John Seely Hart

John Seely Hart

Summary

Portrait of John Seely Hart John Seely Hart Fredrika Bremer (1852)

Both enter the temple of humanity—but the one to overthrow its altars, and to shatter its cherished images—the other to render them more firm and steadfast—to burn incense on the shrines, and adorn them with garlands of immortal flowers. The genius of the one is the flaming torch of the incendiary, that carries destruction and desolation in its course—that of the other is the fragrant lamp, that illumines the darkness, and dispels, by its steady and benignant beams, the gathering and mysterious gloom.
Source: Wikisource

Portrait of John Seely Hart John Seely Hart Fredrika Bremer (1852)

The office of the critic has come to be in literature what that of the surgeon is in the actual world. With perfect development, beauty, and harmony, he has nothing to do. He has eyes only for deformities and faults, and wherever they are to be found, he applies his merciless scalpel, with a firm hand and an unrelenting heart. But the critic who judges by rules of art alone, does not give us the highest truth any more than the chemist, who, while he shows us how to analyze the diamond and to resolve it to its original elements, forgets to place it before us flashing in the sunlight
Source: Wikisource

Portrait of John Seely Hart John Seely Hart Fredrika Bremer (1852)

All great questions relating to humanity, its reform, its progress, and its final destiny, are agitated to a degree not known before at any period of the world’s history. The conservative and destructive principles are at war, and there are moments when those of the firmest faith seem to doubt what the final issue of the contest may be. The literature, as could not fail to be the case, takes its tone from the spirit of the age, and no department of literature has more direct bearing upon the popular mind than that of fiction.
Source: Wikisource

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