DISRAELI MAUROIS PDF
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The result is a closelywoven analysis, touching at a number of points the whole period between the American Revolution and the triumph of freetrade. The treatment isat all timesclear,and the author is to be congratulatedon the skill with which he has organizeda large mass of material. The style is very condensed. One would at times indeed have welcomeda lessrigid concentration on the part of a writer sothoroughlyin commandof hissubject,althoughthe clarity of thought and a happy turn of phrasecarry the readeralongwithout effort.
Canada diraeli number of times,but the specialvalue of the book for studentsof Canadianhistory is that one seesthe imperial problem of the ‘sas a whole. Canada takesits placeas oneelementin a tangle of opposingtheories,of conflicting interestsin various parts of the Empire, and of rivalries between economicgroupsin the coloniesand in the mother-land.
A wavering faith in the Empire and the dawn of a new hope both find their place in the picture. It is not within the scopeof the book to tell in detail the full effects of Huskisson’s measures in Canada or the attitude of Canadians towards them.
The omission of a bibliography may be diraeli, although the footnotereferences and a well-compiledindex do much to fill the gap. A Picture of the VictorianAge. Louis Carrier and Co. But the significanceof M.
Maurois’s biographyof him doesnot lie in any contributionwhich it makesto British or imperial history, or even to the facts of the life of Disraeli himself.
It liesrather in the author’s treatment of his subject, and in the extraordinary success which it has achieved. There have been times when history has been a literary diet of popular consumption.
The historical narratives of Gibbon and Hume, of Macaulay and Carlyle, of Motley and Parkman, werein their day as widely read as fiction. Since their day it has seemedas though the historianshave lost the art of capturing the public ear.
André Maurois – Wikipedia
They have subordinated art to science: It is the great achievementof M. It is easy for the professionalhistorian to pick holesin the work of this new schoolof historians–to describeit, for example, as “movieized ” history,with all the implications of that devastating adjective. It iseasyto say,also,that M. Maurois, for instance,ismerelya plagiarist.
It has been argued by an anonymouswriter in La Marcure de France, by meansof parallelpassages, that hisAriel islittle morethan anabridged translation of Edward Dowden’s life of Shelley, and that the present book is largely “cribbed” from the six volumes of Monypenny and Buckle’sBeaconsfield.
But sucha chargeis essentiallyunfair. A large part of M. Maurois’s success dependson his selectionof materials, on the art with which he eliminates unessential facts.
His aim is not to compilea work of maaurois to interpret a personality; and, for the generalreader,he hasdonethis moreeffectivelythan the authorswhom he is chargedwith plagiarizing.
His pagespresenta clear-cutpicture of Disraeli suchasfewreaderswouldhavethe persistence or the imagination to extract from the monumental work of Messrs. The chiefdangerlatent i,n the methodor techniqueof the new Dirsaeli schoolis that the author’s imagination may run away with him, or that it may have an insufficientbasisin fact. Sciencemay be subordinated to art. There are already signs that the successes achieved by M.
Maurois and Herr Ludwig are giving rise to a schoolof writers whose senseof drama is greater than their knowledge of, or regard for, the facts.
History isnot only an art but a science; and it is clear that M. Maurois, at least, has not been unmindful of this fact, thoughhe hasemployeda superbliterary gift in disguising If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click ‘Authenticate’.
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The Canadian Historical Review.
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