Shelburne Essays – Wordsworth
We are now leaving the writings of Irving Babbitt and delving into the brilliant essays of Paul Elmer More. I am happy to present the first post of More’s collection, “Shelburne Essays, Seventh Series.”
We are now leaving the writings of Irving Babbitt and delving into the brilliant essays of Paul Elmer More. I am happy to present the first post of More’s collection, “Shelburne Essays, Seventh Series.”
I am happy to present the thirteenth post of Irving Babbitt’s book “The New Laokoon, an Essay on the Confusion of the Arts.”
We here present the final part (Part 5) of the Introduction written by P. E. More for his translation of the “Prometheus Bound” of Aeschylus, published in 1899.
(Pictured: Elizabeth Hitchener) We herewith present the second of the three posts comprising P. E. More’s essay, “Shelley,” which appears in the seventh volume of The Shelburne Essays. Paul Elmer More (1864-1937) was an...
(Pictured: Barbey d’Aurevilly.) I am happy to present the third post of Chapter IX of Rousseau and Romanticism, “Romantic Melancholy,” in which Irving Babbitt asks, “does one become happy by being nostalgic and hyperaesthetic,...
(Pictured: Pindar.) I am happy to present the first post of Chapter IX of Rousseau and Romanticism, “Romantic Melancholy,” in which Irving Babbitt asks, “does one become happy by being nostalgic and hyperaesthetic, by...
(Pictured: Wordsworth.) I am happy to present the third post of Chapter VIII of Rousseau and Romanticism, “Romanticism and Nature,” in which Irving Babbitt treats of the idolatry of outer nature, conceived as a...
(Pictured: Salvator Rosa.) I am happy to present the second post of Chapter VIII of Rousseau and Romanticism, “Romanticism and Nature,” in which Irving Babbitt treats of the idolatry of outer nature, conceived as...
(Pictured: Antigone.) I am happy to present the second post of Chapter VI of Rousseau and Romanticism, “Romantic Love,” in which Irving Babbitt shows that the romantic lover’s “ever-fleeting” object of desire only turns...
Babbitt shows that the romantic lover’s “ever-fleeting” object of desire only turns out in the end to be the lover himself in disguise.
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