Gospels of Anarchy and Other Contemporary Studies

by Vernon Lee

It begins with the gradual suspicion, as we pass out of childish tutelage, that the world is not at all the definite, arranged, mechanical thing which the doctrine convenient to our elders and our own optimistic egoism have led us to expect; that the causes and results of actions are by no means so simple as we imagined, and that good and evil are not so distinctly opposed as black and white. We guess, we slowly recognize with difficulty and astonishment, that this well-regulated structure called the universe or life is a sham constructed by human hands; that the reality is a seething whirlpool of forces seemingly blind, mainly disorderly and cruel, and, at the best, utterly indifferent; a chaos of which we recognize, with humiliation turning into cynicism, that our poor self is but a part and a sample. . . .

316 pages, Paperback

First published January 1, 1908

About the author

Violet Paget, known by her pen name Vernon Lee, is remembered today primarily for her supernatural fiction and her work on aesthetics. An early follower of Walter Pater, she wrote over a dozen volumes of essays on art, music, and travel, poetry and contributed to The Yellow Book. An engaged feminist, she always dressed à la garçonne, and was a member of the Union of democratic control.

Her literary works explored the themes of haunting and possession. The English writer and translator, Montague Summers described Vernon Lee as "the greatest [...] of modern exponents of the supernatural in fiction."

She was responsible for introducing the concept of empathy (Einfühling) into the English language. Empathy was a key concept in Lee's psychological aesthetics which she developed on the basis of prior work by Theodor Lipps. Her response to aesthetics interpreted art as a mental and corporeal experience. This was a significant contribution to the philosophy of art which has been largely neglected.

"The Lie of the Land", in the voume "Limbo, and other Essays", has been one of the most influential essays on landscaping.

Additionally she wrote, along with her friend and colleague Henry James, critically about the relationship between the writer and his/her audience pioneering the concept of criticism and expanding the idea of critical assessment among all the arts as relating to an audience's (or her personal) response. She was a strong, though vexed, proponent of the Aesthetic movement, and after a lengthy written correspondence met the movement's effective leader, Walter Pater, in England in 1881, just after encountering his famous disciple Oscar Wilde. Her interpretation of the movement called for social action, setting her apart from both Wilde and Pater.