Definitivat Engleza 2011 Universitatea Dunarea de Jos Galati.pdf

TEXTE LITERARE, TEXTE LITERARE, CONTEXTE CONTEXTE

CULTURALE CULTURALE ŞŞI I PREDAREA LORPREDAREA LOR

A.OBIECTIVE A.OBIECTIVE

CandidaCandidaţţii vor dovedi capacitatea de :ii vor dovedi capacitatea de :

a a îînnţţelege elege şşi analiza un text literar la prima vedere prin utilizarea i analiza un text literar la prima vedere prin utilizarea corectă a termenilor corectă a termenilor şşi conceptelor, noi conceptelor, noţţiunilor de teorie iunilor de teorie şşi critică i critică literară prin care un text se plasează literară prin care un text se plasează îîn context istoric n context istoric şşi cultural;i cultural;

a cona conşştientiza tientiza şşi transmite atitudini culturale (cultural awareness)i transmite atitudini culturale (cultural awareness);;

a adecva predarea termenilor a adecva predarea termenilor şşi a conceptelor de teorie i a conceptelor de teorie şşi critică i critică literară la diverse tipuri de claseliterară la diverse tipuri de clase;;

a selecta texte literare a selecta texte literare îîn predarea limbii engleze ca limbă străinăn predarea limbii engleze ca limbă străină;;

a aborda temele generale de mai jos cu referire la operele inclua aborda temele generale de mai jos cu referire la operele incluse se îîn bibliografien bibliografie..

B.TEME GENERALEB.TEME GENERALE

Power, identity, love in ShakespearePower, identity, love in Shakespeare’’s plays s plays and sonnetsand sonnets

Enlightenment ideas reflected in the English Enlightenment ideas reflected in the English novelnovel

The Victorian character: values in actionThe Victorian character: values in action

Approaches to narrative and character in Approaches to narrative and character in British and American literature British and American literature --

the realist, the realist,

modernist and postmodernist paradigms.modernist and postmodernist paradigms.

Values, symbols and myths in British and Values, symbols and myths in British and American literature American literature

Literatura britanicăLiteratura britanică

Austen, Jane: Austen, Jane: Pride and PrejudicePride and Prejudice

or or EmmaEmma

Bronte, Emily: Bronte, Emily: Wuthering HeightsWuthering Heights

Carroll, Lewis: Carroll, Lewis: AliceAlice’’s Adventures in Wonderlands Adventures in Wonderland

Conrad, Joseph: Conrad, Joseph: Heart of DarknessHeart of Darkness

sausau

Lord JimLord Jim

Defoe, Daniel: Defoe, Daniel: Robinson CrusoeRobinson Crusoe

Dickens, Charles: Dickens, Charles: Great ExpectationsGreat Expectations

sausau

Oliver TwistOliver Twist

Forster, E. M.: Forster, E. M.: A Passage to IndiaA Passage to India

sausau

A Room With a ViewA Room With a View

FowlesFowles, John: , John: The French LieutenantThe French Lieutenant’’s Womans Woman

sausau

The MagusThe Magus

GoldingGolding, William: , William: Lord of the FliesLord of the Flies

Hardy, Thomas: Hardy, Thomas: TessTess

of the Dof the D’’UrbervillesUrbervilles

sausau

Jude the ObscureJude the Obscure

James, Henry: James, Henry: The Portrait of a LadyThe Portrait of a Lady

sausau

The AmbassadorsThe Ambassadors

Joyce, James: Joyce, James: A Portrait of the ArtistA Portrait of the Artist

as a Young Manas a Young Man

sausau

DublinersDubliners

Shakespeare, WilliamShakespeare, William: Sonnets : Sonnets XVIIIXVIII, CXXX; Romeo and Juliet, Julius Caesar, , CXXX; Romeo and Juliet, Julius Caesar, HamletHamlet, , A A Midsummer NightMidsummer Night’’s Dreams Dream..

Swift, Jonathan: Swift, Jonathan: GulliverGulliver’’s Travelss Travels

WoolfWoolf, Virginia: , Virginia: Mrs. DallowayMrs. Dalloway

sausau

To the LighthouseTo the Lighthouse

Literatura americanăLiteratura americană

Faulkner, William: Faulkner, William: Absalom, AbsalomAbsalom, Absalom

sausau

The Sound and The FuryThe Sound and The Fury

Fitzgerald, F. Scott. Fitzgerald, F. Scott. The Great GatsbyThe Great Gatsby

Hawthorne, Nathaniel. Hawthorne, Nathaniel. The Scarlet LetterThe Scarlet Letter

Hemingway, Ernest. Hemingway, Ernest. The Old Man and the SeaThe Old Man and the Sea;;

The Short Happy Life The Short Happy Life of Francis of Francis MacomberMacomber

Melville, Herman. Melville, Herman. Moby DickMoby Dick

Poe, Edgar Allan. Poe, Edgar Allan. The TellThe Tell--Tale HeartTale Heart;;

The Fall of the House of UsherThe Fall of the House of Usher

PynchonPynchon, Thomas. , Thomas. The Crying of Lot 49The Crying of Lot 49

Twain, Mark. Twain, Mark. Huckleberry FinnHuckleberry Finn

Vonnegut, Kurt. Vonnegut, Kurt. Slaughterhouse 5Slaughterhouse 5

Oral ExamOral Exam

William William FalknerFalkner’’ss

““Absalom, AbsalomAbsalom, Absalom””: from : from

literary text to cultural context.literary text to cultural context.

