The Literary Character Illustrated By The History Of Men Of Genius Drawn From Their Own Feelings And Confessions

by Isaac D'Israeli

The Literary Character Illustrated By The History Of Men Of Genius Drawn From Their Own Feelings And Confessions by Isaac Disraeli opens a sweeping examination of what makes a literary figure the genius who creates, the temperament that accompanies creation, and the social pressures that shape reception. First published in 1795, the work surveys the nature of the literary character through a sequence of chapters that trace youth, early studies, irritability, solitude, meditation, enthusiasm, jealousy, mutual esteem, self-praise, and the domestic life of genius, among other themes. Drawing on biographies, anecdotes, and classical authorities, it argues that genius is formed by a mix of solitary study and intimate friendships, elevated by a persistent engagement with literature even as it collides with society’s conventions. Rich in illustrative portraits—from Milton and Descartes to Mendelssohn and Barry—the book offers a foundational meditation on the mind behind great works and the enduring pull between personal passion and public fame.

Genres: Biography Memoir

386 pages, Paperback

First published February 23, 2007

About the author

Isaac D'Israeli was a writer and scholar best known for his essays, his associations with other men of letters, and as the father of British Prime Minister Benjamin Disraeli.

Reviews

[Michael · Rating 4 out of 5]

This is one of the most amusing books of literary criticism I've ever read. It is packed with funny, sad, fascinating, surprising, and all-too-human anecdote about the kinds of lives geniuses lead. D'Israeli was clearly a real eccentric. He wanted to know what "genius" was, so he read up on the lives of as many geniuses as he could, and tried to describe what sort of personalities they have. The result is a unique and strange work of biography.

He has the obvious flaws of a literary critic from the beginning of the nineteenth century. His knowledge of medieval literature is essentially non-existent, and he includes very few women, non-Europeans or lower-class authors in his discussion. But these are easy flaws to look over, because they do not prevent him from having a huge range of examples to draw from, and do not detract from the comic and humane temper of his writing.