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The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“The real meaning of historical materialism, and at the same time, the most important advance of the philosophy of history since the romantic movement, consists rather in the insight that historical developments have their origin not in formal principles, ideas and entities, not in substances which unfold and produce in the course of history mere ‘modifications’ of their fundamentally unhistorical nature, but in the fact that historical development represents a dialectical process, in which every factor is in a state of motion and subject to constant change of meaning, in which there is nothing static, nothing timelessly valid, but also nothing one-sidedly active, and in which all factors, material and intellectual, economic and ideological, are bound up together in a state of indissoluble interdependence, that is to say, that we are not in the least able to go back to any point in time, where a historically definable situation is not already the result of this interaction. Even the most primitive economy is already an organized economy, which does not, however, alter the fact that, in our analysis of it, we must start with the material preconditions, which, in contrast to the forms of intellectual organization, are independent and comprehensible in themselves.”
Hermeneutics
Dialectical
Historical Materlialism
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“The ‘Sturm und Drang’ was even more complicated in its sociological structure than the West European forms of preromanticism, and not merely because the German middle class and the German intelligentsia had never identified themselves closely enough with the enlightenment to keep their eyes sharply fixed on the aims of the movement and not to deviate from it,
but also because their struggle against the rationalism of the absolutist regime was at the same time a struggle against the progressive tendencies of the age. They never became aware of the fact that the rationalism of the princes represented a less serious danger for the future than the anti-rationalism of their own compeers. From being the enemies of despotism they, therefore, became the instruments of reaction and merely promoted the interests of the privileged classes with their attacks on bureaucratic centralization.
To be sure, their struggle was not directed against the social levelling tendencies of the system, with which aristocratic and upper middle-class interests were in conflict, but against its generalizing influence and violation of all intellectual distinction and variety. They championed the rights of life, of individual being, natural growth and organic development, against the rigid formalism of the rationalized administration, and meant not only the denial of the bureaucratic state with its mechanical generalization and regimentation, but also the repudiation of the planning and regulating reformism of the enlightenment. And although the idea of the spontaneous, irrational life was still of an indefinite and fluctuating nature and certainly hostile to the enlightenment, but not yet markedly conservative in its purpose, nevertheless, it already contained the essence of the whole philosophy of conservatism. It did not need much now to ascribe a mystical superrationality to this principle of ‘life’, in contrast to which the rationalism of enlightened thought seemed unnatural, inflexible and doctrinaire, and to represent the rise of political and social institutions from historical ‘life’ as a ‘natural’, that is to say, superhuman and superrational growth, in order to protect these institutions against all arbitrary attacks and to secure the continuance of the prevailing system.”
Romanticism
Rationalism
Anti Rationalism
Anti Authoritarian
Pre Romanticism
Sturm Und Drang
The Social History of Art Volume 3: Rococo, Classicism and Romanticism
“[...]but in Germany, where the loyalty of the army and the bureaucracy was the basis of a new feudalism, government posts were reserved, except for subordinate offices, for the nobility and the junkers. The common people were oppressed by the officials of the Crown, high and low, as much and even more than by the manorial stewards in former days. The German peasants had never known anything but serfdom, but now the middle classes, as well, lost everything they had gained in the course of the fourteenth and 95 fifteenth centuries. First of all, they were impoverished and deprived of their privileges, then they lost their self-confidence and selfrespect. Finally, out of their misery, they developed those ideals of submissiveness and unquestioning loyalty which made it possible for any cringing philistine to think of himself as the servant of a ‘higher Idea’.”
German Idealism
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“It would shed an extraordinarily revealing light on the gradual alienation of modern literature from the middle classes, to examine the metamorphoses this figure underwent from the ‘Sturm und Drang’ right up to Ibsen and Shaw. For he does not represent simply the stereotyped insurgent against the prevailing social order, who is one of the basic types of the drama of all times, nor is he merely a variant of rebellion against the particular ruler of the moment, which is one of the fundamental dramatic situations, but he represents a concrete and consistent attack on the bourgeoisie, on the basis of its spiritual existence and on its claim to stand for a universally valid moral norm. To sum up, what we are here confronted with is a literary form which from being one of the most effective weapons of the middle class developed into the most dangerous instrument of its self-estrangement and demoralization.”
