Synthesized answer
The passages indicate that the Continental Classics are "nearer to us in time, and less separated in sentiment" than Ancient Classics [2]. This proximity likely influences the "enlarging the mind" and "dispersing prejudices" by making the works more directly relevant to understanding contemporary neighboring nations. The editors argue that just as travel broadens the mind, acquaintance with these modern classics—which have "expressed their highest life" and "formed" their "manners of thinking"—provides equal advantages [2]. For English readers, this means gaining insight into the "mental characteristics" of nations like France (through Voltaire, Molière, Rousseau) or Spain (through Cervantes) in a way that Ancient Classics, being more remote in time and sentiment, might not achieve [2].
However, the passages do not explicitly compare the *kind* of mind-enlarging or prejudice-dispersing effects between the two series. They state that the Continental series aims to present authors so readers understand "what and how they wrote, something of how they lived, and more or less of their position and influence" [1][4], but no parallel description is given for the Ancient series. The…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
the often thankless study of translations, and whose readings in a foreign language are not easy enough to be pleasant. We are aware that there are difficulties in our way in this attempt which did not lie in the path of the former Series, since in the section of the world for which we write there are many more readers of French and German than of Greek and Latin; but, on the other hand, there is no educated class supremely devoted to the study of Continental Classics, as is the case in respect to the Ancient; and even the greatest authority in the learned matter of a Greek text might be…
uaintance with their names, without much knowledge of their works, or their place in the literature of the modern world. The Classics of Italy, France, Germany, and Spain are nearer to us in time, and less separated in sentiment, than the still more famous Classics of antiquity; and if foreign travel is, as everybody allows, a great means of enlarging the mind, and dispersing its prejudices, an acquaintance with those works in which the great nations who are our neighbours have expressed their highest life, and by which their manners of thinking have been formed, cannot but possess equal…
ntal characteristics of the nation be comprehended without Voltaire , Molière , Rousseau , and other great names beside. Neither is Germany herself without Goethe and Schiller : nor Spain recognisable deprived of that noble figure of Cervantes , in whom lives the very genius of the nation. This great band it is our design to give such an account of as may bring them within the acquaintance of the English reader, whose zeal may not carry him the length of the often thankless study of translations, and whose readings in a foreign language are not easy enough to be pleasant.
ote, something of how they lived, and more or less of their position and influence upon the literature of their country. The following volumes are in preparation for the Series of Foreign Classics for English Readers, and will be published at short intervals:— VOLTAIRE, by Col. E. B. Hamley, C.B. PASCAL , by Rev. Principal Tulloch . GOETHE , by A. Hayward , Esq., Q.C. PETRARCH , by H. Reeve , Esq., C.B. CERVANTES , by the Editor. MONTAIGNE , by the Rev. W. Lucas Collins , M.A. Foreign Classics for English Readers EDITED BY MRS OLIPHANT VOLTAIRE VOLTAIRE BY COLONEL HAMLEY PHILADELPHIA J.…
two of Voltaire, or Addison 's " Cato ," will see that there are two very different principles on which to write a play. One is, to regard it as a picture of life; to give to the characters some of the individuality of real men and women—that individuality of course being made to suit and strengthen the plot; to disregard time and space, so as to obtain latitude for the free development of story and of character; to call on the spectator of the drama for the many concessions required to meet the exigencies which these conditions entail; to mix, as in life, high with low, laughter with tears,…
More questions about this book
- The text posits that understanding a nation's "highest life" and "manners of thinking" requires knowing its great writers. How would you explain this assertion to someone who believes travel alone suffices for cultural understanding, using specific examples from the text to elaborate on the *nature* of the knowledge gained?
- The prospectus identifies a key challenge: the absence of an "educated class supremely devoted to the study of Continental Classics." How does the series' approach—targeting readers who find foreign languages difficult and translations "thankless"—attempt to overcome this obstacle, and what are the potential implications for the *depth* of understanding it can foster?
- Choose one author mentioned (e.g., Voltaire, Dante, Cervantes) and explain, as if to a peer, *how* their literary contributions specifically illuminate the "national mind and its capabilities" or "mental characteristics of the nation" in a way that simply knowing *about* the country would not.
- Beyond simply introducing names and works, what underlying belief about the role of literature in fostering international understanding or shaping collective identity is implicitly expressed by the editors' endeavor to connect English readers with the "great nations who are our neighbours"?