These two books are among the most recently published tomes of a projected twenty comprising the first French edition of the Complete Works of Kierkegaard. Such a work represents the life-long dedication of Paul Tisseau, Kierkegaard's principal French translator. Many of Tisseau's translations have already been published in various other places, and it is generally known that he undertook to publish on his own several of the less commercially appealing religious works. After his death in 1964, his daughter completed his (...) work by correcting published and unpublished manuscripts and by translating the few works her father had not been able to do. The present edition was indeed worth waiting for; it is at once an artful translation and an excellent scholarly tool, complete with marginal pagination of the definitive Danish edition, the Drachmann, Heiberg, Lange of 1920-1926, plus location of each separate work in the first and third Danish editions. Jean Brun provides to-the-point introductions containing a wealth of historical material and ample footnotes referring to significant textual variations, subtleties of translation, and related passages in other works. Volume thirteen contains the Edifying Discourses in Various Spirits, Purity of Heart is to Will One Thing, The Lilies and the Birds, and The Gospel of Sufferings; volume eighteen, Two Discourses at the Communion on Fridays, The Woman that Was a Sinner, The Unchangeableness of God, For Self-Examination, and Judge for Yourselves.--C. M. R. (shrink)

In this source study of the hermetic and prophetic poetry of William Blake, Kathleen Raine adds strength to the theory that it takes a poet to explain one. The present volumes, expanded from the 1962 Mellon Lectures in the Fine Arts, are the result of twenty years' research; in scholarship and in style, they well might serve as a model for all source studies to come. Raine traces Blake's borrowings from Neoplatonism, from alchemy, from classical and hermetic sources, from gnosticism (...) and Christianity. Her development avoids the rigid chronological installment method so often used and moves along lyrically in chapter divisions sometimes source inspired, more often determined by particular characters created by Blake himself. Two very complete indexes, both of Blake's works and of general subjects, allow for immediate reference within the author's rather fluid organization. Mention must be made also of the beautiful plate reproductions which encourage a more integrated appreciation of Blake's two media of expression. Raine communicates the universal nature of visionary poetry, the basic sources of which have not changed significantly throughout the centuries. She thus opens up for the reader the possibility of understanding a whole tradition of the most awesome and most inaccessible literature.--C. M. R. (shrink)

Pomeau has condensed a lot of material for this pocket-size introduction to the life and works of Diderot, which he has attempted to simplify by providing parallel classifications of the excerpts from Diderot's works with his own presentation of Diderot's philosophy. These divisions are entitled: the Adventure of Diderot's thought, On Nature, On Man, Morality, Aesthetics, Politics, and the Contemporary Import of Diderot's Philosophie. Pomeau, a Voltaire scholar, displays a knowledge of the intellectual history of the period and a wide (...) acquaintance with his immediate material. His selections are beautifully chosen, for they provide a generous survey of Diderot's work, including even a short passage from the most recently published marginalia of Hemsterhuis. This sort of presentation cannot but entice the beginner to further examination, for the passages range from the most poignant to the most witty Yet there is matter to frustrate the serious beginner; the passages are not dated, nor are they identified by work in the index. Pomeau engages in gratuitous psychologizing in his exposition of Diderot's life, and has made a blatant error in attributing to Diderot the authorship of the article "Encyclopédie." These shortcomings unfortunately mar a text which contains excellent analyses of the evolution of Diderot's religious and biological thought.—C. M. R. (shrink)

This edition, providing the only available English language access to Collin de Plancy's long-forgotten Dictionnaire infernal, is directed to the reader who likes the reinforcement of being able to get through a whole book in an hour or so, whizzing through clean pages at incredible speeds. Perhaps the most misleading aspect of this flashy volume is the fact that the publishers never mention that it is abbreviated at all; it contains 177 truncated versions of Collin de Plancy's 2,400 plus entries, (...) which filled in the 1825-1826 edition of four volumes of text and one of plates. Wade Baskin, a master of condensation, does cover a lot of ground in his two and one-half page introduction. This, unfortunately, serves as little but a teaser to the reader interested in more than a mere mention of Collin de Plancy's colorful, success-oriented career, his filiations with spiritual brothers like Nodier, and his influence on other writers of the Romantic period. One can begrudge this sort of holding back with good reason, for Collin de Plancy is a name unfamiliar today even to French scholars. Baskin's translation is, as usual, excellent.—C. M. R. (shrink)