Romanticism
Morality
Drama
Sturm Und Drang
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“Naturally, the single individual can be wrecked by old institutions just as much as he can be destroyed by the representatives of a new world. A class, however, that believes in its ultimate victory, will regard its sacrifices as the price of victory, whereas the other class, that feels the approach of its own inevitable ruin, sees in the tragic destiny of its heroes a sign of the coming end of the world and a twilight of the gods. The destructive blows of blind fate offer no satisfaction to the optimistic middle class which believes in the victory of its cause; only the dying classes of tragic ages find comfort in the thought that in this world all great and noble things are doomed to destruction and wish to place this destruction in a transfiguring light. Perhaps the romantic philosophy of tragedy, with its apotheosis of the self-sacrificing hero, is already a sign of the decadence of the bourgeoisie. The middle class will, at any rate, not produce a tragic drama in which fate is resignedly accepted until it feels threatened with the loss of its very life; then, for the first time, it will see, as happens in Ibsen’s play, fate knocking at the door in the menacing shape of triumphant youth.”
Bourgeoisie
Twilight Of Gods
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“The psychology of the naturalistic drama, in which the characters are interpreted as social phenomena, has its origin in this urge which the spectator feels to identify himself with his social compeers. Now, however much objective truth there may be in such an interpretation of the characters in a play, it leads, when raised to the status of an exclusive principle, to a falsification of the facts. The assumption that men and women are merely social beings results in just as arbitrary a picture of experience as the view according to which every person is a unique and incomparable individual. Both conceptions lead to a stylization and romanticizing of reality. On the other hand, however, there is no doubt that the conception of man held in any particular epoch is socially conditioned and that the choice as to whether man is portrayed in the main as an autonomous personality or as the representative of a class depends in every age on the social approach and political aims of those who happen to be the upholders of culture.
When a public wishes to see social origins and class characteristics emphasized in the human portraiture, that is always a sign that that society has become class-conscious, no matter whether the public in question is aristocratic or middle-class. In this context the question whether the aristocrat is only an aristocrat and the bourgeois only a bourgeois is absolutely unimportant.
”
Art
Literature
Drama
Naturalism
Self Identity
Class Consciousness
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“Only a society that had lost its faith in both the necessity and the divine ordinance of social distinctions and in their connection with personal virtue and merit, that experiences the daily growing power of money and sees men becoming merely what external conditions make them, but which, nevertheless, affirms the dynamism of human society, since it either owes its own ascendancy to it or promises itself that it will lead to its ascendancy, only that kind of society could reduce the drama to the categories of real space and time and develop the characters out of their material environment.”
Literature
Materialism
Fictional Characters
Extraneous
Money Economy
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“Just as his sentimentalism is profoundly middle-class and plebeian, but his irrationalism reactionary, so his moral philosophy also contains an inner contradiction: on the one hand, it is saturated with strongly plebeian characteristics, but on the other, it contains the germ of a new aristocratism. The concept of the ‘beautiful soul’ presupposes the complete dissolution of kalo-kagathia and implies the perfect spiritualization of all human values, but it also implies an application of aesthetic criteria to morality and is bound up with the view that moral values are the gift of nature. It means the recognition of a nobility of soul to which everyone has a right by nature, but in which the place of irrational birthrights is taken by an equally irrational quality of moral genius. The way of Rousseau’s ‘spiritual beauty’ leads, on the one hand, to characters like Dostoevsky’s Myshkin, who is a saint in the guise of an epilectic and an idiot, on the other, to the ideal of individual moral perfection which knows no social responsibility and does not aspire to be socially useful. Goethe, the Olympian, who thinks of nothing but his own spiritual perfection, is a disciple of Rousseau just as much as the young freethinker who wrote Werther.”
Nature
Morality
Goethe
Rousseau
Dostoevsky
Nobility Of Soul
New Aristocracy
Spiritulization
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“Richardson' moralizing novels contain the germ of the most immoral art that has ever existed, namely the incitement to indulge in those wish-fantasies in which decency is only a means to an end, and the inducement to occupy oneself to mere illusions instead of striving for the solution of the real problems of life. They also, for that reason, denote one of the most important dividing lines in the history of modern literature; previously the works of an author were either really moral or immoral, but since his time the books which want to appear moral in most cases merely moralize. In the struggle against the upper classes the bourgeois loses his innocence, and as he has to emphasize his virtue all too often, he becomes a hypocrite.”
Art
Fiction
Hypocrite
Wish Fulfillment
Bourgeois
Moralize
Pre Romanticism
Reading Public
The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque
“Like all the forms of life and culture of the age, first of all the mercantilism economic system, the aesthetic of classicism of guided by the principles of absolutism - the absolute primacy of the political conception over all the other expressions of cultural life. The special characteristic of the new social and economic forms is the anti-individualistic tendency derived from the idea of the absolute state. Mercantilism is also, in contrast to the older form of profit economy, based on state-centralism, not on individual units, and it attempts to eliminate the regional centres of trade and commerce, the municipalities and the corporations - that is to say, to put state-autonomy in the place of separate autarchies.”
