Literature and Poetry

Issues written by Eli Siegel

Down With Beauty! / Number 149, February 4, 1976

Aesthetic Realism has been saying for a long time that the problem of madness is the same as the problem of poetry. In madness, a person’s desire for symmetry and order is not at one with his desire for freedom or abandon. Human life with its constant temperature—when things are well—of 98°, accompanied in the body by all kinds of unsymmetrical tendencies, instances the fact that a person is order and disorder. Health is not just order; it is the oneness of order and freedom, or order and new possibility. Poetry, like the body at its best, is order and freedom at once, logic and impulse fairly had at the same moment

What I have written is illustrated by the history of all the arts, including, surely, poetry. It is necessary, though, to see the reasonableness of this statement: Poetry is sanity. It is necessary to see the reasonableness of: Art is sanity ....more

The Fight / Number 151, February 18, 1976

The greatest fight man is concerned with, is the fight between respect for reality and contempt for reality that has taken place in all minds of the past and is taking place now. There are three places in literature which make the fight between respect and contempt clearer. These places are Sonnet 66 of Shakespeare; Baudelaire’s “O Mort, vieux capitaine”; and Shelley’s “Ode to the West Wind.”

Certainly there are many more illustrations in literature of that fight between respect and contempt which Aesthetic Realism sees as the beginning and most important fight in every mind. Still, the three instances of literature that I have mentioned can serve richly to tell what the fight in man is. The large fight, again, in every mind, every mind of once, every mind of now, is between seeing the world or reality as having meaning, aesthetic order, and some friendliness, a world which one can truly like; or seeing the world as disorderly, causeless, uncaring, something one cannot truly like....more

The Gods Are Lessened / Number 153, March 3, 1976

Contempt spares nothing. An important portion of history is how man has wanted to have contempt for the gods he has made and thought he needed. We see from history itself and from the history of religion that there is a desire in man to own and manipulate whatever he might respect....

There is something, we think, that makes gods of ourselves if we can either dismiss the world or find it tedious. And certainly, if along with dismissing the world or finding it tedious, we can swallow it—as Baudelaire intimates—our god—like possibilities are more than ever asserted. There is, at least, a relation between boredom and self-divinity.

The history of religion—or non-religion—tells a great deal about contempt and how it has been in man....more

Look Who's Here! / Number 154, March 10, 1976

...If...Aesthetic Realism is correct and the self is a constant aesthetic debate, then it is not hard for one to see that the two possibilities of self may both be regarded with contempt by a living person. This means that the self given only to care for itself is seen with contempt by that in a person which wants to be more comprehensive or larger. Also, the self which tries to be or wishes to be larger and more inclusive, is seen with contempt by the self-regarding person, the person who thinks that taking care of just what he is, is work enough for one life....more

Care for Self / Number 155, March 17, 1976

It is rather clear that if a person is to care for himself, he must make some sense of our great desire for love and our great desire for contempt. Man is both a diminishing and an enhancing animal. He would like to make everything smaller, more wretched, less important, so that amid the unattractive ruins he might be distinguished. And then there is a tendency in man, rather unsuccessful, to give more meaning to all things.

Unless both possibilities—lessening and increasing—are seen as of man himself, there will be pain...

In the life of Sara Teasdale (1885-1933), one can see quite well what I am talking about.... more

The Shakespearean Awareness / Number 156, March 24, 1976

Every dramatist has to be aware of the three great emotions which, when used not in behalf of a more just world but in behalf of a superior self, can do such harm. These three great emotions which may be used in behalf of a falsely advanced self are: Fear, Anger, Contempt.

