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In these early 20th century literary essays, Stefan Zweig offers a Central European view of the writers he believed to be the “three greatest novelists” of the 19th century: Balzac, Dickens, and Dostoevsky.
In Zweig’s view, Balzac set out to emulate his childhood hero Napoleon. Writing 20 hours a day, Balzac’s literary ambition was “tantamount to monomania in its persistence, its intensity, and its concentration.” His characters, each similarly driven by one desperate urge, were more vital to Balzac than people in his daily life.
In Zweig’s reading, Dickens embodied Victorian England and its “bourgeois smugness”. His characters aspire to “A few hundred pounds a year, an amiable wife, a dozen children, a well-appointed table and succulent meats to entertain their friends with, a cottage not too far from London, the windows giving a view over the green countryside, a pretty little garden, and a modicum of happiness.” The ideal of middle-class respectability suffuses Dickens’ fiction.
Dostoevsky drew on the struggles of his own life to illuminate the contradictions of the human soul. In Zweig’s view, his heroes had no desire to be citizens or ordinary human beings. While Balzac’s heroes “would gladly have subjugated the world, Dostoevsky’s heroes wished to transcend it.”
- Sales Rank: #1076646 in eBooks
- Published on: 2012-05-23
- Released on: 2012-05-23
- Format: Kindle eBook
Review
“Long out of print, [Balzac, Dickens, Dostoevsky: Master Builders of the Spirit] features a new and informative introduction by Laurence Mintz who is their senior editor and currently directing a new series on European Cultural Studies. Zweig chose Balzac, Dickens, and Dostoevsky for his studies because the first drew from society for his subject matter, the second from the family, and their third from what Zweig described as 'of the One and of the All'. He drew comparisons, noted differences, and provided a wealth of insights and occasional iconoclastic observations that continue to have significant relevance to the study of these three men's literary work. "Balzac, Dickens, and Dostoevsky" is the first of a proposed three volume series which will prove to be a valued and important addition to academic library Literary Studies reference collections and supplemental reading lists.” -- Midwest Review
About the Author
Stefan Zweig (1881-1942) was an outstanding Austrian novelist, playwright, journalist, and biographer whose work became very popular in the US, South America, and Europe especially between the 1920s and 1930s. In 1904 he earned his doctorate degree in philosophy at the University of Vienna. Throughout his life he remained a pacifist, and instead of becoming a soldier at the start of World War I, he worked in the Archives of the Ministry of War. He became friends with notable people in history, including Romain Rolland, Sigmund Freud, and Arthur Schitzler. Among his most famous writings are Beware of Pity, Chess Story, and his memoir The World of Yesterday.
Most helpful customer reviews
6 of 6 people found the following review helpful.
The first of a proposed three volume series
By Midwest Book Review
Stefan Zweig (1881-1942) was an Austrian novelist, playwright, journalist, and biographer whose essays on three of the most influential French, British, and Russian literary figures of their times are compiled in "Balzac, Dickens, Dostoevsky: Master Builders of the Spirit". Long out of print, this 291-page edition by Transaction Publishers features a new and informative introduction by Laurence Mintz who is their senior editor and currently directing a new series on European Cultural Studies. Zweig chose Balzac, Dickens, and Dostoevsky for his studies because the first drew from society for his subject matter, the second from the family, and their third from what Zweig described as 'of the One and of the All'. He drew comparisons, noted differences, and provided a wealth of insights and occasional iconoclastic observations that continue to have significant relevance to the study of these three men's literary work. "Balzac, Dickens, and Dostoevsky" is the first of a proposed three volume series which will prove to be a valued and important addition to academic library Literary Studies reference collections and supplemental reading lists.
5 of 6 people found the following review helpful.
Perspective from Vienna
By Edmund Bickford
The title itself is fascinating enough. All the studies reveal great insights about the three authors and the countries that they are writing about. In a sense, they are indeed archeologists of the national spirit of the countries they write about at that time but also of our present time as the reverberations of the same national spirit are still present in new forms.
As a prism through which to view the present with the amazing observations that the author makes, a whole new world opens up about possibilites and expectations as well as entrenched national modes of thought. In a sense their books are to some degree time capsules through which the English can find a model of Englishness, or the French Frenchness and the Russian Russianness. And consider the burdens of all the tendencies that are implied within that.
The question arises whether indeed there is anything else that can give a clue to the national identities in question other than from these three authors. One feels that although the wonderful reliefs of national character so indiosycratically created are in fact a fragmented view, that is not the whole story. So the three authors in some way have delimited national character with the effect of making us lazy is deciding what is our cultural and personal identity, our history and what should be our destiny in the sense of creating a liveable world for ourselves.
Many of the issues are no longer able to be considered from the perspective of a person living at the time the book was written but the honesty and directness of expression is refreshing indeed when held up against what is written nowadays. There are no shades of meaning nor is there any overt partisanship. The overall experience is that the reader is being treated very respectfully and even intimately and tenderly by the writer.
Hardly any surprise then that Stefan Zweig was a great writer himself concerned about the evolution of a human being in the cultural context of nationality, environment and cognitive psychology. The Royal Game shows the full extent of this.
Sad also that such a civilised spokesman of truth, even-handedness and tolerance should have committed suicide with his wife in 1941. The intellectual honesty that emerges from the book obviously bore a price in human terms. I cannot reccommend it enough to those who wish to be enlightened about these three writers, and to begin to understand what it was they were doing, how they were doing it and what that means now.
0 of 0 people found the following review helpful.
Great Book Poorly Introduced
By reading man
This book recommends itself. Zweig was a justly popular literary gent in his day who wrote one great novel (BEWARE OF PITY), several excellent novellas (his preferred form), popular biographies (MARIE ANTOINETTE), lit crit (the book under review), even opera liberetti (he was Richard Strauss's favorite librettist after Hofmannsthal).
The only thing that's slightly puzzling about this book is that both Balzac and Dickens are given less than half the pages devoted to Dostoevsky, but Zweig published a posthumous "long biography" (his phrase) about Balzac. Maybe he was saving his research for the biography? Or, more likely, he didn't read Russian and so couldn't write a long book about Dostoevsky and compensated with this longer portrait?
In any case, even more puzzling is why the foreword to this book was written by an academic hack who's totally unsympathetic to Zweig. He quotes the confused, confusing Hannah Arendt, who dismissed Zweig as a useless humanist without political sense, an anomaly in the 20th century. Zweig's faith in "world culture" was his personal fantasy, and Arendt apparently considered his suicide a cry of useless despair, rather than a justified act.
This is the general tenor of the introduction, and I suggest that in future editions of the book it be removed, because it sheds no light on what Zweig was about and uses him as a cockshy for the hack's view of "commitment". (His incidental judgments about literary Vienna aren't very insightful either: Robert Musil is second-rate compared with Zweig and certainly with Hermann Broch.)
Yes to the book, then, but skip the intro.
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