A second, corrected edition of the 1948 original, plus preface and a third appendix on the import of Pascal for the present day. The work consists of a number of brief considerations centered around the theme of "common sense," essential to a study of history as sacred. Castelli writes in a climate interpreted as threatening to lead us to a state of "second innocence". Against this threat, Castelli lays the groundwork for a theological existentialism, based on a "sense of revelation," (...) a personal "common sense" commitment arising from the realization of one's own insufficiency. In an age where Catholic theologians are developing a political basis for their thought, Castelli's book appears perhaps even more apropos than in the late 1940's. It opposes modern solipsism resulting from subjectivist tendencies in philosophy since Descartes, as well as analogues in the political sphere--monologue and violence--and proposes as an alternative a theologically based human solidarity.--C. M. R. (shrink)

Part of the Philosophes series, this very useful introduction to Locke opens with a little ceremony which really does seem necessary in order to assure French readers of the relevance of foreign thinkers. It takes the form here of Voltaire's praise of Locke in his thirteenth Lettre philosophique. Voltaire's consecration however does serve to cast some eighteenth century light on Locke, which is an excellent way to begin the subject. There follows an outline of Locke's life and philosophy, with brief (...) considerations of the Letter on Tolerance and Two Treatises on Government, and an extended treatment of the four books of the Essay Concerning Human Understanding. Leroy uses a method of paraphrase with very limited commentary, a good device for getting inside a subject but one which involves a sacrifice in perspective. Some sixty pages of excerpts from the Essay are well chosen, indexed, and provided with topic headings. A minimal bibliography follows.--C. M. R. (shrink)

This volume forms part of the series of the Princeton Studies in Humanistic Scholarship in America, under the general editorship of Richard Schlatter. Uitti's exposition of theories of language and literature from ancient Greece to contemporary America is oriented toward the proposal for a coordination of studies of language and literature in a sort of modern trivium of grammar, rhetoric, and dialectic. In the first part of the book, the author concentrates on Platonic "symbolic" and Aristotelian "analytic" ideas about language, (...) and then traces these two currents throughout the Middle Ages, paying special attention to Priscian, Anselm, Abelard, Petrus Hispanus, Dante, and the grammatica speculativa. He then brings the survey up to modern times, examining Descartes, the Port-Royal grammar, Du Marsais, Diderot, and Rousseau. Condillac and Coleridge are treated in detail as representing two modern theories of expression/communication, the one analytic and linguistic, the other synthetic and aesthetic. The second part of this work deals with a history of both linguistics and of American literary criticism, stressing I. A. Richards' descriptivism, new critic theories of metaphor and irony, and Wellek and Warren's Theory of Literature. Uitti singles out Roman Jakobson as being most prophetic in outlining future cooperation of linguistics and literary theory, and in this light analyzes various papers in Style and Language, in particular C. F. Voegelin's and Michel Riffaterre's. This survey of the contemporary American scene points to the fact that ours is a sign-oriented culture, and that recent studies in linguistics and in literary criticism of the poetics type have been sharing the same philosophical assumptions. The author thinks that language and literature studies would function best in the future as disciplines united in the broad matrix of cultural process, and using linguistic categories. He thus shares an oft-expressed hope for a cumulative literary "science," in which individual studies are oriented toward the broader construct. This book is addressed to the nonspecialist, but the expert will profit from Uitti's generous style which opens up new vistas on every page.--C. M. R. (shrink)