Shakespeare says much of fear, anger, contempt. Some of the highest points in the world's literature have Shakespeare's awareness of these three emotions. And Shakespeare has hardly neglected contempt. Sometimes this contempt is readily seen—as when Hamlet satirically and poetically describes his usurping stepfather, Claudius. Everyone, then, would agree that Hamlet had contempt for King Claudius; also for Polonius. However, that he had contempt for Ophelia is a more difficult matter. And, changing plays, it is even more difficult to see that Othello had contempt for Desdemona. ... more

The Hawthorne Omission / Number 157, March 31, 1976

In this number of TRO, I shall give evidence that Nathaniel Hawthorne knew he was driven by a deep contempt; and he also knew that he might die of it. Yet Hawthorne, even when renowned in America as the author of The Scarlet Letter and The House of the Seven Gables, did not know an syone who was so concerned as to take his own statements about himself and others seriously; and so be of friendly use to him. Nor have critics taken many things Hawthorne said with the amiable gravity they deserved.

Consequently, dear unknown friends, the Hawthorne Omission is persons’ failure to see a great, constant fear of his. Perhaps this letter or essay is the first attempt to take a deadly concern of a noted writer as truly that.... more

Missed by Edgar Allan Poe / Number 158, April 7, 1976

I shall try in this number of TRO to give the first evidences that Edgar Allan Poe felt that he had put aside good will in his life; and that for the rest of his years, he was hoping to have it back. It is good will, essentially, who is or which is missed in his poems like “Ulalume” or “The Raven.” It is good will which is sadly killed in Poe's “The Tell-Tale Heart” and also in “The Black Cat.” It is good will who is or which is the other self of William Wilson, attacked by the more assertive self. I believe, dear unknown friends, when all the evidence is looked at, it will be seen that good will, presented as a lost woman, is regretted in “The Raven.” So let us see....more

Ah, to Dismiss / Number 159, April 14, 1976

Years ago, through Trent’s American Literature, I learned that Edgar Allan Poe had a hold on Europe which hardly any other American writer had....

We have to ask, what is the nature of this hold of Poe on the reading world? I am matter-of-fact when I say that the reason Poe has a hold on the reading world is that he tells so well of persons' desire to dismiss the world. When you do well with the general desire to dismiss the world, you can become internationally indispensable. That is so with Poe. It became clear while Trent was writing his rather popular work on American literature....more

The Two Pleasures / Number 162, May 5, 1976

One thing that is clear in the history of man is that he has had pleasure of two kinds. Man has had pleasure from seeing a sunset; from Handel's Messiah; from seeing courage in someone; from a great rhythm in words. He has also had pleasure from making everything he can meaningless; from changing architecture into broken eggshells; from making the mighty malodorous; from trivializing. Man, then, praises; he also diminishes. The same lips that can curve and droop into a sneer can be apart in astonishment. Seeing meaning, then, has given pleasure; taking it away has also given pleasure. —Eli Siegel

This issue includes discussion of Edgar Allan Poe, Charles Baudelaire, Ludwig von Beethoven, Emily Dickinson, William Shakespeare—and others.... more

The Three Failures / Number 181, September 15, 1976

A fair idea may be had of what Aesthetic Realism is by considering The Three Failures, as Aesthetic Realism sees these. The failures are different, are in different fields; but they all arise from the seeing of the world and persons representing the world, in an inaccurate and unjust way. These three failures, in contemporary terms, may be described as: One, The Freud Failure; Two, The Greenspan Failure; and Three, The Eliot Failure.

Because Aesthetic Realism sees Sigmund Freud as having failed the mind of man; sees Alan Greenspan as failing now the economics of man where economics is ethics; and sees Thomas Stearns Eliot as having failed poetry as meaning and music at once—an idea may be had of what Aesthetic Realism regards as not failure, or success. For the purpose of understanding Aesthetic Realism, is it not necessary, dear unknown friends, to know what Aesthetic Realism regards as failure and regards as success?... more

All the Arts / Number 212, April 20, 1977

Aesthetic Realism has tried to make two things clear, both of value to the life of man. The first of these is that all the arts, at their beginning, have something in common; and that this common thing in all the arts is the oneness of opposites, felt and worked with by an individual mind."...more