Written ExamWritten Exam

Consider the following text: Consider the following text: …………

Contextualize it from a historical and cultural point Contextualize it from a historical and cultural point of view, and discuss its relevance with reference to of view, and discuss its relevance with reference to its authorits author’’s literary canon (2 paragraphs).s literary canon (2 paragraphs).

Which of the next thematic approaches do you Which of the next thematic approaches do you find best able to reveal its meanings and stylistic find best able to reveal its meanings and stylistic preferences? Argument your opinion. (1 preferences? Argument your opinion. (1 paragraph).paragraph).

AnalyseAnalyse

the text with the above in view (3 the text with the above in view (3 paragraphs).paragraphs).

Power, identity, love in ShakespearePower, identity, love in Shakespeare’’s s sonnets and playssonnets and plays

The Shakespearean Sonnet: themes and poetic The Shakespearean Sonnet: themes and poetic style in style in ……

ShakespeareShakespeare’’s comic worlds: rhetoric and s comic worlds: rhetoric and personationpersonation

in in ……

ShakespeareShakespeare’’s tragic hero: infringement and s tragic hero: infringement and identity in identity in ……

Sonnet XVIIISonnet XVIII

Shall I compare thee to a summer's day?Shall I compare thee to a summer's day? Thou art more lovely and more temperate:Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,Rough winds do shake the darling buds of May, And summer's lease hath all too short a date;And summer's lease hath all too short a date;

Sometime too hot the eye of heaven shines,Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed;And often is his gold complexion dimmed;

And every fair from fair sometime declines,And every fair from fair sometime declines, By chance or nature's changing course untrimmed:By chance or nature's changing course untrimmed:

But thy eternal summer shall not fade,But thy eternal summer shall not fade, Nor lose possession of that fair thou Nor lose possession of that fair thou ow'stow'st,,

Nor shall Death brag thou Nor shall Death brag thou wand'restwand'rest

in his shade,in his shade, When in eternal lines to time thou When in eternal lines to time thou grow'stgrow'st..

So long as men can So long as men can

breathe or eyes can see,breathe or eyes can see, So long lives this, and this gives life to thee.So long lives this, and this gives life to thee.

A Midsummer NightA Midsummer Night’’s Dream, Act s Dream, Act V, Scene OneV, Scene One

PUCK:PUCK:If we shadows have offended,If we shadows have offended,

Think but this, and all is mended,Think but this, and all is mended,

That you have but That you have but slumber'dslumber'd

herehere

While these visions did appear.While these visions did appear.

And this weak and idle theme,And this weak and idle theme,

No more yielding but a dream,No more yielding but a dream,

Gentles, do not reprehend:Gentles, do not reprehend:

if you pardon, we will mend:if you pardon, we will mend:

And, as I am an honest Puck,And, as I am an honest Puck,

If we have unearned luckIf we have unearned luck

Now to 'Now to 'scapescape

the serpent's tongue,the serpent's tongue,

We will make amends ere long;We will make amends ere long;

Else the Puck a liar call;Else the Puck a liar call;

So, good night unto you all.So, good night unto you all.

Give me your hands, if we be friends,Give me your hands, if we be friends,

And Robin shall restore amends.And Robin shall restore amends.

Hamlet, Act III, Scene OneHamlet, Act III, Scene OneHAMLETHAMLET

: : To be, or not to be: that is the question:To be, or not to be: that is the question:

Whether 'tis nobler in the mind to sufferWhether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,Or to take arms against a sea of troubles,

And by opposing end them? To die: to sleep;And by opposing end them? To die: to sleep;

No more; and by a sleep to say we endNo more; and by a sleep to say we end

The heartThe heart--ache and the thousand natural shocksache and the thousand natural shocks

That flesh is heir to, 'tis a consummationThat flesh is heir to, 'tis a consummation

Devoutly to be Devoutly to be wish'dwish'd. To die, to sleep;. To die, to sleep;

To sleep: perchance to dream: ay, there's the rub;To sleep: perchance to dream: ay, there's the rub;

For in that sleep of death what dreams may comeFor in that sleep of death what dreams may come

When we have shuffled off this mortal coil,When we have shuffled off this mortal coil,

Must give us pause: there's the respectMust give us pause: there's the respect

That makes calamity of so long life;That makes calamity of so long life;