A well put together introduction to twentieth century philosophy and philosophers. Trotignon has achieved a good balance by dividing his book into two parts, the first containing twenty- to thirty-page summaries of Sartre and Merleau-Ponty, the second paragraph-long to eight-page presentations of lesser figures. Sartre and Merleau-Ponty are set at two extremes of Husserlian existentialist phenomenology through a series of polarizations : e.g., Sartre's Husserl is the Husserl of Ideen I, Merleau-Ponty's the Husserl of Erfahrung und Urteil, Méditations cartésiennes, and (...) the Krisis. Trotignon's précis of minor figures, consistently to the point, fall into three categories: "Phenomenological currents" "Philosophy of history", and "Twenty years after or the crisis of philosophy". In concluding, Trotignon announces Structuralism, a new "Practical subjectivity," as the philosophy of the future. There follows a three-page bibliography of primary sources for minor figures, with primary and secondary sources for Sartre and Merleau-Ponty.--C. M. R. (shrink)

With the publication of three significant books in 1967, La voix et le phénomène, L'écriture et la différence, and De la grammatologie, Derrida is proving himself a noteworthy figure in French philosophy, and a diversified one as well. La voix et le phénomène is a scholarly reinterpretation of Husserl centered around his theory of the sign, which Derrida sees as playing a secret but decisive role in his phenomenology. Derrida attacks chiefly two Husserlian prejudices: his theory of language as the (...) dimension of absolute proximity-to-self, and his privileging of the "expression" meaning of the sign over the "index" meaning. These mesh with Husserl's notion of the transcendent voice present-to-itself, a central idea of his intuitionism. Thus, according to Derrida, Husserl's phenomenology really rejoins a traditional metaphysics--philosophy of presence--it had set out to criticize. This book will be valuable not only as an original interpretation of Husserl, but as a springboard into Derrida's philosophy as well.--C. M. R. (shrink)

The Modern Library, which used for its 1941 monolingual edition of the combined Pensées and Provincial Letters the Trotter translation of the former work, has chosen for this bilingual edition of the Pensées the artful translation of H. F. Stewart. The work is divided by Stewart into a major Apology and chronologically arranged Adversaria which he considers to lie outside the scope of the original work. Stewart's scholarly introduction surveys both the incredibly confused situation of existing manuscripts and the evolution (...) of Pascal's thought. Stewart has arranged the material in accordance with Pascal's own plan, which was reconstructed by Filleau de la Chaise and by Pascal's nephew the abbé Périer. One could argue, as does Brunschvicg, whose own arrangement reveals a prime consideration of accessibility to the modern reader rather than historical accuracy, that the authority of Filleau de la Chaise and the abbé Périer is indeed questionable. For their reconstruction of the plan was made some eight years after Pascal had announced it in a lecture at Port Royal in 1658. Moreover, this initial arrangement could not take into account modifications made while writing during the last four years of the author's life. Stewart has nevertheless relied on both the Brunschvicg facsimile of the autographed manuscript and the Tourneur reading of the First Copy, and has consulted several editions of the Pensées. The result is certainly the best edition in English of this momentous work. Stewart's translation is superb, reproducing eloquently Pascal's paradoxical, contrapuntal phrases without losing any of his delightfully subtle wit.—C. M. R. (shrink)

Barfield considers the light the studies of history, language, and literature shed upon each other. He focuses his attention on the development of a theory of the emergence of individual consciousness. Barfield disputes some prevalent ramifications of evolutionist theories which hold that in language, literature, and history, a period of "active subjectivity" preceded one of "passive subjectivity." This would mean, according to Barfield, that in language, literal meaning preceded figurative meaning, just as imagination was prior to inspiration in the creation (...) of literature, and individual mental activity prior to a period of social consciousness. Barfield is convinced that the opposite is true. Using semantics as a springboard into the study of history and literature, he contends that the basic assumptions of any age are contained in the meaning of its most common words, and that ideas change because "human consciousness itself—the elementary human experience about which the ideas are being formed—the whole relation between man and nature or between conscious man and unconscious man—has been in the process of change." In this sketchy development of his theory of subjectivity as a form of consciousness that has "contracted from the periphery into individual centers," Barfield draws on a wide range of background material to come up with some genuinely fresh insights. But he carries his arguments only so far and leaves the reader with the memory of a few briefly illuminated new paths. In the final analysis, the topic seems just too vast to receive anything but a schematic treatment in even the most distinguished of essays.—C. M. R. (shrink)