Includes discussion of Byron, Beethoven, Delacroix, and Michelangelo

 America Has Literature / Number 284, September 6, 1978

The first American novel that impressed Europe was The Spy of 1821 by James Fenimore Cooper. This book is deeply ingenious; but one aspect of it has not been dealt with by the critics. Harvey Birch, who seems to spy both for the British and Americans, is an example of double personality that has taken an external form. Cooper himself was a mingling of naiveté and caution. He was gentle and irascible. Nevertheless, he had one of the greatest imaginations the world has seen..... more


This is the text for the course The Aesthetic Realism Explanation of Poetry, taught by Ellen Reiss

Aesthetic Realism as Poetry / Number 521, March 30, 1983

We are proud to reprint in this number of TRO Eli Siegel's Statement with Comments, "Poetry Is the Making One of Opposites." Aesthetic Realism as philosophy that has beautifully revolutionized people's lives, arose from Eli Siegel's seeing of what poetry is. He writes of the first Aesthetic Realism lessons, which took place in 1941: "Aesthetic Realism, as taught by an individual, arose from requests from people in my poetry classes who asked if they could talk to me privately. In my talks on poetry, I mentioned often the fact that what makes a good poem is like what can make a good life. This I see as still true, for poetry is a mingling of intensity and calm, emotion and logic" (TRO 316).

The explanation of poetry presented here is asked for by the whole history of literary criticism; for every important critic has had some sense that opposites matter in poetry.... more

The Human Self—at Any Age  / Number 1992, November 14, 2018

Here is the final section of the 1953 lecture When Does Evil Begin?, by Eli Siegel. As I have described, it is one in a series he gave presenting his landmark explanation of Henry James’s novella The Turn of the Screw. That work of James has been seen as powerful—and it is; as about evil—and it is. Yet it has bewildered people: what is the evil—and who has and does it?

Mr. Siegel shows what other critics didn’t see—that the two lovely-appearing children, Miles and Flora, are going after evil, have evil. And he explains what no other philosopher or student of mind has seen: where all evil, injustice, cruelty begin....more

Literature, Children, & Bullying/ Number 1991, October 31, 2018

Here is part 2 of the lecture we are publishing in 3 parts: When Does Evil Begin?, by Eli Siegel. In 1953 he gave a series of talks, landmarks in literary criticism and the understanding of self, talks explaining and placing Henry James’s short novel The Turn of the Screw. One of these is the present lecture, in which he looks at several children of literature and history as a means of showing what impelled Miles and Flora, the child protagonists of that puzzling James novella....more

The Grandeur of Knowing—versus Contempt / Number 1990, October 17, 2018

In this issue we begin a three-part publication of a great lecture by Eli Siegel on a tremendous subject. It is his talk of January 19, 1953, When Does Evil Begin?—the ninth in a series of lectures he gave in relation to Henry James’s novella The Turn of the Screw. From that series arose Mr. Siegel’s 1968 book James and the Children.

The Turn of the Screw has puzzled people very much. What was driving or affecting the two angelic-seeming children, Miles and Flora?...more 

The Novel—What It Tells Us / Number 1987, September 5, 2018

Here is the conclusion of It Still Moves; or, The Novel. In this great 1951 lecture, Eli Siegel has been explaining not only what a novel is, but that which other critics—also novelists, also readers—have not known: what makes some novels beautiful; and how, in the technique of a good novel, are the answers to the questions of our own lives. At the basis of this talk is the principle “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.”

In the midst of this final section, Mr. Siegel says, “I mention for a while some novels of note.” And then he does something that is for me literally breathtaking. He comments on novels of many centuries, and because this is at the end of a single lecture, he has to be exceedingly brief about each; yet what happens stands for who Eli Siegel was, as critic, as scholar, and as a person. He gets to and has us feel what is central to each of the authors mentioned, and he also relates the various novels to each other—all in such a few words, and his sentences are beautiful....more

Justice to Feelings—& the Novel / Number 1986, August 22, 2018

Here is the 5th section of Eli Siegel’s landmark 1951lecture It Still Moves; or, The Novel. He continues his discussion of character—of the ways novelists have approached the tremendous yet everyday matter of what a person is. In this section, as he speaks particularly about novels of the first half of the 20th century, what he says is mightily relevant to novels today, and also to us, our lives, our feelings. His basis is this great Aesthetic Realism principle: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.”

