Art as Refuge in Hofmannsthal’s “Prologue” In Fin-de siècle Vienna, Carl E. Schorske outlines how the hegemony of classical liberalism in Austria became challenged and consequently eroded by the emergence of new social groups, which eventually gained political dominance over the liberals. As these new social groups had strongly opposing ideas to the liberal class, the loss in political power quickly evolved into a psychological defeat. The liberal culture no longer had conviction of their “legacy of rationality, moral law, and progress”. As the poet Hugo von Hofmannsthal came to age during this “crisis of liberal polity”, he became concerned with how the liberal bourgeoisie increasingly sought refuge in art, which Schorske notes had become …show more content…
This explains the historical and mythical setting of his garden in “Vienna of the seventeen-sixties” (line 9), inhabited by “Sphinxes” (line 3), “tritons” (line 6) and “water-nymphs” (line 12). This suggests the idea of escaping to past and fictional glories. Moreover, he references the artistic movement “Rococo” (line 7), and the artists “Canaletto” (line 9) and “Watteau” (line 55). By referring to the garden as a deliberate work of art, Hofmannsthal underscores the ideas of illusion and escapism. When the reader enters Hofmannsthal’s garden, he/she, like the liberal bourgeoisie class, temporary leaves the exigencies of his/her life. However, Hofmannsthal puts forth the idea that this escapism has led to life becoming “drained of vitality”. This can be seen in his use of diction in line …show more content…
The mysterious “we” could be Hofmannsthal’s acknowledgement of his participatory role in using art as an escape. Additionally, the oxymoronic juxtaposition of “early-ripe and sad and tender, /The commedia of our spirit” (lines 65-60) indicate the uncertain and anxious mood plaguing the liberal class. Moreover, Hofmannsthal reiterates the deficiencies of the garden, where the beautiful veneer of the garden wears down over time – “Ugly facts in pretty guises” (line 62). Additionally, “Half-felt feelings sensed in secret” (line 64) provides a link to Anatol, as it encapsulates the titular character 's half-involvement with
the modern garden. She interprets how we have the need to control and create what we consider perfect with our sciences and labs. While rules reign, sanitation demands, and socialization take control of the perfect scene for a pleasant environment, the unpleasant side of these malls such as their trash is kept out of the vision of the consumer. Most of these consumer products that are used to entice the population to enter into this heavenly place on earth became waste that is not entirely recycled
Between 1815 and 1851, there was an increase in conservative demands and ideals across Europe. Three nations fit into this mold exceptionally well, one of them being Prussia. The other nation that best shows how conservative ideals achieved their goals is France and how it changed after the restoration of the Bourbon monarchy. The third nation being, Austria and how the rulers handled the discontent of the different minority groups within it’s borders.
Specifically, the grandfather in this poem appears to represent involvement with nature because of his decisions to garden as he “stabs his shears into earth” (line 4). However, he is also representative of urban life too as he “watched the neighborhood” from “a three-story” building (line 10). The author describes the world, which the grandfather has a small “paradise” in, apart from the elements desecrated by humans, which include “a trampled box of Cornflakes,” a “craggy mound of chips,” and “greasy / bags of takeouts” (lines 23, 17, 2, and 14-15). The passive nature of the grandfather’s watching over the neighborhood can be interpreted in a variety of different ways, most of them aligning with the positive versus negative binary created by the authors of these texts. The author wants to show the reader that, through the grandfather’s complexity of character, a man involved in both nature and more human centered ways of life, there is multifaceted relationship that man and nature share. Through the also violent descriptions of the grandfather’s methods of gardening, the connection between destructive human activities and the negative effects on nature is
Despite nature’s capacity to exist without humanity, ‘orchards would never be planted’. The high modality of the metaphor of an orchard and its fruit unable to be formed reflects the absence of human drive for a set goal nor its deliberately planned path of growth– bearing no ‘fruits’ or rewards in the long run. In comparison, when humanity’s rapacious attempts strip the landscape of its resources (Flame Tree in a Quarry), nature ‘springs up this scarlet breath’ where the sibilance and personification of the earth emphasises the sharp pain and loss. Furthermore, the symbolism of ‘scarlet’ as blood from a wound also exemplifies humanity’s self endangerment upon damaging the land, in spite of their temporary materialistic gain. Therefore, although both the land and humans may, at least momentarily, survive with the absence of the other, both have their progress capped. Accordingly, the River of Dreams illustrates humanity and nature’s reliance on one another in the ship on the luminescent blue ocean in the background’s centre of the River of Dreams. The ocean symbolises nature’s patience and gentle nurturing power being the medium of support for the ship that represents humanity. This conveys humanity’s striving intention for an advance to a pinpointed destination, sanctioned by nature’s serenity and stability to prevent society’s total submergence in greed
The beginning of individualism’s gradual evolution was first manifested in the Renaissance Era. The Renaissance was a ripe time ready for change. The weakening role of the Catholic Church led to an increase in power for the masses. Corruption plagued Church officials and many sought theological respite elsewhere. The reemphasis of ancient Greek and Roman texts proffered alternatives for many to satisfy their religious needs. This helped contribute to the abolishment of the Church’s imposition of its absolute truth and its claim to ultimate authority. As the church lost power, so did the political units. The bonds between church and state began to erode. Feudalism declined, hence giving rise to new political opportunity. The noble class no longer held a monopoly on the valued positions in society. Rather, one was able to pursue wealth and fame through various endeavors ranging from artist to soldier.