In two lively and independent essays, Rosset builds a good case for an appreciation of Schopenhauer's importance in the history of philosophy by treating those aspects of his thought which signal a definitive rupture with classical philosophy and merit his being aligned with the spirit of modern times. These aspects, each the subject of one of the essays, are the genealogical treatment of ideas and the intuition of the absurd. The author establishes Schopenhauer's originality in both of these areas, outlining (...) Schopenhauer's direct influence on Nietzsche, his parallels with Marx, and his possible links with Freud. At no point does he inflate the influence of Schopenhauer's but vaguely formulated ideas which invite comparison with their more developed expressions in other philosophers. Rosset does, however, contend that Schopenhauer was most original in his central intuition of the absurd, being the first to construct a philosophy upon this vision. In this regard, the author's consideration of the Schopenhauerian themes of finality, desire, necessity, and static time is excellent. He maintains convincingly that the usual interpretation of Schopenhauer, which emphasizes the Romantic themes of pessimism, esthetic idealism, and a morality of pity and renouncement, stresses only secondary aspects of his thought. A more balanced picture of Schopenhauer reveals an almost Beckettian tragi-comic [[sic]] view of life.—C. M. R. (shrink)

Like other works in the Philosophes series, this one has a tripartite presentation of life, philosophy, and excerpts; as Mme. Davy points out, Simone Weil did not prepare her own work for publication. About half of Weil's now published works are represented, with a selection from Attente de Dieu on the beauty of the world, and one from the Cahiers on the relation between God and man receiving the most attention. Unfortunately, the author's introduction, though lengthy, is quite inadequate and (...) often naïve, and the reader finds himself wishing she had directed her efforts to a more generous selection of primary material. Mme. Davy's treatment of Simone Weil's colorful life is cloudy, and her extraordinary subject remains a fairly anonymous elle. As for the exposition of Weil's philosophy, Mme. Davy wastes time on superficial rhetorical considerations like: "Was Simone Weil a philosopher? Did she have a metaphysic? Was she a religious thinker?" Only at moments, as for example in her discussion of some aspects of Weil's mystical and social thought, does Mme. Davy's text prove helpful.—C. M. R. (shrink)

This slim volume contains a translation of the article Beau from the second volume of Diderot's Encyclopédie, plus a lengthy introduction to Diderot's work and a survey of esthetic theory in eighteenth-century England, France, and Germany as well. The translators do not mention the academic quarrels which plagued Diderot's article until 1952, when Lester G. Crocker resolved them once and for all in favor of Diderot. They also mistakenly attribute to Diderot the article Encyclopédie. These are, however, minor imperfections in (...) a text which serves as a solid introduction to Diderot studies. The translators have summarized many of Diderot's major works and have outlined significant problems in esthetics discussed by Hume, Shaftesbury, Hutcheson, Wolff, Lessing, Winckelman, Montesquieu, Du Bos, and, of immediate significance to Diderot, the père Andre and the abbé Batteux. Other features of this book include extensive notes, a good index, a bibliography, and André Billy's compilation of Diderot's works in order of publication.—C. M. R. (shrink)

Though the philosopher will undoubtedly find this study too elementary for many of his purposes, the student of literature and the generally interested reader will be delighted by this rich source of reference material. Published under the general editorship of Mortimer J. Adler by the Institute for Philosophical Research, The Idea of Love has one of the most accessible formats of the Concepts in Western Thought Series. Preliminary chapters explain critical notions used in later schematizations of various figures, and relate (...) in neat topical divisions controversies about natural and supernatural human love. Next, illustrative chapters present different authors according to whether they hold that love can be either acquisitive or benevolent desire, is only acquisitive desire, must include benevolence, is wholly or primarily judgment. Two final divisions which overlap these give judgmental aspects of wholly and primarily tendential conceptions of love. Expositions within each of these divisions both justify the classification and adequately develop particular sub-themes. In toto, more than forty philosophers, writers, theologians, and psychologists receive a fairly extensive treatment, including generous citations, while brief references are also made to minor figures. Among those given major consideration are Plato, Augustine, Aristotle, Cicero, Aquinas, Dante, Kierkegaard, Kant, Freud, Jung, and William James ; Plotinus, Andreas Capellanus, Stendhal, Schopenhauer, Santayana, Darwin, Rousseau, Spinoza, Leibniz ; Adam Smith, Hegel, C. S. Lewis, Ortega Y Gasset, Erich Fromm ; Descartes, Hume, Locke, and Pascal. The work is indexed and supplemented by a seven-page bibliography.--C. M. R. (shrink)