Character in fiction, we see, is always a oneness of those huge opposites a self and the world not oneself. And that is what our own lives are about: how well do we put together a focus on our treasured self and the need to see rightly the wide and specific outside world—the world we were born to value, be affected by, know, like?...more

People in Novels—& Us / Number 1985, August 8, 2018

We continue serializing Eli Siegel’s great lecture It Still Moves; or, The Novel. And in this issue we have the beginning of his discussion of character, personality, in fiction. He gave the lecture in 1951, and is commenting here on new ways novelists saw and showed the human self in the first half of the 20th century. Meanwhile, this Aesthetic Realism principle is true about what makes a novel of any century good, and that includes what causes a fictional character to be alive: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.”....more

Ourselves—& What’s Around Us / Number 1984, July 25, 2018

[Here is the third section of Eli Siegel's lecture It Still Moves; or, the Novel. In it,] Mr. Siegel speaks about the elements of character and environment, or place, in the novel, and the relation between them. Certainly, ever so many commentators on the novel have discussed those elements. But he is the critic who saw what no one else did: that character and place in fiction are forms of the biggest opposites in the life of every person: self and world. Both a character in a novel and all of us are meeting the world at every moment. And the world takes the form of other people—but, very much, it takes the form of place: what surrounds us, where we are....more

What Is Meaning—in Art & Our Lives? / Number 1983, July 11, 2018

In the present section [of the lecture we're serializing, It Still Moves; or, the Novel], as he looks at the elements of the novel, Mr. Siegel speaks about meaning. That is a word that concerns people’s lives very much, and often very painfully. Millions of people right now have the feeling that large meaning is absent from their lives. They don’t know what meaning is—they may even tell themselves there’s no such thing. But they miss it. They have the What-does-it-all-come-to feeling; the Is-that-all-there-is feeling....more

What the Novel Is—& Why It Matters / Number 1982, June 27, 2018

It is an honor to begin to serialize a lecture great in the understanding of art and of everyone’s life: It Still Moves; or, The Novel, by Eli Siegel. In this 1951 discussion he speaks about what the novel is, must have—the novel of any type, any year, any place. Later in the lecture he comments on many individual novels, some quite swiftly, but in every instance centrally, definitely. And as he does, his own prose—here, spoken prose—is some of the most beautiful in English....more

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Brightness—in the World & Our Thoughts / Number 1981, June 13, 2018

Here is the conclusion of Poetry and Brightness, by Eli Siegel. In this remarkable, great lecture of 1949 one can see some of the richness and vital truth of the principle at the basis of Aesthetic Realism: “The world, art, and self explain each other: each is the aesthetic oneness of opposites.”

In the final section Mr. Siegel speaks about two people, one ever so famous, the other much less known today: the poet Percy Bysshe Shelley (1792-1822), and the writer on nature Richard Jefferies (1848-87). Mr. Siegel speaks about the love and difficulty both had in relation to the big opposites this lecture is so deeply about: light and dark....more 

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What Is Brightness? or, Justice to Words & Reality / Number 1980, May 30, 2018

...[In the lecture we're serializing, Poetry and Brightness,]...Mr. Siegel shows that the idea of brightness is fundamental to the biggest matters that concern humanity, which means the life of every one of us.

In the present issue, we see him speaking about brightness in relation to religion, love, what the self most deeply is, and what can be called economic justice—a just ownership of the world....more

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Brightness, Dimness, & People's Hopes / Number 1979, May 16, 2018

With this issue we are beginning to serialize a lecture that Eli Siegel gave quite early in the history of Aesthetic Realism. It is Poetry and Brightness, of 1949, and I find it amazing and beautiful.

