By Michael Timko (auth.)
This learn of Caryle and Tennyson explores their mutual effect and the impression of every on his personal time. the writer analyzes the explicit Carlylean rules (social, political, spiritual, aesthetic) and examines the ways that Tennyson resisted and remodeled those rules and their impact.
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Extra resources for Carlyle and Tennyson
Works, XXVI, p. 76) His closing remarks on Fichte are particularly interesting: 'So robust an intellect, a soul so calm, so lofty, massive and immovable, has not mingled in philosophical discussion since the time of Luther .... For the man rises before us, amid contradiction and debate, like a granite mountain amid clouds and wind. .. The cry of a thousand choughs assaulting that old cliff of granite: seen from the summit, these, as they winged the midway air, showed scarce so gross as beetles, and their was seldom even audible' (Works, XXVI, p.
That scientific truth is not absolute but probabilistic and asymptotic; that it begins in experience and ends there, too, after passing through the mysterious alembic of mathematical deduction, Newton expressed clearly in his regulae philosophandi' (pp. 18-19, my italics). These assertions are supported clearly and dramatically by Newton's own words, and most effectively so in the last paragraph of the 'Scholium': And now we might add something concerning a certain most subtle spirit which pervades and lies hid in all gross bodies; by the force and action of which spirit and particles of bodies attract one another at near distances, and cohere, if contiguous; and electric bodies operate at greater distances, as well as repelling as attracting the neighbouring corpuscles; and light is emitted, reflected, refracted, inflected, and heats bodies; and all sensation is excited, and the members of animal bodies move at the command of the will, namely, by the vibrations of this 20 Foundations spirit, mutually propagated along the solid filaments of the nerves, from the outward organs of sense to the brain, and from the brain into the muscles.
He could at last write of matter in terms of a 'universally connected Whole', the same terms he had often used to describe natural scenes, the same terms he had found in the Bible. The world, after all, partly Newtonian, partly biblical, largely transcendental, seemed to have some order. Newton's 'most subtle spirit' had become that 'mystery' of Nature, which the German poets, men with the clear eye and the loving heart, had penetrated. 'Art [had] at last yielded her secret' (Works, XXVI, p. 66).