This particular volume differs from other members of the series, in that it is historically as well as dialectically oriented, and is also less encyclopedic than the others. The first part develops six different theories of happiness and the second presents different controversies about happiness. In the first chapter, the author proposes Aristotle's eudemonism [[sic]] as the most complete and most influential of all theories of happiness, and he uses it as a matrix for most of the discussions in the (...) second part. Chapters following this initial exposition of Aristotle treat Plato's "mixed" eudemonism [[sic]], Stoic suppression of desire, concepts of transcendent happiness in Plotinus, Augustine and Aquinas, Kant's valorization of duty and Hegel's critique thereof, and Bentham's and Mill's utilitarianism. Moral issues discussed in the second part include: self-realization, happiness vs. performance of duty, fulfillment vs. prudence, and eudemonism [[sic]] vs. hedonism. The last thirty pages focus on contemporary pursuits of the good life, centered around the issue of self-actualization. This section is predominantly psychological, and treats very briefly some theories of Kurt Goldstein, G. W. Allport, Robert W. White, A. H. Maslow, Marie Jahoda, Carl Rogers, and Fromm. Although the author take sides, he does stimulate reflection about the good life through expositions which avoid more difficult philosophical problems but which definitely evoke practical individual and social overtones.--C. M. R. (shrink)

A skillfully and subtly composed volume containing an immense amount of information. Introductory chapters explain the genesis of the classificatory structure followed throughout the rest of the work and outline the shape of analysis; some three hundred authors are treated in succeeding discussions. The broadest divisions concern: controversies among progress, regress, and cyclical theory authors, and controversies among progress authors themselves. In the first book, the issues center around the fact of progress, the discernibility of a pattern in history, and (...) value judgments about history. Book two treats three main issues: the necessity of progress, its duration, and its applicability to human products and institutions or to human nature; and five subordinate issues: different manifestations of progress in human institutions and products, namely, knowledge, technology, wealth, political institutions, and morality. An appendix on the notion of progress in the fine arts is of particular interest. The major shortcoming of this work is inherent in its topical structure; notions of historical developments of the idea of progress, and of different concepts about progress have difficulty emerging. This could have been remedied somewhat had the authors taken care to erect frequent chronological marking posts, and provided brief historical condensations of the analytical issue in question; unfortunately, an effort to orient the discussions historically is hardly made at all. It is the inexperienced reader who will suffer most from this lack; the reader who is fairly well acquainted with the subject will be able to benefit from the wealth of material provided in the discussion of each author. He will particularly appreciate the precision of finer points in footnote discussions, which are also rich in bibliographical references. The work is indexed and supplemented by a fifteen-page bibliography.--C. M. R. (shrink)

Burnshaw treats virtually every aspect of poetry, but devotes a major theoretical effort to developing a biologically grounded explanation of both creation and the esthetic experience. He extends his theory of creation to every art form, including the fabrication of scientific theories; the rest of the study is devoted exclusively to poetry. Burnshaw claims to be following the lead of John Keble, who described poetry as that which "acts as a safety valve to a full mind." He supports his homeostatic (...) theory with numerous statements by creative persons about their psycho-physiological state at the time of inspiration. Burnshaw wisely limits his theory of creation to those works which seem to be truly inspired, which "demand" to be born; nevertheless, his method tends toward the pseudo-scientific. He too facilely converts the terms of the poet's auto-description into supposed physicalist counterparts. In like manner, the esthetic experience is reduced to the communication of an internal metaphor which constitutes the "true" poem, where this internal metaphor is the expression, through the affective structures of the poem, of the poet's inner bodily movements at the time of creation. The reader, because of changes in his muscular, circulatory, and respiratory systems, comes to "reverberate" with the internal metaphor. Fortunately, Burnshaw doesn't get too caught up in such theories. In the second section of the book, for example, he goes beyond reductionistic explanations and discusses the act of creation in teleological terms; poetry becomes a primal language, which, in symbolically restoring the true sensuality of all things, overcomes alienation and reunites both poet and reader in themselves, with each other, and with the rest of the universe. The book contains a wealth of biological, anthropological, zoological, and psychological information and ideas, plus some very penetrating analyses of different poems in an explicitly rhetorical and implicitly metaphysical framework.--C. M. R. (shrink)