Though the idea of brightness may not seem an urgent matter, it is. And here is a large reason why: While there are brightness and non-brightness in things, there is also the possibility of brightness or non-brightness in how we see, think, meet what’s not ourselves—with brightness here meaning vibrancy, vividness, awareness, active attention. The opponents of brightness in how a person sees are dullness, unfeelingness, dimness, non-awareness; and from these comes cruelty....more

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The Deepest Kind of Cleverness / Number 1978, May 2, 2018

We have reached the conclusion of Eli Siegel’s great 1949 lecture Poetry and Cleverness. In this final section, to illustrate what cleverness is, he uses passages from Samuel Butler’s Hudibras, a satiric poem cared for immensely from the time it was first published, in 1662. Cleverness is something people want very much to have; yet they also despise themselves for their cleverness. It’s something they both admire and detest in others. There is a tremendous mix-up in people about cleverness, because the difference between good cleverness, beautiful cleverness, and ugly, hurtful cleverness has not been understood….more

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The Two Kinds of Cleverness / Number 1977, April 18, 2018

We have come to section 4 of Eli Siegel’s wonderful 1949 lecture Poetry and Cleverness. Offhand, cleverness does not seem one of humanity’s biggest concerns. Yet how our very lives go depends on how we see cleverness, on how we’re affected by it, on how we try to be clever.

Cleverness is immensely diverse. And in this lecture Mr. Siegel describes what all cleverness has in common, from the kind that’s ridiculous, to the charming, to the kind much present in politics. Cleverness is always a dealing with the opposites of ease and difficulty....more

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The Self: Clever, Deep, & Confused / Number 1976, April 4, 2018

...In the lecture [we're serializing, Poetry and Cleverness,] Mr. Siegel speaks about various aspects and ways of cleverness. That word, cleverness, can include so much—from cruel trickery, to charm, and even, he shows, beauty itself. But it’s usually associated with a certain superficiality, not depth; with smallness, not grandeur; with deviousness, not sincerity and kindness.

Aesthetic Realism is based on the principle that “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” In the previous paragraph I mentioned opposites that are severed in the notion had mainly of cleverness, in the kind of cleverness people largely go after. Most men and women feel that to take care of themselves they have to be adroit, manage things and persons astutely, or nimbly shrug them off—not see them deeply, be stirred mightily, be richly just. This cleverness, with its rift between opposites, has made for misery....more

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Love, Art, & Cleverness / Number 1975, March 21, 2018

...Aesthetic Realism explains the difference between cleverness that’s valuable, useful, charming, meaningful—and cleverness that is devious and hurtful. The first is impelled by respect for reality; the second by contempt. And in this section of his lecture, Mr. Siegel speaks about two kinds of good cleverness, one of which is larger and deeper.

By way of introduction, I’ll comment on the relation between something Ms. Abel writes about—the tremendous subject of love—and cleverness. It happens that both men and women don’t know whether love is a matter of cleverness or of deep, wide feeling. Most people would say it’s the latter, yet most people rely on cleverness, mainly devious cleverness, to “get” someone and have things proceed in the way they think they want. This is one of the biggest causes of sadness, emptiness, and anger: the hope for love yet the feeling one needs to be strategic....more

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Cleverness, Beauty, & Contempt / Number 1974, March 7, 2018

With this issue we begin to serialize Poetry and Cleverness, by Eli Siegel. This 1949 lecture is, as literary criticism, important, big, scholarly, humorous, deep. It is also about everyone’s life; it is needed by, and immensely kind to, every person.

What is cleverness? Why are people so taken by clever things? There is, for instance, the immortal cleverness of Sherlock Holmes as he finds clues in objects others overlooked, and thereby shows, with such grace, who committed that “unsolvable” crime. There is the physical and mental cleverness that thrills people watching acrobatic feats—as they see, perhaps, someone dangle upside down from a trapeze, then shape herself into a soaring bird on it. ....more

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We Have to Learn What Expression Is / Number 1973, February 21, 2018

Here is the conclusion of Eli Siegel’s 1949 lecture Poetry and Space. In the previous section he spoke, greatly and newly, about Walt Whitman—who, he said, “strangely enough, seems most to be the poet of space. ...He just couldn’t leave the subject alone.” While understanding and describing Whitman’s particular way of seeing the subject, Mr. Siegel is illustrating in this talk the meaning for all people of that tremendous thing, Space. He gives the following informal definition: “Anything seen as permitting motion without any interference at all could be seen as space.”...more