For who would bear the whips and scorns of time,For who would bear the whips and scorns of time,

The oppressor's wrong, the proud man's contumely,The oppressor's wrong, the proud man's contumely,

The pangs of despised love, the law's delay,The pangs of despised love, the law's delay,

The insolence of office and the spurnsThe insolence of office and the spurns

That patient merit of the unworthy takes,That patient merit of the unworthy takes,

When he himself might his quietus makeWhen he himself might his quietus make

With a bare bodkin? who would With a bare bodkin? who would fardelsfardels

bear,bear,

To grunt and sweat under a weary life,To grunt and sweat under a weary life,

But that the dread of something after death,But that the dread of something after death,

The The undiscover'dundiscover'd

country from whose bourncountry from whose bourn

No No travellertraveller

returns, puzzles the willreturns, puzzles the will

And makes us rather bear those ills we haveAnd makes us rather bear those ills we have

Than fly to others that we know not of?Than fly to others that we know not of?

Thus conscience does make cowards of us all;Thus conscience does make cowards of us all;

And thus the native hue of resolutionAnd thus the native hue of resolution

Is Is sickliedsicklied

o'er with the pale cast of thought,o'er with the pale cast of thought,

And enterprises of great pith and momentAnd enterprises of great pith and moment

With this regard their currents turn awry,With this regard their currents turn awry,

And lose the name of action.And lose the name of action.----Soft you now!Soft you now!

The fair Ophelia! Nymph, in thy orisonsThe fair Ophelia! Nymph, in thy orisons

Be all my sins Be all my sins remember'dremember'd..

Enlightenment ideas reflected in the English Enlightenment ideas reflected in the English novelnovel



Austen, Jane: Austen, Jane: Pride and PrejudicePride and Prejudice

NeoclassicismNeoclassicism

A principle according to which the writing and criticism of liteA principle according to which the writing and criticism of literature rature should be guided by the rules and principles derived from the beshould be guided by the rules and principles derived from the best st of Greek and Roman writers.of Greek and Roman writers.

It dominated French literature during the 17It dominated French literature during the 17thth

and 18and 18thth

centuries.centuries.

It had a significant influence in England from the Restoration uIt had a significant influence in England from the Restoration until ntil 1798.1798.

Characteristics:Characteristics:

A regard for tradition and reverence for the classics, with an A regard for tradition and reverence for the classics, with an accompanying mistrust of innovation;accompanying mistrust of innovation;

A sense of literature as art (i.e. A sense of literature as art (i.e. artificedartificed), hence the value put on ), hence the value put on ““rulesrules””, , ““conventionsconventions””, , ““decorumdecorum””, the properties of received genres;, the properties of received genres;

A concern for social reality and the communal commonplaces of thA concern for social reality and the communal commonplaces of thought ought which hold it together (art is pragmatic and man is its most appwhich hold it together (art is pragmatic and man is its most appropriate ropriate subject);subject);

A concern for A concern for ““naturenature””, i.e. the way things are and should be;, i.e. the way things are and should be;

A concern with pride (standing for individual selfA concern with pride (standing for individual self--assertion against the assertion against the status quo).status quo).

Jonathan Swift (1667 Jonathan Swift (1667 ––

1745)1745)

Born in Ireland, of AngloBorn in Ireland, of Anglo--Irish Irish parentsparents

Writings:Writings:

satiresatiress

A Tale of a Tub (1704)A Tale of a Tub (1704)

The Battle of the Books (1704)The Battle of the Books (1704)

GulliverGulliver’’s Travels (1726) s Travels (1726)

essays essays

PamphletPamphletss

The Story of an Injured Lady The Story of an Injured Lady (1707)(1707)

A Short View of the State of A Short View of the State of Ireland (1727)Ireland (1727)

A Modest Proposal (1729)A Modest Proposal (1729)

poemspoems

Characteristic style:Characteristic style:

It combines parody, with its imitation It combines parody, with its imitation of form and style of another of form and style of another work/author, and satire in prose.work/author, and satire in prose.

It moves away from simple satire or It moves away from simple satire or burlesque:burlesque:

Satire: argues against a habit, practice, Satire: argues against a habit, practice, or policy by making fun of its reach or or policy by making fun of its reach or composition or methods;composition or methods;

Burlesque: imitates a despised author Burlesque: imitates a despised author and quickly moves to and quickly moves to reductioreductio

ad ad absurdumabsurdum

by having the victim say by having the victim say things coarse or idiotic. things coarse or idiotic.

It pretends to speak in the voice of an It pretends to speak in the voice of an opponent and imitate the style of the opponent and imitate the style of the opponent and have the opponent and have the parodicparodic

work work itself be the satire: the imitation would itself be the satire: the imitation would have subtle betrayals of the argument have subtle betrayals of the argument but would not be obviously absurd.but would not be obviously absurd.

