In The Intellectual Life of the British Working Classes, Jonathan Rose celebrates the magnificent achievement of J M Dent's Everyman's Library, 'the largest, most handsome, and most coherently edited series of cheap classics'.
Over the years I've read a number of literary classics in the Everyman's Library Editions, and now own a number of them in their contemporary dress. They're still remarkably cheap given the quality of the production. I don't collect them, but now and again when I want to appreciate the beauty of a book as well as the quality of its contents, I indulge. How is this for a publisher's description of their product:
The original series reflected the choices and prejudices of its time - 1906 Edwardian England, in which Empire, Western Europe and maleness acted as cultural blinkers - though not as much as some have claimed. The new series begun in the mid 1990's is much more inclusive, and though it still gives prominence to items in "the Western Canon", there is now due recognition of other important voices. It's this modern Everyman's which I enjoy reading, holding, looking at. There are several key poets, several of the great novels, and an assortment of miscellaneous personal preferences I'd like to accommodate in the already tightly budgetted space on my bookshelves. (Now the Everyman's Pocket Poets - they are already claiming space on the narrow shelves and wee corners where others don't fit).
"A thing of beauty is a joy forever". More prosaically, a number of life coaches and social psychologists are suggesting one way to beat the credit crunch, defy economic despair, dispel the can't-afford-it gloom, is to go on allowing ourselves the occasional luxury enjoyment, the regular encounter with beauty, a deliberate evasion of barcode valuation. For some it's chocolate, or concert tickets, flowers, colourful clothes - actually I like all these options as well - but a selection of them kinda books what are described above? Would that be credit crunch defiance - or denial? Well no - it would be commendable cultural responsibility, responsibly developed literary taste, judicious aesthetic choices made in a crass consumerist market - aye right.
Anyway, I've quietly been making my way through Dante's The Divine Comedy, which I've never read all the way through. The photo (a reminder of sunshine on a dreich Scottish January weekend) is of Dante's statue which we visited a couple of years ago when in Verona - and I remember wondering why I'd never tackled a full reading of one of Europe's literary masterpieces. So I've started. 100 Cantos - finished by Easter? There are now several industries devoted to things to do before you die - places to visit, foods to eat, people to meet, ambitions for which to reach - haven't come across one yet about books to read before you die. Nevertheless.
Hazlitt's comment on Dante's achievement explains why Dante's is a voice to be attended to at some time in life:
" He stood bewildered, not appalled, on that dark shore which separates the ancient and the modern world...He is power, passion and self-will personified".
Each day for around twenty minutes I'm attending to a voice which to me is strange, often compelling, at times perplexing, but which requires sufficient honesty and courage to have mind and heart, motive and desire, act and being, sifted by verse which is surgical in psychological exposure, but ultimately therapeutic in spiritual vision and intent. At times I've suspected Dante has been reading that diary of our inner life we all keep, which records in encrypted code those truths about us that no one else is allowed to know - but God knows, and in a moral universe, eternal consequence follows.
Robert Browning once described Dante in two lines:
Dante, who loved well because he hated,
Hated wickedness that hinders loving.
The paradox of that line, hating "wickedness that hinders loving", at least recognises the ambiguity of shame and dignity, of guilt and glory that comprises, and compromises, human existence at its worst and best.
Recent Comments