In the legends and allegories and satires represented in these pages the reader will find strange and fervent faiths as well as homely pictures of the world as it is. A vigorous use of the concrete is everywhere evident; abstractions seem not to exist without some physical traits to make them real to the ordinary man. Intensely picturesque and objective are the descriptions of hell and of heaven, of the lands visited by Brandon, of Saint Paul’s otter, of the miracles of Saint Thomas, of the virtues of the coral, and of the traits of Rose and of Violet. To any readers there is unending charm in the natural, simple style of setting forth these details which force vivid conceptions upon the imagination.

“Originally published in 1896.”

In the following pages my aim has been to sketch the development of criticism, and particularly of critical method, in England; and to illustrate each phase of its growth by one or two samples taken from the most typical writers. I have in no way attempted to make a full collection of what might be thought the most striking pieces of criticism to be found in our literature.

Owing to the great wealth of such writing produced during the last sixty years, it is clearly impossible to give so complete a picture of what has been done in this period as in others. I am obliged to content myself with one specimen of one writer. But that is the writer who, in the opinion of many, is the most remarkable of all English critics. For the permission, so kindly granted, to include the Essay on Sandro Botticelli I desire to offer my sincerest thanks to Messrs. Macmillan and to the other representatives of the late Mr. Pater.

It may seem strange to close a volume of literary criticism with a study on the work and temperament of a painter. I have been led to do so for more than one reason. A noticeable tendency of modern criticism, from the time of Burke and Lessing, has been to break down the barrier between poetry and the kindred arts; and it is perhaps well that this tendency should find expression in the following selection. But a further reason is that Mr. Pater was never so much himself, was never so entirely master of his craft, as when interpreting the secrets of form and colour. Most of all was this the case when he had chosen for his theme one who, like Botticelli, “is before all things a poetical painter”.

1. E. VAUGHAN

February, 1896.

Sylvia Plath and Nilgün Marmara… Two female poets of distinct geographies, cultures, societies and periods followed a life with distinct sufferings and scars, but they produced similar poetries with the same wish and outcry for death. And in the end, both poets said their last words in the face of life through suicide. Indeed, there is this passionate bridge between these two poets since Marmara was a keen admirer of Plath’s poetry and art.

And today, standing on this very bridge, this book renders a detailed comparative reading and analysis on their poetry within the context of the psychoanalytical perspectives to death and self-destruction. Through the psychoanalysis of their poetical lines that are intermingled with pains and traumas centered around the obsession of death and self-destruction, this book traces and unearths the mutual poetical mechanisms of the unconscious and the human psyche that turn the poetry of both poets into ‘art of dying’ as in the wording of Plath and ‘swan songs’ as in the wording of Marmara. Psychoanalyzing their poetic personas in their ‘art of dying’, this book highlights how Plath and Marmara became both the victims and the victors of their ‘swans songs’ via various psychological scars and existential dilemmas.