Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Women in Eighteenth Century London: Female Coming of Age in Frances Burney’s Evelina, Cecilia, and The Witlings

The late eighteenth-century author Frances Burney is best known for popularizing the “comedy of manners,” a literary style later adopted by Jane Austen. Burney’s novels, journals, and plays offer an intriguing commentary on contemporary social customs and etiquette. In particular, she voices the concerns and desires of women, leading scholars to focus on the feminist overtones of her writing. Although she carefully examined female roles in the household and family structure, Burney also provided an insider’s perspective into London high life. As an acclaimed author and member of the royal court, Burney offers a rare insight into the lives of the urban elite. For these reasons, I have chosen to examine three of her works within the context of their London setting. In Evelina, Cecilia, and The Witlings, Burney examines women’s struggle for independence against the backdrop of the city. These works offer a new interpretation of the female Bildungsroman, or coming of age story. Burney shows how London life influences her heroines’ expectations, ambitions and desires. Evelina’s coming of age centers around the quest for family and social acceptance, while the two Cecilias of Cecilia and The Witlings confront the financial pressures that accompany their inheritance. Ultimately, the three protagonists learn important lessons that are specific to city life. Although Burney concludes each story with the heroine’s marriage, her focus is not on romance, as has been suggested, but on the cultural landscape of the city. Coming of age in her stories is inextricably connected to the diverse challenges and opportunities presented to urban women.

To Mary Ann [passages copied from several poems, written by an unknown student on November 21, 1790]

The creator of this document is unknown, though he was presumably a student at Harvard College, as the name of the college appears on the document twice. Both sides of the document are filled with passages of poetry, including one from Tobias George Smollett's "The Adventures of Roderick Random" and another from John Tapner's "A New Collection of Fables in Verse." The creator seems to have intended the document for someone named Mary Ann.

A catalogue of books in the College library: [which Benjamin Welles wished to read], 1797

In this small paper-bound catalog, Benjamin Welles (1781-1860) listed books in the Harvard College Library which he wished to read. He presumably compiled the list by consulting the Library's 1790 printed catalog, as the works are categorized according to subjects outlined in that catalog (Antiquities, Astronomy, Ancient Authors, Biography, Sacred Criticism, Ethics, Geography, Geometry, History, Nature, Travels / Voyages, Natural Law, Logic, Metaphysics, Miscellaneous Works, Dramatic, Phililogy, Natural Philosophy, Poetry, Rhetoric, and Theology). The final pages of Welles' catalog, which he titles "Another Selection," list additional volumes he wished to read. These are listed alphabetically, A - G. Some titles throughout the catalog have been marked with a "+" perhaps to indicate that Welles had read them.

Valedictory poem delivered in the Chapel of Harvard University on the 21 June 1796: in the presence of the President Proffers & Tutors & the four classes of understudents at the request of the class who completed their college studies on that day

Handwritten draft of the Charles P. Sumner’s valedictory poem to the Harvard class of 1796, in a 19th century hardcover binding beginning “The youth by adverse fortune forced to roam…”. The poem mentions John Russell, a member of the Class of 1796 who died in November 1795. The copy includes edits and struck-out words.

Notebook of John Allen, 1772

Paper-covered notebook containing handwritten poems and verse by Harvard graduate John Allen. Some of the poems refer to Allen’s illnesses in October 1772. The notebook also contains a short list titled “The Gentleman that I wrote diplomas for," with a list of sixteen individuals who received degrees from Harvard. The inside cover includes the inscription: “John Allen – November 4, 1772. Poetic Composition.” “Dr. T. C. Gilman” is stamped on cover.

Hope: a poem delivered at an exhibition in Cambridge, July 10, 1800

This four-page handwritten poem was composed by Harvard student Joseph Mansfield for a College exhibition on July 8, 1800. The poem begins, "I am not blesd, but may hereafter be; / Who knows what fortune has in store for me?" and concludes with verses about the American Revolutionary War and George Washington.

Revolutionary lyrics manuscript, [17--]

Satires written against the organizers of the American Revolution.

The invention of letters annotated by Charles Pinckney Sumner, ca. 1795-1796

Interleaved second-edition copy of Robert Treat Paine's poem "The Invention of Letters" with handwritten excerpts of 18th century poetry copied by Charles Pinckney Sumner. The excerpts appear to be verses alluded to, or emulated, by Paine in the poem. For example, Paine's verse includes "Beneath the shade, which Freedom's oak displays" and Sumner on the opposite page quoted Alexander Pope's poetry, "Beneath the shade a spreading beech displays." The excerpts include poetry by Alexander Pope, James Thompson, Robert Dodsley, William Falconer, William Hayley, Samuel Rogers, Richard Brinsley Sheridan, Thomas Gray, and John Denham.