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Space, Walt Whitman, & Our Lives / Number 1972, February 7, 2018

Here is part 4 of Poetry and Space, a beautiful, amazing, vivid, and very important lecture that Eli Siegel gave in 1949. “Anything,” he explained, “seen as permitting motion without any interference at all could be seen as space.” That description takes in all the various ways the word has been used and is central to the many feelings, good and bad, that people have about space. For instance, there is the feeling we have looking far out to the horizon. There is the assessing of whether a parking space is large enough for one’s car. There is the design question of how to fill that space on the wall, or on that web page. There is the use of the word to mean air, interval, vacancy, expanse—and more....more

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Ethics, Beauty, & the Civil War / Number 1971, January 24, 2018

...We have come, in the [part of the lecture Poetry and Space published here], to Mr. Siegel’s discussion of a poem that is also a famous Civil War song. He is reading it to show some of the feeling people have had about space, that tremendous thing in reality. Meanwhile, what he says very swiftly here about the Civil War and the racial injustice that has continued after it, is so vivid and deep, has such a oneness of perspective and passion, is so eloquent in its sincerity, that I want to comment on it. Though brief, it stands for how he always spoke and wrote on the subject.

Here, Mr. Siegel is speaking in August 1949. That is before the civil rights movement is generally seen as beginning....more

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Space, Matter, Good Will, & The Whale / Number 1970, January 10, 2018

We are serializing the great 1949 lecture Poetry and Space, by Eli Siegel. It is an opulent, surprising, living illustration of the principle on which Aesthetic Realism is based: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Space and its opposite, matter, are aspects of the physical universe. And they also represent desires of our own. They have to do with our own confusions, hopes, happiness, mistakes. Space and matter are related to other opposites that are always part of us, opposites that need to join well in us and so often do not: for example, lightness and heaviness, emptiness and fullness, mind and body....more

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Space, Matter, & Our Own Emotions / Number 1969, December 27, 2017

It is an honor to begin serializing Poetry and Space, a lecture Eli Siegel gave in 1949. It is great in its literary criticism and its kind, rich understanding of people.

Space, of course, is part of the physical world. Yet we have feelings about it all the time. Those feelings can have joy with them, and ease; also agitation and even terror; and much in between. Space, as Mr. Siegel explains, is in all art. It can be seen as having two opposites: one is time; the other, perhaps even more fundamentally an opposite of space, is matter. And this principle of Aesthetic Realism certainly includes space and matter, space and time: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.”...more

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The Thing in Us We Need Most to Understand / Number 1967, November 29, 2017

...Discussing poems of James Thomson (1834-82), Mr. Siegel is describing [in the portion of Poetry and the Unconscious published here] the central matter in the self of everyone—including in our unconscious, or that in us of which we’re unaware. Although Thomson is best known for his powerful writing about the world as darksome, as having much evil, Mr. Siegel points out that he also wrote some of the most cheerful poems ever. And contrary to what various critics have said, Mr. Siegel shows that Thomson didn’t write the happy poems early in life and the darksome later. Rather, he wrote both kinds all along, because he had, intensely, what everyone has—two ways of seeing the world: as an enemy against which he should find solace in himself; and as a friend....more

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The Right of Aesthetic Realism to Be Known online:

*Current Issues: The most recent issues in which Aesthetic Realism explains the news, happenings in people's lives, events in history, and some of the most moving works in literature.

*National Ethics: What honest criteria can we use to be good critics of ethics on the national and international levels? Aesthetic Realism looks at ethics as to loyalty, international affairs, & more.

*Literature / Poetry: Discussing many great works of poetry and prose. Criticism, wrote Eli Siegel compactly, is showing "a good thing as good, a bad thing as bad, and a middling thing as middling."

