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Romola (Illustrated)
Romola (Illustrated)
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In "Romola" George Eliot gives the world a perfect work of art.
Plot, characters, local truth, color and historical truth are perfectly presented. In these pages, as the novelist prepared a canvas large enough to show her genius and culture. Nothing is much rarer than the union of the scientific, the historical and artistic temperaments as seen in this woman of deep thought and of a varied knowledge such as has thus far been, with this one exception, in the exclusive possession of man.
The deep philosophic thought of George Eliot's novel quietly suffuses and illuminates it everywhere. But with all her metaphysical contemplation, her eyes were not turned inward or kept down. She studied the living world about her and looked into the souls of her characters.
Tito Milema as a character is a masterpiece of clear insight into human motives, and the consequences of human actions. Epigrammatic expression and unerring humor are brought to bear upon this study of personified selfishness with artistic finish. Her picture of the religious condition of Italy just before the Reformation is a monument of historical research and her portrait of Savonarola a great example of imaginative realization. "Romola," driven by her "great need" to seek the protection of the church she bad been taught to look upon as the embodiment of superstition and ignorance, never losing her clear perception of a state of things in which there should be no need of a visible church, teaches a profound lesson needed more and more.
When this book was first read in America as a serial in Harper's Magazine, 1861-1862, it was greeted with volumes of criticism, but the ablest critics pronounced the form in which the thoughts were cast to be perfect. After twenty-eight years its great possibilities for illustration have been recognized. This edition contains those illustrations.
Plot, characters, local truth, color and historical truth are perfectly presented. In these pages, as the novelist prepared a canvas large enough to show her genius and culture. Nothing is much rarer than the union of the scientific, the historical and artistic temperaments as seen in this woman of deep thought and of a varied knowledge such as has thus far been, with this one exception, in the exclusive possession of man.
The deep philosophic thought of George Eliot's novel quietly suffuses and illuminates it everywhere. But with all her metaphysical contemplation, her eyes were not turned inward or kept down. She studied the living world about her and looked into the souls of her characters.
Tito Milema as a character is a masterpiece of clear insight into human motives, and the consequences of human actions. Epigrammatic expression and unerring humor are brought to bear upon this study of personified selfishness with artistic finish. Her picture of the religious condition of Italy just before the Reformation is a monument of historical research and her portrait of Savonarola a great example of imaginative realization. "Romola," driven by her "great need" to seek the protection of the church she bad been taught to look upon as the embodiment of superstition and ignorance, never losing her clear perception of a state of things in which there should be no need of a visible church, teaches a profound lesson needed more and more.
When this book was first read in America as a serial in Harper's Magazine, 1861-1862, it was greeted with volumes of criticism, but the ablest critics pronounced the form in which the thoughts were cast to be perfect. After twenty-eight years its great possibilities for illustration have been recognized. This edition contains those illustrations.
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