GulliverGulliver’’s Travelss Travels

Both a Both a satiresatire

on human nature and a on human nature and a parodyparody

of the "of the "travellerstravellers' tales" literary ' tales" literary subsub--genre.genre.

It is divided in 4 parts:It is divided in 4 parts:

Part I: A Voyage to Lilliput Part I: A Voyage to Lilliput

Part II: A Voyage to Part II: A Voyage to BrobdingnagBrobdingnag

Part III: A Voyage to Part III: A Voyage to LaputaLaputa, , BalnibarbiBalnibarbi, , GlubbdubdribGlubbdubdrib, , LuggnaggLuggnagg

and Japan and Japan

Part IV: A Voyage to the Country of the Part IV: A Voyage to the Country of the HouyhnhnmsHouyhnhnms

Themes:Themes:

a satirical view of the state of European government, and of peta satirical view of the state of European government, and of petty differences ty differences between religions. between religions.

an inquiry into whether men are inherently corrupt or whether than inquiry into whether men are inherently corrupt or whether they become ey become corrupted. corrupted.

a restatement of the older "ancients versus moderns" controversya restatement of the older "ancients versus moderns" controversy..

Construction:Construction:

each part is the reverse of the preceding part; each part is the reverse of the preceding part;

Gulliver's view between parts contrasts with its other coincidinGulliver's view between parts contrasts with its other coinciding part.g part.

Part 2, Chapter 7Part 2, Chapter 7In hopes to ingratiate my self farther into his Majesty's In hopes to ingratiate my self farther into his Majesty's FavourFavour, I told him of an Invention discovered , I told him of an Invention discovered

between three and four hundred Years ago, to make a certain Powdbetween three and four hundred Years ago, to make a certain Powder, into a Heap of which the smallest Spark er, into a Heap of which the smallest Spark of Fire falling, would kindle the whole in a Moment, although itof Fire falling, would kindle the whole in a Moment, although it

were as big as a Mountain, and make it all fly were as big as a Mountain, and make it all fly up in the Air together, with a Noise and Agitation greater than up in the Air together, with a Noise and Agitation greater than Thunder. That a proper Quantity of this Powder Thunder. That a proper Quantity of this Powder rammed into a hollow Tube of Brass or Iron, according to its Bigrammed into a hollow Tube of Brass or Iron, according to its Bigness, would drive a Ball of Iron or Lead with ness, would drive a Ball of Iron or Lead with such Violence and Speed, as nothing was able to sustain its Forcsuch Violence and Speed, as nothing was able to sustain its Force. That the largest Balls thus discharged, would e. That the largest Balls thus discharged, would not only destroy whole Ranks of an Army at once, but batter the not only destroy whole Ranks of an Army at once, but batter the strongest Walls to the Ground, sink down strongest Walls to the Ground, sink down Ships, with a Thousand Men in each, to the Bottom of the Sea; anShips, with a Thousand Men in each, to the Bottom of the Sea; and, when linked together by a Chain, would cut d, when linked together by a Chain, would cut through Masts and Rigging, divide hundreds of Bodies in the Middthrough Masts and Rigging, divide hundreds of Bodies in the Middle, and lay all waste before them. That we le, and lay all waste before them. That we often put this Powder into large hollow Balls of Iron, and dischoften put this Powder into large hollow Balls of Iron, and discharged them by an Engine into some City we arged them by an Engine into some City we were besieging, which would rip up the Pavements, tear the Housewere besieging, which would rip up the Pavements, tear the Houses to pieces, burst and throw Splinters on s to pieces, burst and throw Splinters on every Side, dashing out the Brains of all who came near. That I every Side, dashing out the Brains of all who came near. That I knew the Ingredients very well, which were knew the Ingredients very well, which were cheap, and common; I understood the Manner of compounding them, cheap, and common; I understood the Manner of compounding them, and could direct his Workmen how to and could direct his Workmen how to make those Tubes of a Size make those Tubes of a Size proportionableproportionable

to all other Things in his Majesty's Kingdom, and the largest nto all other Things in his Majesty's Kingdom, and the largest need eed not be above an hundred Foot long; twenty or thirty of which Tubnot be above an hundred Foot long; twenty or thirty of which Tubes, charged with the proper Quantity of es, charged with the proper Quantity of Powder and Balls, would batter down the Walls of the strongest TPowder and Balls, would batter down the Walls of the strongest Town in his Dominions in a few Hours, or own in his Dominions in a few Hours, or destroy the whole Metropolis, if ever it should pretend to dispudestroy the whole Metropolis, if ever it should pretend to dispute his absolute Commands. This I humbly te his absolute Commands. This I humbly offered to his Majesty, as a small Tribute of Acknowledgment in offered to his Majesty, as a small Tribute of Acknowledgment in Return of so many Marks that I had received Return of so many Marks that I had received of his Royal of his Royal FavourFavour

and Protection. and Protection. The King was struck with Horror at the Description I had given oThe King was struck with Horror at the Description I had given of those terrible Engines, and the f those terrible Engines, and the