Individualism
Absolutism
Baroque
Regional
Mercantilism
The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“Since Gothic days all great art, with the exception of a few short-lived classicist movements, has something fragmentary about it, an inward or outward incompleteness, an unwillingness, whether conscious or unconscious, to utter the last word. There is always something left over for the spectator or reader to complete. The modern artist shrinks from the last word, because he feels the inadequacy of all words— a feeling which we may say was never experienced by man before Gothic times.”
Incompleteness
Conclusionless
Gothic Art
The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.”
Art
Entertainment
Education
Tragedy
Propaganda
Politics
Mime
Art And Politic
Greek Theater
People S Art
مجمل تاريخ المغرب
“Les historiens non-maghrébins semblent poser des questions légitimes : Que sont les berbères ? Se demandent les préhistoriens. Comment sont-ils passés de la barbarie à la civilisation ? Se demandent protohistoriens et classicisants. Pourquoi adoptèrent-ils l’islam ?, se demandent les médiévistes. Derrière ces questions s’en cachent cependant d’autres, bien moins innocentes : Ont-ils manqué l’âge des métaux ? Reçurent-ils l’agriculture des phéniciens ? Méconnurent-ils l’organisation politique de Rome ? Ce sont en fait des affirmations à peine voilées et au fond desquelles se cache toujours la vielle exclamation horrifiée : Quel scandale que l’Islamisation !”
Amazigh
Tifinagh
Superman & Co. Codici del cinema e del fumetto.
“Per il nuovo continente, privo di una storia e di una classicità mitologica è il momento per una palingenesi del mito: un pantheon di nuove divinità, i supereroi, dotate di superpoteri, che difendano l'idea di una democrazia liberale. - pag. 34”
Media
Cinema
Fumetto
Supereroi
Semiologia
Animazione
Fare i conti con i classici
“La verità è che i Classici sono in declino per definizione [...] La sensazione di una perdita imminente, il perenne timore che gli studi classici stiano per scomparire per sempre è ciò che [...] conferisce a queste discipline l'energia e la tensione di cui ritengo siano ancora intrise.”
Classici
“Mi sono iscritto a lettere perché mi piace leggere, analizzare i libri, scoprire autori sconosciuti, rivisitare i classici di ogni tempo e paese. L'insegnamento sembrava l'unica applicazione pratica della mia laurea. Ho anche pensato di cercare in altri settori: il mondo editoriale, il giornalismo, le scuole di scrittura. Ma per entrare in quegli ambienti bisognava avere dei contatti e io non ne ho. Sono stato uno di quei romantici che scelgono l'indirizzo di studi pensando solo ai loro gusti e alle loro inclinazioni, non a guadagnarsi da vivere. Devo essere tra gli ultimi imbecilli rimasti sulla terra.”
Letteratura
Passione
Studi
Lettere
“Cosa significa il fatto che il popolo italiano legge di preferenza gli scrittori stranieri? Significa che esso subisce l'egemonia intellettuale e morale degli intellettuali stranieri, che esso si sente legato piú agli intellettuali stranieri che a quelli «paesani», cioè che non esiste nel paese un blocco nazionale intellettuale e morale, né gerarchico e tanto meno egualitario. Gli Gli intellettuali non escono dal popolo, anche se accidentalmente qualcuno di essi è d'origine popolana, non si sentono legati ad esso (a parte la retorica), non ne conoscono e non ne sentono i bisogni, le aspirazioni, i sentimenti diffusi, ma, nei confronti del popolo, sono qualcosa di staccato, di campato in aria, una casta, cioè, e non un'articolazione, con funzioni organiche, del popolo stesso.È da ricordare ciò che scrisse Edoardo Boutet sugli spettacoli classici (Eschilo, Sofocle) che la Compagnia Stabile di Roma diretta appunto dal Boutet dava all'Arena del Sole di Bologna il lunedí – giorno delle
lavandaie – e sul grande successo che tali rappresentazioni avevano. È anche da rilevare il successo che nelle masse popolari hanno sempre avuto alcuni drammi dello Shakespeare, ciò che appunto dimostra come si possa essere grandi artisti e nello stesso tempo «popolari».”
