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Reprint of the original, first published in 1882.
Series title also at head of t.p.
Barbara L. Packer's long essay "The Transcendentalists" is widely acknowledged by scholars of nineteenth-century American literary history as the best-written, most comprehensive treatment to date of Transcendentalism. Previously existing only as part of a volume in the magisterial Cambridge History of American Literature, it will now be available for the first time in a stand-alone edition. Packer presents Transcendentalism as a living movement, evolving out of such origins as New England Unitarianism and finding early inspiration in European Romanticism. Transcendentalism changed religious beliefs, philosophical ideas, literary styles, and political allegiances. In addition, it was a social movement whose members collaborated on projects and formed close personal ties. Transcendentalism contains vigorous thought and expression throughout, says Packer; only a study of the entire movement can explain its continuing sway over American thought. Through fresh readings of both the essential Transcendentalist texts and the best current scholarship, Packer conveys the movement's genuine expectations that its radical spirituality not only would lead to personal perfection but also would inspire solutions to such national problems as slavery and disfranchisement. Here is Transcendentalism in whole, with Emerson, Thoreau, and Fuller restored to their place alongside such contemporaries as Bronson Alcott, George Ripley, Jones Very, Theodore Parker, James Freeman Clarke, Orestes Brownson, and Frederick Henry Hedge.
The philosophy explained in terms of selections from the writings of the chief adherents.
"Ripley is an unmistakable descendant of Gatsby, that 'penniless young man without a past' who will stop at nothing."—Frank Rich Now part of American film and literary lore, Tom Ripley, "a bisexual psychopath and art forger who murders without remorse when his comforts are threatened" (New York Times Book Review), was Patricia Highsmith's favorite creation. In these volumes, we find Ripley ensconced on a French estate with a wealthy wife, a world-class art collection, and a past to hide. In Ripley Under Ground (1970), an art forgery goes awry and Ripley is threatened with exposure; in The Boy Who Followed Ripley (1980), Highsmith explores Ripley's bizarrely paternal relationship with a troubled young runaway, whose abduction draws them into Berlin's seamy underworld; and in Ripley Under Water (1991), Ripley is confronted by a snooping American couple obsessed with the disappearance of an art collector who visited Ripley years before. More than any other American literary character, Ripley provides "a lens to peer into the sinister machinations of human behavior" (John Freeman, Pittsburgh Gazette).
"To All Ingeniously Elaborate Students, In the most Divine Mysteries of Hermetique Learning." Or so British politician and Freemason ELIAS ASHMOLE (1617-1692) dedicated this curious artifact of the esoteric and spiritual philosophy of alchemy. An avid collector of antiquaries and other oddities (they were, upon his death, bequeathed to Oxford University, which used them to found the Ashmolean Museum), Ashmole counted among his treasures volumes of metaphysical poems available only in private, and fiercely guarded, manuscripts. In 1652, though, he collected many of these writings in this hefty tome, annotated with his own comments. Included are: . "The Ordinall of Alchimy" by Thomas Norton . "The Compound of Alchymie" by Sir George Ripley . "Liber Patris Sapientiae" . "The Tale of the Chanons Yeoman" by Geoffry Chaucer . "The Worke of John Dastin" . "The Hunting of the Greene Lyon" by the Viccar of Malden . "Bloomsfields Blossoms: Or, The Campe of Philosophy" . "Sir Ed Kelley Concerning the Philosopher's Stone" . and much more. Once a resource for such natural philosophers as Isaac Newton, the Theatrum Chemicum Brittannicum remains an astonishing album of arcania.