THE translations given in this volume, with the exception of the stormscene from Tolstoy in the First Lecture, are my own. The reader will please bear in mind that these Lectures, printed here exactly as delivered, were written with a view to addressing the ear as well as the eye, otherwise the book would have been entirely different from what it now is. When delivering the Sixth Lecture, I read extracts from Tolstoy’s “My Religion” and “What to Do,” illustrating every position of his I there commend; but for reasons it is needless to state, I omit them in the book. I can only hope that the reader will all the more readily go to the books themselves.

1889. P. GRAFTON, MASS., 1 July, 1889.

The author has dwelt, especially in the theoretical part, upon general questions which are side-issues in respect to the theme that he has treated. But this will not seem a digression to those who remember that, strictly speaking, there are no particular philosophical sciences, standing by themselves. Philosophy is unity, and when we treat of Æsthetic or of Logic or of Ethics, we treat always of the whole of philosophy, although illustrating for didactic purposes only one side of that inseparable unity. In like manner, owing to this intimate connexion of all the parts of philosophy, the uncertainty and misunderstanding as to the æsthetic activity, the representative and productive imagination, this firstborn of the spiritual activities, mainstay of the others, generates everywhere else misunderstandings, uncertainties and errors: in Psychology as in Logic, in History as in the Philosophy of Practice. If language is the first spiritual manifestation, and if the æsthetic form is language itself, taken in all its true scientific extension, it is hopeless to try to understand clearly the later and more complicated phases of the life of the spirit, when their first and simplest moment is ill known, mutilated and disfigured. From the explanation of the æsthetic activity is also to be expected the correction of several concepts and the solution of certain philosophic problems which generally seem to be almost desperate. Such is precisely the spirit animating the present work. And if the present attempt and the historical illustrations which accompany it may be of use in winning friends to these studies, by levelling obstacles and indicating paths to be followed; if this happen, especially here in Italy, whose æsthetic traditions (as has been demonstrated in its place) are very noble, the author will consider that he has gained his end, and one of his keenest desires will have been satisfied.

The second book of Comparative Studies Series is aimed to write on various great literary figures. Studies in Contemporary Comparative Literature in the world are briefly introduced. Two great writers’ works, Charles Dickens’s Oliver Twist from English literature and Yaşar Kemal’s Sarı Sıcak from Turkish literature, are compared. Film adaptation of the book The Queen Victoria which tells about one of the greatest queens of England is studied with similarities and differences. Famous novels The White Castle by Orhan Pamuk and Chatterton by Peter Ackroyd are analysed in terms of historiographic metafictional aspects. It is great pleasure to contribute to the literary world with a new study.