Gramsci
“Het is zonneklaar dat er met BDW en zijn N-VA doodgewoon niet te regeren valt. Eerst liet hij ons 541 dagen verliezen rond Brussel-Halle-Vilvoorde, nudeinst hij er niet voor terug de Vlaamse Raad één jaar lang lam te leggen door Kris Peeters op te zadelen met allicht één jaar lopende zaken, stilletjes hopend vervroegde verkiezingen uit te lokken. Nu laat hij weer zijn visceraal conservatisme blijken: ASO is altijd goed geweest, dus waarom het afschaffen? Altijd teruggrijpen naar het verleden en steeds weer negeren dat we in de postmoderniteit leven waar het huwelijk al lang niet meer de hoeksteen van de gezonde maatschappij is. Wat was er dan zo goed aan dat fameuze ASO? Mijn kinderen weten niet eens welke de literaire codes zijn van Classicisme over Sturm und Drang, Vroegromantiek, Romantiek, Naturalisme, Realisme, Symbolisme, Modernisme, Postmodernisme; hebben nooit geleerd wat de dominerende stromingen in de filosofie zijn, hebben nooit geleerd hoe je een kram in de muur moet kloppen, hoe je een luchter ophangt, hebben wel tot 7 uur per week volkomen nutteloos Latijn gestudeerd, ikzelf 8 uur per week godsdienstlessen gevolgd. Maar uitleggen hoe de sociale dynamica werkt, hoe formele sociale controle de steeds verder achteruitboerende informele controle kan rechttrekken (onmogelijk!), oh neen! Het niveau van ons fameuze ASO is bedroevend laag. Onderwijs is een verlengstuk van de noden van het bedrijfsleven geworden. Geschiedenis? Daar weten mijn kinderen niets van tenzij dat in 1302 een stel Vlaamsche boeren de Franse adel in het zand lieten bijten. Maar dat de Galopin doctrine de Société Générale er niet van weerhield uranium te leveren aan de Nazi's: niets van geleerd. Wij kweken op scholen onderdanige nuttige idioten. En dat wil BDW verderzetten, want je moet al goed idioot zijn om op zulk'n oerconservatieve kwal te stemmen.”
Jean Pierre Van Rossem
Vlaams Nationalisme
Bart De Wever
N Va
Vlaams Nationalisten
“In his thoughtful essay Did the Greeks Believe in their Myths? the classicist Paul Veyne remarks that in classical antiquity belief-like assertions were social assertions that interlocutors did not take to refer to the everyday world in the same way that later Europeans would assume that they did. ’The Greeks believe and do not believe their myths. They believe in them, but they use them and cease believing at the point where their interest in believing ends’ (1988:84). All humans, he writes, hold contradictory commitments. These different commitments are managed with what he calls different ‘truth programs’: different sets of ideas, practices, and interests that belong together in some social world and are held with a particular attitude. ’A Greek put the gods ”in heaven,” but he would have been astounded to see them in the sky. He would have been no less astounded if someone, using time in its literal sense, told him that Hephaestus had just remarried or that Athena had aged a great deal lately’ (1988:18).”
Myths
Greeks
How God Becomes Real
Truth Programs
Re-visioning Medusa: from Monster to Divine Wisdom
“It is no surprise, then, that the earth deities of the Old Religion were demonized or co-opted. A typical task for Greek heroes was to rid the civilized world of those “earth-born bogeys.” The Gorgon Medusa, whose gaze turned men to stone, became an obvious target. Nevertheless, on the periphery of the Greek world, there is evidence that She was venerated in her ancient powers. During the 6th century BCE on the island of Corfu, an eight-foot-high full-bodied sculpture of Medusa was placed at the highest point on the pediment of the temple of Artemis. This Medusa is not raging, but is radiant in her full potency. Snakes with open jaws extend from each side of her head and two copulating serpents encircle her waist, carrying the potential for both death and new life. She wears winged sandals, her great wings are fully extended, sheltering her two children, and her bent-knee posture suggests that she is flying. All shamanic dimensions are Hers—the Great Above, the Great Below, the Primordial Waters, and the entire expanse of the Earth. She is flanked by great felines, just as the Phrygian Mountain Goddess Cybele and the seated Ancestral Mother from Çatalhöyük before her.'' ''The establishment of the Greek patriarchal world shifted the previous cultural valence from the egalitarian continuity of the Old Religion to the extreme imposition of male dominance and the cult of the hero. Under this new world order, all challenges to male hegemonic systems were to be crushed. As the classicist Eva Keuls emphasizes, “the suppression of women, the military expansionism and the harshness in the conduct of civic affairs all sprang from a common aggressive impulse.” That impulse was the expression of “male supremacy and the cult of power and violence.”
