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The New Spirit / Third Edition

Chapter 3: PREFACE.
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About This Book

The author traces a recurrent new spirit in modern culture by examining several major creative figures in individual essays, treating their personal genius, aesthetic methods, and moral implications. He reads each as an embodiment of renewed individuality and sensory synthesis, linking literature, drama, and visual arts, and considers how their temperaments mediate religion and social life. Separate chapters set out close readings of Diderot, Heine, Whitman, Ibsen, and Tolstoi that mix biographical detail, critical interpretation, and comparative observation. The conclusion reflects on continuities with earlier traditions and argues that vigorous individuality continually renews perennial modes of feeling and belief.

PREFACE.

From our earliest days we look out into the world with wide-eyed amazement, trying to discover for ourselves what it is like. Instinctively we must spend a great part of our lives in searching and probing into the nature and drift of the things among which, by a volition not our own, we were projected. To-day, when we stand, as it were, at the beginning of a new era, and when we have been celebrating the centenary of the most significant event in modern history, an individual who, for his own guidance, has done his part in this searching and probing, may perhaps be allowed to present some of the results, not claiming to be an expert, not desiring to impose on others any private scheme of the universe. The pulse of life runs strong and fast; I have tried to bring a sensitive lever to that pulse here and there, to determine and record, as delicately as I could, its rhythms: the papers I now present might be called a bundle of sphygmographic tracings.

A large part of one’s investigations into the spirit of one’s time must be made through the medium of literary personalities. I have selected five such typical individuals; it is the intimate thought and secret emotions of such men that become the common property of after generations.

Whenever a great literary personality comes before us with these imperative claims, it is our business to discover or divine its fundamental instincts; we ought to do this with the same austerity and keen-eyed penetration as, if we were wise, we should exercise in choosing the comrades of our daily life. He poses well in public; he has said those brave words on the platform; he has written those rows of eloquent books—but what (one asks oneself) is all that to me? I want to get at the motive forces at work in the man; to know what his intimate companions thought of him; how he acted in the affairs of every day, and in the great crises of his life; the fashion of his face and form, the tones of his voice. How he desired to appear is of little importance; I can perhaps learn all that it imports me to know from a single involuntary gesture, or one glance into his eyes.

This is the attitude in which I have recorded, as impersonally as may be, these impressions of the world of to-day, as revealed in certain significant personalities; by searching and proving all things, to grip the earth with firmer foothold.

H. E.