Proposal I had made. He was amazed how so impotent and Proposal I had made. He was amazed how so impotent and grovellinggrovelling

an Insect as I (these were his an Insect as I (these were his Expressions) could entertain such inhuman Ideas, and in so FamilExpressions) could entertain such inhuman Ideas, and in so Familiar a Manner as to appear wholly unmoved at iar a Manner as to appear wholly unmoved at all the Scenes of Blood and Desolation, which I had painted as tall the Scenes of Blood and Desolation, which I had painted as the common Effects of those destructive he common Effects of those destructive Machines, whereof he said some evil Genius, Enemy to Mankind, muMachines, whereof he said some evil Genius, Enemy to Mankind, must have been the first Contriver. As for st have been the first Contriver. As for himself, he protested that although few Things delighted him so himself, he protested that although few Things delighted him so much as new Discoveries in Art or in Nature, much as new Discoveries in Art or in Nature, yet he would rather lose half his Kingdom than be privy to such yet he would rather lose half his Kingdom than be privy to such a Secret, which he commanded me, as I valued a Secret, which he commanded me, as I valued my Life, never to mention any more. my Life, never to mention any more.

Daniel Defoe Daniel Defoe (1660(1660--1731)1731)Sometimes called the founder of the modern English novel, Defoe Sometimes called the founder of the modern English novel, Defoe established:established:

a dominant unifying theme with a serious thesis a dominant unifying theme with a serious thesis

convincing realism (through an almostconvincing realism (through an almost--journalistic firstjournalistic first--person narrative)person narrative)

a middle class viewpoint a middle class viewpoint

Characteristics: Characteristics:

His works are written in the form of fictional autobiography or His works are written in the form of fictional autobiography or diaries to make diaries to make them more realistic. them more realistic.

There is no real plot, just a chronological series of connected There is no real plot, just a chronological series of connected episodes featuring a episodes featuring a single protagonist. single protagonist.

The protagonist must struggle to overcome a series of misfortuneThe protagonist must struggle to overcome a series of misfortunes, using only his s, using only his or her physical and mental resources. or her physical and mental resources.

DefoeDefoe’’s self s self ––

supporting hero/heroine combines the virtues of Puritanism and supporting hero/heroine combines the virtues of Puritanism and merchant capitalism. merchant capitalism.

There is no psychological development of the characters, only inThere is no psychological development of the characters, only in

their external their external condition. condition.

His fictional autobiographies anticipate semi His fictional autobiographies anticipate semi ––

autobiographical novels such as autobiographical novels such as ““Jane EyreJane Eyre””..

Robinson CrusoeRobinson Crusoe

It reworks the memoirs of an actual sailor (Alexander Selkirk) iIt reworks the memoirs of an actual sailor (Alexander Selkirk) in the story of n the story of Robinson Crusoe;Robinson Crusoe;

Plot: Crusoe is a mariner who takes to sea despite parental warnPlot: Crusoe is a mariner who takes to sea despite parental warnings and, after ings and, after suffering a number of misfortunes at the hands of Barbary piratesuffering a number of misfortunes at the hands of Barbary pirates and the s and the elements, is shipwrecked off South America, where, according to elements, is shipwrecked off South America, where, according to his journal, his journal, is able to resist for some 28 years, two months and nineteen dayis able to resist for some 28 years, two months and nineteen days. s.

Interpretations:Interpretations:

James JoyceJames Joyce: "He is the true : "He is the true prototype of the Britishprototype of the British

colonistcolonist…… the manly the manly independence, the unconscious cruelty, the persistence, the slowindependence, the unconscious cruelty, the persistence, the slow

yet efficient yet efficient intelligence, the sexual apathy, the calculating taciturnity".intelligence, the sexual apathy, the calculating taciturnity".

J.P. HunterJ.P. Hunter: Robinson is not a hero, but an : Robinson is not a hero, but an everymaneveryman

(he begins as a wanderer, (he begins as a wanderer, and ends as a and ends as a pilgrimpilgrim, entering the , entering the promised landpromised land.).)

Like Like JonahJonah, Crusoe neglects his 'duty' and is punished at sea., Crusoe neglects his 'duty' and is punished at sea.

PuritanPuritan

morality: morality: Crusoe often feels himself guided by a divinely ordained fate Crusoe often feels himself guided by a divinely ordained fate ((ProvidenceProvidence), thus explaining his robust optimism in the face of apparent ), thus explaining his robust optimism in the face of apparent hopelessness. hopelessness.

Protestant work ethicProtestant work ethic::

Crusoe's experiences on the island represents the Crusoe's experiences on the island represents the inherent economic value of inherent economic value of labourlabour

over capital. Defoe's point is that money has over capital. Defoe's point is that money has no intrinsic value and is only valuable insofar as it can be useno intrinsic value and is only valuable insofar as it can be used in trade. d in trade.

