartor writings can be categorised in various ways. Raymond Williams sees the ‘larger part of Carlyle’s writing’ as ‘the imaginative re-creation of men of noble power’. Saintsbury declares that although Carlyle’s work ‘is very great and [has] apparent variety’, itwill be found that history and her sister biography, even when his subjects bore an appearance of difference, always in reality engaged his attention. His three greatest books, containing more than half his work in bulk,—The French Revolution, the Cromwell, and the Frederick,—are all openly and avowedly historical. The Schiller and the Sterling are biographies; the Sartor Resartus a fantastic autobiography. Nearly all the Essays, even those which are not literary in subject—all the Lectures on Heroes, the greater part of Past and Present, The Early Kings of Norway, the John Knox, are more or less plainly and strictly historical or biographical." @default.
- W2494893044 created "2016-08-23" @default.
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- W2494893044 date "1988-01-01" @default.
- W2494893044 modified "2023-09-29" @default.
- W2494893044 title "The Ulyssean Strain: The Projection of Self" @default.
- W2494893044 cites W1967538569 @default.
- W2494893044 doi "https://doi.org/10.1007/978-1-349-09307-6_18" @default.
- W2494893044 hasPublicationYear "1988" @default.
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