Latin Poetry and the Judgement of Taste: An Essay in by Charles Martindale

By Charles Martindale

This publication argues for a brand new cognizance to the significance of attractiveness and the classy in our reaction to poetry. Charles Martindale explores ways that Kant's aesthetic idea, as set out within the Critique of Judgement, continues to be of basic value for the fashionable critic. He argues that the Kantian "judgement of style" isn't formalist, and explores the connection among the cultured and the political in our responses to artwork. ultimately he urges the price of aesthetic feedback as pioneered via Walter Pater and others. The (mainly Latin) poems mentioned are all translated, and the ebook can be of curiosity not just to classicists yet to a person attracted to aesthetics, aestheticism, poetry, reception, comparative literature, and significant theory.

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51 So it is unsurprising that for Kant the aesthetic is indeed a prime site for sociability: The empirical interest in the beautiful exists only in society. e. 53 50 Kant (1952) 140 §33. Nehamas (2002) 57, 61; cf. Steiner (2001) 92–3. Of course the judgement of taste is not merely like spreading one’s good humour—it implies an invitation to others to look, to read, to listen. 52 Kant (1952) 155 §41. 53 It is signiWcant that this is the aspect of Kant’s theory that most appeals to Eagleton: ‘Against a social philosophy founded upon egoism and appetite, Kant speaks up for a generous vision of a community of ends, Wnding in the freedom and autonomy of the aesthetic a prototype of human possibility equally at odds with feudal absolutism and possessive individualism.

104 And doubtless Kant shared many of the ‘commonsense’ judgements of his time about men and women. In the largely empirical Observations on the Feeling of the Beautiful and Sublime (1764) Kant, like Edmund Burke in his Philosophical Inquiry into the Origin of our 100 101 102 Battersby (1989) 38. Ibid. 113. Ibid. 99–100. There were, however, other views. For example, both Dante Gabriel Rossetti and Ruskin thought that Elizabeth Siddall, despite her lack of craft skill, displayed all the marks of genius.

125 126 Kant (1952) 167 §45. Ibid. 168 §46. e. all forms of conceptual knowledge) on the other: all that Newton has set forth in his immortal work on the Principles of Natural Philosophy may well be learned, however great a mind it took to Wnd it all out, but we cannot learn to write in a true poetic vein, no matter how complete all the precepts of the poetic art may be, or however excellent its models. The reason is that all the steps that Newton had to take from the Wrst elements of geometry to his greatest and most profound discoveries were such as he could make intuitively evident and plain to follow, not only for himself but for every one else.

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