CHAPTER IVCHAPTER IV

WHEN I waked it was broad day, the weather clear,WHEN I waked it was broad day, the weather clear,and the storm abated, so that the sea did not rage and swelland the storm abated, so that the sea did not rage and swellas before. But that which surprised me most was, that theas before. But that which surprised me most was, that theship was lifted off in the night from the sand where she layship was lifted off in the night from the sand where she layby the swelling of the tide, and was driven up almost as farby the swelling of the tide, and was driven up almost as faras the rock which I at first mentioned, where I had beenas the rock which I at first mentioned, where I had beenso bruised by the wave dashing me against it. This beingso bruised by the wave dashing me against it. This beingwithin about a mile from the shore where I was, and thewithin about a mile from the shore where I was, and theship seeming to stand upright still, I wished myself onship seeming to stand upright still, I wished myself onboard, that at least I might save some necessary things forboard, that at least I might save some necessary things formy use.my use.

When I came down from my apartment in the tree, IWhen I came down from my apartment in the tree, Ilooked about me again, and the first thing I found was thelooked about me again, and the first thing I found was theboat, which lay, as the wind and the sea had tossed her up,boat, which lay, as the wind and the sea had tossed her up,upon the land, about two miles on my right hand. Iupon the land, about two miles on my right hand. Iwalked as far as I could upon the shore to have got to her;walked as far as I could upon the shore to have got to her;but found a neck or inlet of water between me and thebut found a neck or inlet of water between me and theboat which was about half a mile broad; so I came backboat which was about half a mile broad; so I came backfor the present, being more intent upon getting at the for the present, being more intent upon getting at the ship, where I hoped to find something for my present ship, where I hoped to find something for my present subsistence.subsistence.

A little after noon I found the sea very calm, and theA little after noon I found the sea very calm, and thetide ebbed so far out that I could come within a quarter oftide ebbed so far out that I could come within a quarter ofa mile of the ship. And here I found a fresh renewing ofa mile of the ship. And here I found a fresh renewing ofmy grief; for I saw evidently that if we had kept on boardmy grief; for I saw evidently that if we had kept on boardwe had been all safe we had been all safe --

that is to say, we had all got safe onthat is to say, we had all got safe onshore, and I had not been so miserable as to be left entiretyshore, and I had not been so miserable as to be left entiretydestitute of all comfort and company as I now was. Thisdestitute of all comfort and company as I now was. Thisforced tears to my eyes again; but as there was little reliefforced tears to my eyes again; but as there was little reliefin that, I resolved, if possible, to get to the ship; so I pullein that, I resolved, if possible, to get to the ship; so I pulleddoff my clothes off my clothes --

for the weather was hot to extremity for the weather was hot to extremity --and took the water. But when I came to the ship myand took the water. But when I came to the ship mydifficulty was still greater to know how to get on board;difficulty was still greater to know how to get on board;for, as she lay aground, and high out of the water, therefor, as she lay aground, and high out of the water, therewas nothing within my reach to lay hold of. I swam roundwas nothing within my reach to lay hold of. I swam roundher twice, and the second time I spied a small piece ofher twice, and the second time I spied a small piece ofrope, which I wondered I did not see at first, hung downrope, which I wondered I did not see at first, hung downby the foreby the fore--chains so low, as that with great difficulty I gotchains so low, as that with great difficulty I gothold of it, and by the help of that rope I got up into thehold of it, and by the help of that rope I got up into theforecastle of the ship. Here I found that the ship wasforecastle of the ship. Here I found that the ship wasbulged, and had a great deal of water in her hold, but thatbulged, and had a great deal of water in her hold, but thatshe lay so on the side of a bank of hard sand, or, rathershe lay so on the side of a bank of hard sand, or, ratherearth, that her stern lay lifted up upon the bank, and herearth, that her stern lay lifted up upon the bank, and herhead low, almost to the water. By this means all herhead low, almost to the water. By this means all herquarter was free, and all that was in that part was dry; forquarter was free, and all that was in that part was dry; foryou may be sure my first work was to search, and to seeyou may be sure my first work was to search, and to seewhat was spoiled and what was free. And, first, I foundwhat was spoiled and what was free. And, first, I foundthat all the shipthat all the ship’’s provisions were dry and untouched bys provisions were dry and untouched bythe water, and being very well disposed to eat, I went tothe water, and being very well disposed to eat, I went tothe bread room and filled my pockets with biscuit, and atethe bread room and filled my pockets with biscuit, and ateit as I went about other things, for I had no time to lose. Iit as I went about other things, for I had no time to lose. Ialso found some rum in the great cabin, of which I took aalso found some rum in the great cabin, of which I took alarge dram, and which I had, indeed, need enough of tolarge dram, and which I had, indeed, need enough of tospirit me for what was before me. Now I wanted nothingspirit me for what was before me. Now I wanted nothingbut a boat to furnish myself with many things which Ibut a boat to furnish myself with many things which Iforesaw would be very necessary to me.foresaw would be very necessary to me.