In this scholarly, well-planned, and well-documented number in the series "Seminar in the History of Ideas," Professor Boas, in these days of the People's Revolution, shows himself an unrepentant elitist. Illustrative of this attitude is his statement in the fourth essay: "Hideous as such a view seems to a modern reader softened by humanitarianism, it would be well if we could tell in advance whom God has chosen to be lettered. There is certainly little sense in wasting a college education (...) on anyone predestined to be an ass or an ox." Boas' wish to avoid the people as much as possible determines the orientation of many of the eight essays in this book about the history of the people in art, literature, music, and politics. In the second essay, "Who are the People?" he explores the various religious, social, and political contexts in which the term "People" has been used, and concludes that its reality is only nominalistic, since the term has had so many diverse meanings. In "The People as Poet," he creates a multi-faceted study of the rural muse, of national traits expressed in poetry, and of folk forms. But in doing so, he argues against the collectivist theory of creation and dismisses the poetic products of country-folk as strictly derivative. Boas barely alludes to the phenomenon of oral composition. He is evidently unaware that this tradition was as alive in twentieth-century Yugoslavia as in Homer's Greece. Consideration of such evidence might have caused him to modify his unqualified attribution of a monopoly on poetic creation to the individual poet. A good part of the penultimate essay, "The People as Musician," is devoted to a survey of nineteenth-century movements of cultural and political internationalism. The other half explores the possibility of artistic expression of the "national soul," an idea which the author particularly disparages in the case of music because of the limits of symbolism of the medium. In "Egalitarianism," Boas surveys the condition of the working man and pronounces that all is well; the lucky fellow works in modern, clean factories--no noisier than his TV-dominated home--and stands on the verge of full participation with management in the benefits of production. Despite its ideological naÏvetés, the book remains a model of scholarly talent and discipline, as well as a mine of standard and esoteric information on the history of the "People" in many fields. An index, bibliography, and fourteen plates depicting the "People" in art are included.--C. M. R. (shrink)

The Modern Library, which used for its 1941 monolingual edition of the combined Pensées and Provincial Letters the Trotter translation of the former work, has chosen for this bilingual edition of the Pensées the artful translation of H. F. Stewart. The work is divided by Stewart into a major Apology and chronologically arranged Adversaria which he considers to lie outside the scope of the original work. Stewart's scholarly introduction surveys both the incredibly confused situation of existing manuscripts and the evolution (...) of Pascal's thought. Stewart has arranged the material in accordance with Pascal's own plan, which was reconstructed by Filleau de la Chaise and by Pascal's nephew the abbé Périer. One could argue, as does Brunschvicg, whose own arrangement reveals a prime consideration of accessibility to the modern reader rather than historical accuracy, that the authority of Filleau de la Chaise and the abbé Périer is indeed questionable. For their reconstruction of the plan was made some eight years after Pascal had announced it in a lecture at Port Royal in 1658. Moreover, this initial arrangement could not take into account modifications made while writing during the last four years of the author's life. Stewart has nevertheless relied on both the Brunschvicg facsimile of the autographed manuscript and the Tourneur reading of the First Copy, and has consulted several editions of the Pensées. The result is certainly the best edition in English of this momentous work. Stewart's translation is superb, reproducing eloquently Pascal's paradoxical, contrapuntal phrases without losing any of his delightfully subtle wit.—C. M. R. (shrink)