Commonplace book of Moses Appleton, 1791-1815 (inclusive)

Volume containing medicinal recipes, medical notes, poetry, and obituaries written by Dr. Moses Appleton (1773-1849). Many of the recipes were copied from medical texts or other publications. His "cure for the dropsy," taken from the New York Herald, contained stale cider, parsley, horseradish, oxymel squills (sea onion in honey), and juniper berries. For diarrhea, he prescribed a blackberry syrup. Several entries indicate Appleton practiced Thomsonian medicine, an alternative system based on use of botanicals. The medical notes include an account of his treatment of a man with smallpox in 1815, and entries on patients he inoculated with cowpox matter. Another entry dated in 1796 provides instructions from the Massachusetts Humane Society for "treatment to be used with persons apparently dead from drowning," which included blowing tobacco smoke in the victim's lungs and applying warm blankets for several hours. Appleton adds a note questioning whether or not the lungs also should be "often artificially inflated." There is additionally a history of prominent physicians dating from ancient Greece.

Miss Rebecca Story's book : manuscript, 1796-[ca. 1803]

Commonplace book of poetry some by Porter; with a list of names of female students at Mr. Woodbridge Academy, 1796. Also includes a poem by Porter concerning the death of her brother, Isaac Story (A. B. 1793).

Publication /

Each no. has also a distinctive title.

Fifty years' recollections of an old bookseller : consisting of anecdotes, characteristic sketches, and original traits and eccentricities, of authors, artists, actors, books, booksellers, and of the periodical press for the last half century, with appropriate selections, and an unlimited retrospect, including some extraordinary circumstances relative to the letters of Junius, and a chain of corroborative evidence respecting their author .

Mode of access: Internet.

The genius of Erasmus Darwin

The Genius of Erasmus Darwin provides insight into the full extent of Erasmus Darwin's exceptional intellect. He is shown to be a major creative thinker and innovator, one of the minds behind the late eighteenth-century industrial revolution, and one of the first, if not the first, to perceive the living world (including humans) as part of a unified evolutionary scenario. The contributions here provide contextual understandings of Erasmus Darwin's thought, as well as studies of particular works and accounts of the later reception of his writings. In this way it is possible to see why the young Samuel Taylor Coleridge was moved to describe Darwin as 'the first literary character in Europe, and the most original-minded man'. Erasmus Darwin, Charles Darwin's grandfather, was one of the leading intellectuals of eighteenth-century England. He was a man with an extraordinary range of interests and activities: he was a doctor, biologist, inventor, poet, linguist, and botanist. He was also a founding member of the Lunar Society, an intellectual community that included such eminent men as James Watt and Josiah Wedgwood. Contents: Introduction; Setting the scene, Jonathan Powers; Prologue 'Catching up with Erasmus Darwin in the New Century', Desmond King-Hele. Section 1: Medicine: Physicians and physic in 17th and 18th century Lichfield, Dennis Gibbs; Dr Erasmus Darwin MD FRS (1731–1802): England's greatest physician?, Gordon Cook; William Pale (1743–1805) and James Parkinson (1755–1824): two peri-Erasmatic thinkers (and several others), Christopher Gardner-Thorpe; The vertiginous philosophers: Erasmus Darwin and William Charles Wells on vertigo, Nicholas Wade. Section 2: Biology: The Antipodes and Erasmus Darwin: the place of Erasmus Darwin in the heritage of Australian literature and biology, John Pearn; Erasmus Darwin on human reproductive generation: placing heredity within historical and Zoonomian contexts, Philip Wilson; All from fibres: Erasmus Darwin's evolutionary psychobiology, C.U.M. Smith; Two special doctors: Erasmus Darwin and Luigi Galvani, Rafaella Simili. Section 3: Education: But what about the women? The lunar society's attitude to women and science and to the education of girls, Jenny Uglow; The Derbyshire 'Darwinians': the persistence of Erasmus Darwin's influence on a British provincial literary and scientific community, c.1780–1850, Paul Elliot. Section 4: Technology: Designing better steering for carriages (and cars); with a glance at other inventions, Desmond King-Hele; Mama and papa: the ancestors of modern-day speech science, Philip Jackson; Negative and positive images: Erasmus Darwin, Tom Wedgwood and the origins of photography, Alan Barnes; Section 5: Environment: Erasmus Darwin's contributions to the geological sciences, Hugh Torrens; The air man, Desmond King-Hele; Erasmus Darwin, work and health, Tim Carter; Section 6: Literature: The progress of society: Darwin's early drafts for the temple of nature, Martin Priestman; The poet as pathologist: myth and medicine in Erasmus Darwin's epic poetry, Stuart Harris; 'Another and the same': nature and human beings in Erasmus Darwin's doctrines of love and imagination, Maurizio Valsania. Epilogue: 'One great slaughter-house the warring world': living in revolutionary times, David Knight; Coda: Midlands memorabilia, Nick Redman; Appendix: The Creation of the Erasmus Darwin Foundation and Erasmus Darwin House, Tony Barnard; Index.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.