Jane Austen (1775Jane Austen (1775--1817)1817)

Jane Austen contributed to what has been called as the NOVEL OF Jane Austen contributed to what has been called as the NOVEL OF MANNERS: a kind of MANNERS: a kind of fiction focused on everyday routine life and events: fiction focused on everyday routine life and events:

Basic premise: there is a vital relationship between manners, soBasic premise: there is a vital relationship between manners, social behaviour and character. cial behaviour and character.

Set in those levels of society where people do not have to strugSet in those levels of society where people do not have to struggle for survival and where they are free to gle for survival and where they are free to develop more or less elaborate RULES, CODES and CONVENTIONS of ddevelop more or less elaborate RULES, CODES and CONVENTIONS of daily behaviour. aily behaviour.

It explores character, personal relationships, class distinctionIt explores character, personal relationships, class distinctions and their effect on character and s and their effect on character and behaviour; the role of MONEY and PROPERTY in the way people treabehaviour; the role of MONEY and PROPERTY in the way people treat each other; the complications t each other; the complications of LOVE and FRIENDSHIP within this social world. of LOVE and FRIENDSHIP within this social world.

CONVERSATION plays a central role in these novels and PASSIONS aCONVERSATION plays a central role in these novels and PASSIONS and EMOTIONS are not nd EMOTIONS are not expressed directly but more subtly and obliquely. expressed directly but more subtly and obliquely.

Characteristics:Characteristics:

The traditional values of the families of the landed gentry and The traditional values of the families of the landed gentry and upper middle class (PROPERTY, upper middle class (PROPERTY, DECORUM, MONEY and MARRIAGE ) provides the basis of the plots anDECORUM, MONEY and MARRIAGE ) provides the basis of the plots and settings of her novels. d settings of her novels.

Her preoccupation was with people, and the analysis of characterHer preoccupation was with people, and the analysis of character

and conduct. and conduct.

She remained committed to the common sense and moral principles She remained committed to the common sense and moral principles of the previous generation. of the previous generation.

The happy ending is a common element to her novels: they all endThe happy ending is a common element to her novels: they all end

in the marriage of hero and heroine. in the marriage of hero and heroine. What makes them interesting is the concentration on the steps thWhat makes them interesting is the concentration on the steps through which the protagonists rough which the protagonists successfully reach this stage in their lives. successfully reach this stage in their lives.

She treats love and sexual attraction according to her general vShe treats love and sexual attraction according to her general view that strong impulses and intensely iew that strong impulses and intensely emotional states should be REGULATED, CONTROLLED and BROUGHT TO emotional states should be REGULATED, CONTROLLED and BROUGHT TO ORDER by private ORDER by private reflection in order to reflection in order to fulfillfulfill

a social obligation. a social obligation.

The heroine's reflection after a crisis or climax is a usual feaThe heroine's reflection after a crisis or climax is a usual feature of J. Austen's novels because ture of J. Austen's novels because understanding and coming to terms with her private feelings allounderstanding and coming to terms with her private feelings allows her personal judgement to establish ws her personal judgement to establish itself and secures her own moral autonomy. itself and secures her own moral autonomy.

