George Meredith – författare

Virginia Woolf said of The Egoist: 'Meredith pays us a supreme compliment to which as novel-readers we are little accustomed ... He imagines us capable of disinterested curiosity in the behaviour of our kind.' In this, the most dazzlingly intellectual of all his novels, Meredith tries to illuminate the pretensions of the most powerful class within the very citadel of security which its members have built. He develops to their logical extremity his ideas on egoism, on sentimentality and on the power of comedy. Meredith saw egoism as the great enemy of truth, feeling and progress, and comedy as the great dissolver of artifice. The Egoist is the extreme expression of his recurrent theme: the defeat of egoism by the power of comedy.

Virginia Woolf said of The Egoist: 'Meredith pays us a supreme compliment to which as novel-readers we are little accustomed ... He imagines us capable of disinterested curiosity in the behaviour of our kind.' In this, the most dazzlingly intellectual of all his novels, Meredith tries to illuminate the pretensions of the most powerful class within the very citadel of security which its members have built. He develops to their logical extremity his ideas on egoism, on sentimentality and on the power of comedy. Meredith saw egoism as the great enemy of truth, feeling and progress, and comedy as the great dissolver of artifice. The Egoist is the extreme expression of his recurrent theme: the defeat of egoism by the power of comedy.

Modern Love and Poems of the English Roadside occupies a distinctive and somewhat notorious place within George Meredith’s already unique body of work. Modern Love is now best known for the emotionally intense sonnet cycle which Meredith’s own contemporaries dismissed as scandalously confessional and indiscreet. While individual sonnets from the work have been anthologized, the complete cycle is rarely included, and the original edition has not been reprinted since its first appearance in 1862. This edition restores the original publication and supplements it with a range of accompanying materials that will reintroduce Meredith’s astonishing collection of poetry to a new generation of readers.

Casting a critical eye on comic works throughout the ages, Meredith finds that the most skilled masters of the comic art—Aristophanes, Rabelais, Voltaire, Cervantes, Fielding, Molière—used comedy to grasp the essence of humanity. Comedy, according to Meredith's theory, serves an important moral and social function: it redeems us from our posturings, stripping away pride, arrogance, complacency, and other sins.Bergson's essay looks at comedy within a wider field of vision, focusing on laughter and on what makes us laugh. His study examines comic characters and comic acts, comedy in literature and in children's games, comedy as high art and base entertainment, to develop a psychological and philosophical theory of the mainsprings of comedy.Complementing the work of Meredith and Bergson in Wylie Sypher's appendix, as essay that discusses comedy and the underlying comic structure in both anthropological and literaty contexts. Sypher offers an enlightening discussion of the relationship between comedy and tragedy and their link with the ritual purging of evil from a society by means of a scapegoat. He then goes on to examine the guises of the comic hero in such figures as the Wife of Bath, Don Quixote, and Falstaff, relating them to such great tragic figures as Oedipus, Faust, and Hamlet.Through the many perspectives it offers, Comedy will appeal not only to students of literature and literary criticism, but to those studying philosophy and history as well.