Overall, politics are key in determining whether this era was predominantly liberal or conservative as well as economic and social reforms. On an aside, conservatism can be defined as a political philosophy based upon tradition and social stability while liberalism can be defined in two ways. Modern Liberalism emphasizes liberty and rights but, believes in strong government intervention in order to prevent the growth of a capitalist society, while classical liberalism advocates liberty and the autonomy of the individual. With these definitions given it can be concluded that the progressive era promoted change as well as government intervention to prevent capitalism from spreading and the autonomy of the individual. In conclusion, for the most part the Progressive Era from 1901-1907 was a triumph for modern and classical liberalism.
In the late1960’s American politics were shifting at a National level with liberalism being less supported as its politics were perceived as flawed, both by people on the left who thought that liberalism was not as effective as more radical political enterprises and by conservatives who believed that liberal politics were ostensibly crippling the American economy.
In “The Violets” I entwine the past and present, the reoccurring flower motif of ‘spring violets’ sprout in both memory and reality to reflect the persona’s age and perceptions “I kneel to pick frail melancholy flowers among ashes and loam”. The violets portray the persona as an adult, whose gained knowledge and lacking innocence has created a critical, melancholic view on her world. This is juxtaposed by the persona’s childhood perception; “spring violets in their loamy bed”. In childhood, beauty was simplistic and untainted by knowledge and human experience; blessed by innocence.
Jewish emancipation in Germany dates from 1867 and became law in Prussia on July 3, 1869. Despite the fact the prominence which Jews had succeeded in gaining in trade, finance, politics, and literature during the earlier decades of the century, it is from the brief rise of liberalism that one can trace the rise of the Jews in German social life. For it is with the rise of liberalism which the Jews truly flourished. They contributed to its establishment, benefited from its institutions, and were under fire when it was attacked. Liberal society provides social mobility, which led to distaste among those who had acquired some place in a sort of a hierarchy. Although many were, not all anti-Semites were anti-liberal, but most anti-Semites opposed Liberalism’s whole concept of human existence, which provides much equality.
In the Nineteenth Century the natural order of conservatism was challenged by new ideology such as Marxism and Liberalism. Conservatism was the norm and dominated Europe at the time so of course people were going to challenge monarchs because of their disagreement with the way they ruled. So I am here to show why conservatism is better for countries than liberalistic ideas. Also I will give sufficient reasoning why the conservative limits on voting should not change and why the limits are best for a country.
The speaker begins the poem an ethereal tone masking the violent nature of her subject matter. The poem is set in the Elysian Fields, a paradise where the souls of the heroic and virtuous were sent (cite). Through her use of the words “dreamed”, “sweet women”, “blossoms” and
The valley is described as a “desolate” place where “ashes grow like wheat into ridges and hills into grotesque gardens”. (21) Ashes that dominate the area take the shape of natural greenery. The term “grotesque gardens” uses alliteration, with juxtaposition; to highlight the odd pairing of ashes and greenery. Ashes are associated with death while ridges and “gardens” represent the potential to flourish and grow in the promise and ideal of equality as in “the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams.” (143) The trees that once stood here were able to speak to man’s dreams, which allude to America, the land able to speak to man’s dreams and capacity for wonder. All this is replaced by grey ash that suffocates the inhabitants, restricting them to their social class. This presents a bleak image of hopelessness that surrounds the valley.
Although I think Goethe's relationship to nature is undeniable, perhaps his "appropriation" of nature is less clear. I think the term "appropriation" is the cause of the problem in identifying his true relationship to nature. In our presentation we presented examples of the appropriation of nature through Romantic literature. The most direct example of this was in Anne's detailed description of English landscape gardening where nature was physically appropriated to create the picturesque. Here we can see the distinction between any concept of Goethe's appropriation of nature and the real and physical appropriation by English landscapers.
In Kew Gardens, Virginia Woolf takes advantage of the liminal quality of the short story in order to highlight the suspended world that she creates in the garden. For Woolf, the lyrical short story’s subversion of traditional narrative structure allows her to focus on creating a world rather than a plot. Further, the short story creates a liminal space by the very nature of its form. Caught in a space where it is not considered a poem or a novel, the short story exists as undefined. The liminality of the short story, however, is both liberating and restricting. Woolf explores this feature in order to suggest the unsustainable nature of Kew Gardens. While Woolf utilizes the form of the short story to create a liminal, impressionistic space that eradicates the boundaries between human and nature, she also uses the transitory quality of the short story to suggest that such a space can only exist for a short duration due to the restrictions of the imposing outside world.
He personifies both the daffodils and waves as he compares their beauty to each other. However, the flowers "out-did" the waves with their happiness, since waves do not bring as much joy as the yellow flowers. This comparison makes the daffodils seem even more beautiful and happy. Furthermore, the speaker uses more joyful connotations to describe the daffodils. The use of the word “jocund” instead of cheerful implies the complexity of the beauty of the flower. Both the comparison and the connotation reinforce the theme of happiness. Moreover, the speaker uses the repetition of the word “gaze”. By repeating the word, he indicates that he, consistently, looked at the flowers for a long time. Additionally, the speaker metaphorically compares the sight of the daffodils to “wealth”. The word "wealth" in this instance, is not a measure of material prosperity, but rather a measure of a permanent kind of happiness that results from simply the view of the