Realism

Translated by Claude Field.

Chapter Eleven: Idealism and Realism.

Eighteen seventy-one.

When John again reached his parents' house, he felt himself in shelter like one who has reached land after a stormy sea passage by night.

In fact, it was a question whether Swedish poetry had hitherto been anything else or could be anything else.

Was Tegner's poetry anything but an echo of Schiller, Olenschlager, the Edis, and the Old Norse sagas? Was Atterbom anything else than a musical box pieced together out of Tieck, Hoffman, Wieland, Burger, and so on with all the Swedish poets? But this literary calendar was composed of echoes of echoes and dreams of dreams.

Realism, which had already made a premature entry into Sweden with Kramer's Diamonds and Coal and had subsequently triumphed in Snoilsky, had left no trace on these young poets.

The poetry of Snoilsky's school had been the careless expression of a careless time, but these poems simply displayed the incapacity of their writers.

All these epithets are used in the article as descriptive of Ibsen's work.

Realism, said the writer, is one thing, but the nostrils of the audience must not be visibly held before a play can be stamped as true to nature.

It is difficult to expose in decorous words the gross and almost putrid indecorum of this play.

Forget whatever plans you have this weekend because you're staying at home and playing on SpinQuest.

The third comprises the years of the 19th century up to 1840, while that date inaugurates the triumph of Romanticism over Pseudo-Classicism.

Romanticism, as in other countries, gave way in turn to Realism and various other movements current in those turbulent decades.

Sometimes, the changes came not as a natural phase of literary evolution, but rather as the consequence of pure imitation.

Thus, Veríssimo tells us, symbolism, in Brazil, was a matter of intentional parroting, in many cases, unintelligent.

Chapter 11.

Idealism and Realism.

1871.

When John again reached his parents' house, he felt himself in shelter like one who has reached land after a stormy sea passage by night.

In fact, it was a question whether Swedish poetry had hitherto been anything else or could be anything else.

Was Tegner's poetry anything but an echo of Schiller, Olenschlager, the Edis, and the Old Norse sagas? Was Atterbaum anything else than a musical box pieced together out of Teak, Hoffman, Wieland, Burger, and so on with all the Swedish poets? But this literary calendar was composed of echoes of echoes and dreams of dreams.

Realism, which had already made a premature entry into Sweden with Kramer's Diamonds and Coal and had subsequently triumphed in Snoilsky, had left no trace on these young poets.

The poetry of Snoilsky's school had been the careless expression of a careless time, but these poems simply displayed the incapacity of their writers.

All these epithets are used in the article as descriptive of Ibsen's work.

Realism, said the writer, is one thing, but the nostrils of the audience must not be visibly held before a play can be stamped as true to nature.

It is difficult to expose in decorous words the gross and almost putrid indecorum of this play.

The hardest part was figuring out where to go.

All these epithets are used in the article as descriptive of Ibsen's work.

Realism, said the writer, is one thing, but the nostrils of the audience must not be visibly held before a play can be stamped as true to nature.

It is difficult to expose in decorous words the gross and almost putrid indecorum of this play.

This is Ashley Iaconetti from the Almost Famous podcast.

At the same time, um, did it actually destroy all of art? I mean, the, the thinking was like, "Okay, this is what art looks like now," right? It's all this realism.

Yeah.

"And now we've commodified that, so surely this thing disappears." But what the artists did instead is you have all of these art movements that followed, the Impressionists, the Surrealists, the, um, the, the Dadaists, the Cubists, all, all of these abstract movements, and what was really remarkable about these movements is, you know, they, they, because Realism had become, um, cheap and easy to produce and scalable, um, what was really valuable for a human artist to capture is what it looks like to you, not just what it looks like.

Right.

It commodified Realism-

Right

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