By David Punter
The completely extended and up-to-date New spouse to the Gothic, provides a chain of stimulating insights into Gothic writing, its heritage and family tree. The addition of 12 new essays and a bit on ‘Global Gothic’ displays the course Gothic feedback has taken during the last decade.
- Many of the unique essays were revised to mirror present debates
- Offers finished assurance of feedback of the Gothic and of many of the theoretical ways it has encouraged and spawned
- Features very important and unique essays by means of prime students within the field
- The editor is widely known because the founding father of smooth feedback of the Gothic
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Extra resources for A New Companion to the Gothic
For the reader’s convenience (since Gibbon’s vast work is divided into 71 long chapters, which are not themselves subdivided), page references are given to the most recent Penguin edition by Womersley, which contains an excellent introduction, all Gibbon’s notes, his index, and the editor’s extensive bibliographical index of Gibbon’s reading derived from the notes. In his notes, Gibbon mentions Montaigne’s knowledge of this anecdote. It is also retold in Sidney’s An Apology for Poetry (see Smith, 1904, vol.
The dark ages that succeeded the fall of Rome may be called dark principally because not much is known about them, and in the Renaissance less was known than now. The historians that form the basis of Gibbon’s monumental work and are cited in his notes are, for the most part, late, fragmented, and obscure, and their recovery in the Renaissance was also late, partial, and poorly disseminated. It is this lack of proper historical knowledge among Renaissance Italians about their own past that is responsible for the mistaken impression given by Giorgio Vasari (1511–74), the great art critic and former pupil of Michelangelo, in his Lives of the Artists (1550), when he associated the architecture of the post-Roman and pre-Renaissance period slightingly with the Goths.
But the rude savages of the Baltic were destitute of a taste for the elegant arts, and they despised the ideal terrors of a foreign superstition. (I, 281) Against his better judgment, Gibbon cannot then resist the telling of a famous anecdote revealing Gothic ignorance: Another circumstance is related of these invasions, which might deserve our notice, were it not justly to be suspected as the fanciful conceit of a recent sophist. We are told, that in the sack of Athens the Goths had collected all the libraries, and were on the point of setting ﬁre to this funeral pile of Grecian learning, had not one of their chiefs, of more reﬁned policy than his brethren, dissuaded them from the design; by the profound observation, that as long as the Greeks were addicted to the study of books, they would never apply themselves to the exercise of arms.
A New Companion to the Gothic by David Punter
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