*Love: How Aesthetic Realism describes the purpose of love—"to like the world honestly through another person." Discussion of what interferes with having real love—today and in history.

*Racism—the Cause & Solution: The Aesthetic Realism understanding of contempt as the cause of racism, and the place of aesthetics in respecting, pleasurably, people different from oneself.

*The Economy: Why our economic system has failed to meet the needs of the American people, and the Aesthetic Realism understanding of good will as the basis for successful and fair economics

*Education: The success of the Aesthetic Realism Teaching Method in having students learn to read and write—learn science, social studies, art, every subject—and be kinder, less angry, less prejudiced.

*Eli Siegel Day in Baltimore: Talks given on August 16, 2002, Eli Siegel's Centenary, placing Mr. Siegel and Aesthetic Realism, his work, in terms of world culture and history.

*Art: "Aesthetic Realism sees the purpose of art as, from the beginning, the liking of the world more..."

*Archives: The rich education provided by Aesthetic Realism in issues of The Right of Aesthetic Realism to Be Known which are online.

Aesthetic Realism Foundation online

The most comprehensive source of information about Aesthetic Realism is the website of the Aesthetic Realism Foundation—and the sites connected to it, including this one. You can start, for instance, at the Foundation's home page. Then, go on to biographical information about Eli Siegel, who founded Aesthetic Realism in 1941. You will see how the education he began teaching in those years continues now in Aesthetic Realism consultations and in public dramatic presentations and seminars at the Aesthetic Realism Foundation—as well as in the Foundation's Outreach Programs for seniors, young people, libraries, teachers. Meanwhile in the schools of New York, the dramatically effective Aesthetic Realism Teaching Method has enabled students to learn, to love learning, and to pass standardized examinations for three decades. And artists since 1955 have exhibited at the Terrain Gallery for which many have written commentaries (including on their own works), based on the philosophic principles of Aesthetic Realism. You can read about Ellen Reiss, Aesthetic Realism Chairman of Education online, as well as about every person on the faculty of the Foundation. As editor of TRO her commentaries are in every issue (see, e.g., "Nature, Romanticism, & Harry Potter"; "Clothing and Emotion"; and "Jobs, Discontent, and Beauty"). In the Aesthetic Realism Online Library, you'll find the largest single repository of reviews, articles in the press, lectures, poetry; and The Right of Aesthetic Realism to Be Known. In 2002, Eli Siegel' s centenary, the Governor of Maryland and the Mayor of Baltimore, the city where he grew up, wrote on the meaning to America of Aesthetic Realism and its founder. So did the former chair of the Congressional Black Caucus, Rep. Elijah E. Cummings, in the U.S. Congressional Record.

Selected Resources online

People in America's diverse professions—the humanities, the arts, education, the social sciences, medicine, labor—have written on the value of Aesthetic Realism. They describe the way Aesthetic Realism teaches people how to understand themselves more accurately; how the ability to be just to other people is enhanced; how one's professional attainments are augmented. Language arts teacher Leila Rosen, for example, writes on the Aesthetic Realism teaching method. Anthropologist Arnold Perey writes on the way Aesthetic Realism opposes prejudice and improves international understanding. And there are many others. Historically, new knowledge has often been met unjustly. This was true about the new, innovative thought of Louis Pasteur and John Keats, Beethoven and William Lloyd Garrison, Jonas Salk and Isaac Newton. And it has been true about Aesthetic Realism. Documenting and opposing this, the website "Friends of Aesthetic Realism — Countering the Lies," written by more than 60 individuals, refutes the falsehoods of the few persons who have attacked Aesthetic Realism and lets the facts speak for themselves. People who want to express their opinion of Aesthetic Realism, and have the knowledge to back it up, have created blogs and websites and have written numerous articles. See, for example, composer and educator Edward Green; essayist Lynette Abel; photographer Len Bernstein; teachers Ann Richards, Christopher Balchin, and Alan Shapiro. Others are listed in "What People Are Saying." The education of Aesthetic Realism enables a person to understand oneself more exactly than has been possible before, and to like the world honestly, authentically.

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