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Figures of Several Centuries
- Language
- EN
- Format
- EPUB
- Size
- 278 KB
Description
The collection comprises essays written in the early 20th century by Arthur Symons, focusing on prominent literary and philosophical figures from previous centuries. These essays engage in detailed criticism and biographical commentary, examining the lives and works of individuals such as St. Augustine, Charles Lamb, and Edgar Allan Poe. Symons investigates the influence and significance of these figures within the broader context of literary history, providing analysis rooted in both scholarly insight and literary appreciation.
The introductory essay discusses St. Augustine’s "Confessions," emphasising its distinction as the first autobiography addressed to God and its role in spiritual and self-analytical writing. Symons’s work combines historical background with critical interpretation, offering an overview of each figure’s contributions and their enduring impact on literature and philosophy.
The introductory essay discusses St. Augustine’s "Confessions," emphasising its distinction as the first autobiography addressed to God and its role in spiritual and self-analytical writing. Symons’s work combines historical background with critical interpretation, offering an overview of each figure’s contributions and their enduring impact on literature and philosophy.
From the opening pages
The Confessions of St. Augustine are the first autobiography, and they have this to distinguish them from all other autobiographies, that they are addressed directly to God. Rousseau's unburdening of himself is the last, most effectual manifestation of that nervous, defiant consciousness of other people which haunted him all his life. He felt that all the men and women whom he passed on his way through the world were at watch upon him, and mostly with no very favourable intentions. The exasperation of all those eyes fixed upon him, the absorbing, the protesting self-consciousness which they called forth in him, drove him, in spite of himself, to set about explaining himself to other people, to the world in general. His anxiety to explain, not to justify, himself was after all a kind of cowardice before his own conscience. He felt the silent voices within him too acutely to keep silence. Cellini wrote his autobiography because he heard within him such trumpeting voices of praise, exultation, and the supreme satisfaction of a violent man who has conceived himself to be always in the right, that it shocked him to think of going down into his grave without having made the whole world hear those voices. He hurls at you this book of his own deeds that it may smite you into acquiescent admiration. Casanova, at the end of a long life in which he had tasted all the forbidden fruits of the earth, with a simplicity of pleasure in which the sense of their being forbidden was only the least of their abounding flavours, looked back upon his past self with a slightly pathetic admiration, and set himself to go all over those successful adventures, in love and in other arts, firstly, in order that he might be amused by recalling them, and then because he thought the record would do him credit. He neither intrudes himself as a model, nor acknowledges that he was very often in the wrong. Always passionate after sensations, and for their own sake, the writing of an autobiography was the last, almost active, sensation that was left to him, and he accepted it energetically. Probably St. Augustine first conceived of the writing of an autobiography as a kind of penance, which might be fruitful also to others. By its form it challenges the slight difficulty that it appears to be telling God what God knew…
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