Medusa Mythology
Re-visioning Medusa: from Monster to Divine Wisdom
“The establishment of the Greek patriarchal world shifted the previous cultural valence from the egalitarian continuity of the Old Religion to the extreme imposition of male dominance and the cult of the hero. Under this new world order, all challenges to male hegemonic systems were to be crushed. As the classicist Eva Keuls emphasizes, “the suppression of women, the military expansionism and the harshness in the conduct of civic affairs all sprang from a common aggressive impulse.” That impulse was the expression of “male supremacy and the cult of power and violence.”
Medusa Mythology
The Secret History
“And what does a person with such a romantic temperament seek in the study of the classics? He asked this as if, having had the good fortune to catch such a rare bird as myself, he was anxious to extract my opinion while I was still captive in his office.
'If by romantic you mean solitary and introspective,' I said, 'I think romantics are frequently the best classicists.'
He laughed. 'The great romantics are often failed classicists. But that's beside the point, isn't it?”
Classics
Romanticism
“Having been a Ship’s Captain, a Naval Officer a Mathematics & Science Teacher, most people would believe that my primary interests would be directed towards the sciences. On the other hand, those that know me to be an author interested in history, may believe me to be interested in the arts. University degrees usually fall into the general category of Art or Science. It’s as if we have to pick sides and back one or the other team…. With my degree in Marine Science I am often divided and pigeon holed into this specific discipline or area of interest. One way or the other, this holds true for most of us but is this really true for any of us. As a father I can certainly do other things. Being a navigator doesn’t preclude me from driving a car. Hopefully this article does more than just introduce Cuban Art and in addition gives us all good reason to be accepted as more than a “Johnny One Note.“ My quote that “History is not owned solely by historians. It is a part of everyone’s heritage” hopefully opens doors allowing that we be defined as a sum of all our parts, not just a solitary or prominent one. As it happens, I believe that “Just as science feeds our intellect, art feeds our soul.”
For the years that Cuba was under Spanish rule, the island was a direct reflection of Spanish culture. Cuba was thought of as an extension of Spain's empire in the Americas, with Havana and Santiago de Cuba being as Spanish as any city in Spain. Although the early Renaissance concentrated on the arts of Ancient Greece and Rome, it spread to Spain during the 15th and 16th centuries. The new interest in literature and art that Europe experienced quickly spread to Cuba in the years following the colonization of the island. Following their counterparts in Europe, Cuban Professionals, Government Administrators and Merchants demonstrated an interest in supporting the arts. In the 16th century painters and sculptors from Spain painted and decorated the Catholic churches and public buildings in Cuba and by the mid-18th century locally born artists continued this work.
During the early part of the 20th century Cuban artists such as Salvador Dali, Joan Miró and Pablo Picasso introduced modern classicism and surrealism to Europe. Cuban artist Wilfred Lam can be credited for bringing this artistic style to Cuba. Another Cuban born painter of that era, Federico Beltran Masses, known to be a master of colorization as well as a painter of seductive images of women, sometimes made obvious artistic references to the tropical settings of his childhood. As Cuban art evolved it encompassed the cultural blend of African, European and American features, thereby producing its own unique character. One of the best known works of Cuban art, of this period, is La Gitana Tropical, painted in 1929, by Víctor Manuel.
After the 1959 Cuban Revolution, during the early 1960’s, government agencies such as the Commission of Revolutionary Orientation had posters produced for propaganda purposes. Although many of them showed Soviet design features, some still contained hints of the earlier Cuban style for more colorful designs. Towards the end of the 1960’s, a new Cuban art style came into its own. A generation of artists including Félix Beltran, Raul Martinez, Rene Mederos and Alfredo Rostgaard created vibrantly powerful and intense works which remained distinctively Cuban. Though still commissioned by the State to produce propaganda posters, these artists were accepted on the world stage for their individualistic artistic flair and graphic design.
After bringing the various and distinct symbols of the island into their work, present day Cuban artists presented their work at the Volumen Uno Exhibit in Havana. Some of these artists were Jose Bedia, Juan Francisco Elso, Lucy Lippard, Ana Mendieta and Tomas Sanchezare. Their intention was to make a nationalistic statement as to who they were without being concerned over the possibility of government rep”
Art
Books
Paintings
Captain Hank Bracker
Cuban History
Tau Zero
“The fact is, man has never stayed by a single ideal. The mass enthusiasm when you were young gave way to cool, rationalistic classicism. Today that’s being drowned in turn by a kind of neoromanticism. God knows where that will lead. I probably won’t approve. Regardless, new generations grow up. We’ve no right to freeze them into our own mold. The universe is too wide.”
Culture
Maturation
“And what does a person with such romantic temperament seek in the study of the classics?
"If by romantic you mean solitary and introspective, I think romantics are frequently the best classicists.”
Romantic
Classics
Literature
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