Destination England, where Garnett recognises him and details Jimmy to tail him.
To enter the canon, or more properly, to be entered into the canon is to gain certain obvious privileges.
The gatekeepers of the fortress of high culture include influential critics, museum directors and their boards of trustees, and far more lowly scholars and teachers. Indeed, pre-raphaelite writing an anthology of short chief enforcer of the canon appears in middlebrow anthologies, those hangers on of high culture that in the Victorian period took the form of pop anthologies like Golden Treasury and today that of major college anthologies in America.
To appear in the Norton or Oxford anthology is to have achieved, not exactly greatness but what is more important, certainly -- status and accessibility to a reading public.
And that is why, of course, it matters that so few women writers have managed to gain entrance to such anthologies. Belonging to the canon confers status, social, political, economic, aesthetic, none of which can easily be extricated from the others. Belonging to the canon is a guarantee of quality, and that guarantee of high aesthetic quality serves as a promise, a contract, that announces to the viewer, "Here is something to be enjoyed as an aesthetic object.
Complex, difficult, privileged, the object before you has been winnowed by the sensitive few and the not-so-sensitive many, and it will repay your attention. You will receive pleasure; at least you're supposed to, and if you don't, well, perhaps there's something off with your apparatus.
It is the wheat winnowed from the chaff, the rare survivor, and it has all the privileges of such survival. Anyone who has studied literature in a secondary school or university in the western world knows what that means.
It means that the works in the canon get read, read by neophyte students and supposedly expert teachers. It also means that to read these privileged works is a privilege and a sign of privilege.
It is also a sign that one has been canonized oneself -- beatified by the experience of being introduced to beauty, admitted to the ranks of those of the inner circle who are acquainted with the canon and can judge what belongs and does not.
This canon limits the neophyte reader far more than the instructor, for few students have time to read beyond the reading list.
Indeed, few know that one can read beyond it since what lies beyond is by definition dull, darkened, dreary. One must not overemphasize the rigidity of the canon, since the works that are included constantly change.
Within the past few decades, for instance, the reputation of Matthew Arnold as a poet has plunged drastically while those of A. Swinburne and Elizabeth Barrett Browning have risen, each as a result of -isms: Pre-Raphaelitism in the case of Swinburne and feminism in the case of Browning and, one may add, also in the cases of Mary Wollstonecraft, Christina Rossettiand Elizabeth Gaskell.
Can you find an essential difference between these two kinds of movements, feminist and Pre-Raphaelite? Emphasizing that authors enter and leave the canon or shift their relative position within it takes away little from its power. One can look at this power of the canonized work in two ways.
Gaining entrance clearly allows a work to be enjoyed; failing to do so thrusts it into the limbo of the unnoticed, unread, unenjoyed, un-existing. Canonization, in other words, permits the member of the canon to be read and hence not only exist, but also be immortalized.
An introduction to the Decadent writer Stanislaus Eric Stenbock for the general reader, offering morbid stories, suicidal poems, and an autobiographical essay. In , while visiting the house of Thomas Combe at Oxford, the young men saw their first Pre-Raphaelite paintings by Hunt, Millais and Rossetti — but it was the latter’s watercolour Dante drawing an Angel on the First Anniversary of Beatrice’s Death () which enthralled them most. William Butler Yeats (), Nobel Prize winning Irish dramatist, author and poet wrote The Celtic Twilight (); Paddy Flynn is dead;.He was a great teller of tales, and unlike our common romancers, knew how to empty heaven, hell, and purgatory, faeryland and earth, to people his stories.
Like the painting accepted as a painting and not, say, a mere decorative object or even paint spill, it receives a conceptual frame, and although one can remark upon the obvious facts that frames confine and separate, precisely such appearance within the frame guarantees its aesthetic contemplation -- its capacity to make the viewer respect it, take it with respect.
The very narrowness of the frame and the very confinement within such a small gallery of framed objects produces yet another effect, for the framed object, the member of the canon, gains an intensification not only from its segregation but also from the fact that, residing in comparative isolation, it gains splendor, a glory often based on false notions of uniqueness.
Since the canon as a whole and survey courses in particular necessarily exclude so many individual works, those that remain often appear far more original and far more unique than they in fact are.
In addition to promoting this kind of falsification that misleads us about the works inside it, a canon has an even more serious effect on those works left out: It is in effect excommunicated.
In the Church's excommunication one is not permitted to partake of the divine refreshing acts of communion with the divinity, and one is thus divorced from sacramental life, from participations in the eternal, but one is also kept from communicating with others.
One is exiled from community. Likewise, one of the most serious results of not belonging to the canon is that these works do not communicate with one another. A work outside the canon is forgotten, unnoticed, and if a canonical author is under discussion, any links between the uncanonical work and the canonical tend not to be noticed.
Nonetheless, under certain conditions, noncanonical works can appear at the other end of the connections. But such connections and such linkages to the canonical require almost heroic and certainly specialized efforts. The average intelligent educated reader, in other words, is not expected to be able to make such connections with the noncanonical work.Pre-Raphaelitism was a countercultural movement that aimed to reform Victorian art and writing.
It originated with the foundation, in , of the Pre-Raphaelite Brotherhood (PRB) by, among others, the artists John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt. The HyperTexts English Poetry Timeline and Chronology English Literature Timeline and Chronology World Literature Timeline and Chronology This is a timeline of English poetry and literature, from the earliest Celtic, Gaelic, Druidic, Anglo-Roman, Anglo-Saxon and Anglo-Norman works, to the present day.
William Butler Yeats (), Nobel Prize winning Irish dramatist, author and poet wrote The Celtic Twilight (); Paddy Flynn is dead;.He was a great teller of tales, and unlike our common romancers, knew how to empty heaven, hell, and purgatory, faeryland and earth, to people his stories.
Here, for the first time, is a panoramic overview of the most resonant work of the Pre-Raphaelite era in one handy volume. Combining well-known works with previously neglected materials, this ambitious anthology includes writing and art by such figures as the Rosettis, William Morris, John Ruskin, George Meredith, and Algernon Charles .
About An Anthology of Pre-Raphaelite Writings. Here, for the first time, is a panoramic overview of the most resonant work of the Pre-Raphaelite era in one handy volume. This outstanding anthology presents the most inspired verse of the the Pre-Raphaelite movement — a treasury of poems that resounds with a lush musicality of language.
The poetry of Dante Gabriel Rossetti crowns this collection: highlights include "The Blessed Damozel," "My Sister's Sleep," and.