Dieses historische Buch kann zahlreiche Tippfehler und fehlende Textpassagen aufweisen. Kaufer konnen in der Regel eine kostenlose eingescannte Kopie des originalen Buches vom Verleger herunterladen (ohne Tippfehler). Ohne Indizes. Nicht dargestellt. 1901 edition. Auszug: ...Des Marais and de Noailles took part, as well as Bossuet, in the struggle; indeed St Simon awards to the former the chief honours of the war: he was the rock against which Fenelon always dashed in vain.2 And even gentle, embarrassed de Noailles has lately found an admirer in M. Crousle--perhaps because Fenelon thought his pastoral more full of poison than even the utterances of Bossuet.3 There were many reasons for Bossuets wrath. Like his friends at Versailles, he thought mysticism rare and not very necessary; it should not be paraded in the streets, but be kept carefully hidden from the eyes of a world that would neither value nor understand it. He had little of the mystical temper himself; his magnificent imagination fastened only on hard realities, seeing far deeper into these than other men, but never travelling beyond them. He was no master in that vague cloud-land of Fenelons, where one chance word could stir whole tumults of emotion, set loose 1 Wks., ii. pp. 283 and ff. The Friend was Beauvilliers. 3 i. p. 416. The Pastoral, out of a helpless desire to spare Fenelons feelings, avoids mentioning him specially, and attacks Disinterestedness under the general head of Quietism, thus classing Fenelon with Molinos. Bossuet on the other hand, attacks the Maxims openly, but distinguishes between Quietism proper and the "Semi-Quietism " of the Maxims. See Fen. Wks., ii. pp. 463 and ff. whole trains of echoing fancy; his words were keen to hold the hearer tightly gripped, spell-bound before the majesty of fact. We must go to Parma and the Sistine Chapel for our parallel; if Fenelon was a Correggio in religion, Bossuet was its Michelangelo. Yet the painter of the Last Judgment stood...