Pride and PrejudicePride and PrejudiceIT is a truth universally acknowledged, that a single man in posIT is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife. session of a good fortune must be in want of a wife. However little known the feelings or views of such a man may be However little known the feelings or views of such a man may be on his first entering a on his first entering a neighbourhoodneighbourhood, this truth is so , this truth is so well fixed in the minds of the surrounding families, that he is well fixed in the minds of the surrounding families, that he is considered as the rightful property of some one or other of considered as the rightful property of some one or other of their daughters. their daughters. "My dear Mr. "My dear Mr. BennetBennet," said his lady to him one day, "have you heard that ," said his lady to him one day, "have you heard that NetherfieldNetherfield Park is let at last?" Park is let at last?" Mr. Mr. BennetBennet replied that he had not. replied that he had not. "But it is," returned she; "for Mrs. Long has just been here, an"But it is," returned she; "for Mrs. Long has just been here, and she told me all about it." d she told me all about it." Mr. Mr. BennetBennet made no answer. made no answer. "Do not you want to know who has taken it?" cried his wife impat"Do not you want to know who has taken it?" cried his wife impatiently. iently. "You want to tell me, and I have no objection to hearing it." "You want to tell me, and I have no objection to hearing it." This was invitation enough. This was invitation enough. "Why, my dear, you must know, Mrs. Long says that "Why, my dear, you must know, Mrs. Long says that NetherfieldNetherfield is taken by a young man of large fortune from the north is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it that see the place, and was so much delighted with it that he agreed with Mr. Morris immediately; that he is to take posseshe agreed with Mr. Morris immediately; that he is to take possession before sion before MichaelmasMichaelmas, and some of his servants are , and some of his servants are to be in the house by the end of next week." to be in the house by the end of next week." "What is his name?" "What is his name?" ""BingleyBingley." ." "Is he married or single?" "Is he married or single?" "Oh! single, my dear, to be sure! A single man of large fortune;"Oh! single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our four or five thousand a year. What a fine thing for our girls!" girls!" "How so? how can it affect them?" "How so? how can it affect them?" "My dear Mr. "My dear Mr. BennetBennet," replied his wife, "how can you be so tiresome! You must know ," replied his wife, "how can you be so tiresome! You must know that I am thinking of his marrying that I am thinking of his marrying one of them." one of them." "Is that his design in settling here?" "Is that his design in settling here?" "Design! nonsense, how can you talk so! But it is very likely th"Design! nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore you at he may fall in love with one of them, and therefore you must visit him as soon as he comes." must visit him as soon as he comes." "I see no occasion for that. You and the girls may go, or you ma"I see no occasion for that. You and the girls may go, or you may send them by themselves, which perhaps will be still y send them by themselves, which perhaps will be still better; for, as you are as handsome as any of them, Mr. better; for, as you are as handsome as any of them, Mr. BingleyBingley might like you the best of the party." might like you the best of the party." "My dear, you flatter me. I certainly have had my share of beaut"My dear, you flatter me. I certainly have had my share of beauty, but I do not pretend to be any thing extraordinary y, but I do not pretend to be any thing extraordinary now. When a woman has five grown up daughters, she ought to givenow. When a woman has five grown up daughters, she ought to give over thinking of her own beauty." over thinking of her own beauty." "In such cases, a woman has not often much beauty to think of." "In such cases, a woman has not often much beauty to think of." "But, my dear, you must indeed go and see Mr. "But, my dear, you must indeed go and see Mr. BingleyBingley when he comes into the when he comes into the neighbourhoodneighbourhood." ." "It is more than I engage for, I assure you." "It is more than I engage for, I assure you." "But consider your daughters. Only think what an establishment i"But consider your daughters. Only think what an establishment it would be for one of them. Sir William and Lady Lucas t would be for one of them. Sir William and Lady Lucas are determined to go, merely on that account, for in general, yoare determined to go, merely on that account, for in general, you know they visit no new comers. Indeed you must go, u know they visit no new comers. Indeed you must go, for it will be impossible for us to visit him, if you do not." for it will be impossible for us to visit him, if you do not." "You are over"You are over--scrupulous, surely. I dare say Mr. scrupulous, surely. I dare say Mr. BingleyBingley will be very glad to see you; and I will send a few lines by yowill be very glad to see you; and I will send a few lines by you u to assure him of my hearty consent to his marrying which ever heto assure him of my hearty consent to his marrying which ever he chuseschuses of the girls; though I must throw in a good of the girls; though I must throw in a good word for my little word for my little LizzyLizzy." ."

The Victorian character: values in The Victorian character: values in actionaction


Dickens, Charles: Dickens, Charles: Great ExpectationsGreat Expectations


of the Dof the D’’UrbervillesUrbervilles

Victorian AgeVictorian Age

Chronologically comprised between 1837 and 1901 (reign of Queen Chronologically comprised between 1837 and 1901 (reign of Queen Victoria) Victoria)

It is equated with EnglandIt is equated with England’’s rise to the pinnacle of her economic and political s rise to the pinnacle of her economic and political power as revealed by the Great Exhibition of 1851 or the Queenpower as revealed by the Great Exhibition of 1851 or the Queen’’s Diamond s Diamond Jubilee of 1897 Jubilee of 1897

The British colonial empire (covering a vast territory from CanaThe British colonial empire (covering a vast territory from Canada to India) da to India)

IndustrialisationIndustrialisation: material progress coupled with the exploitation of the poor an: material progress coupled with the exploitation of the poor and d the emergence of a classthe emergence of a class--conscious workingconscious working--class (the Chartist movement, the class (the Chartist movement, the popularity of the doctrine of socialism among some intellectualspopularity of the doctrine of socialism among some intellectuals

like the like the WebbsWebbs

and G.B. Shaw. )and G.B. Shaw. )

As a state of mind and pattern of As a state of mind and pattern of behaviourbehaviour: Victorian Orthodoxy manifested : Victorian Orthodoxy manifested by middleby middle--class selfclass self--complacency, respect for authority and rules, nacomplacency, respect for authority and rules, naïïve ve confidence in the societyconfidence in the society’’s concern to reward the individual according to his s concern to reward the individual according to his merits. merits.

AntiAnti--Victorian attitudes: writers and artists who did not share the gVictorian attitudes: writers and artists who did not share the general eneral enthusiasm with material progress. enthusiasm with material progress.

Darwinism further divided the intellectual world (many VictorianDarwinism further divided the intellectual world (many Victorians lost their s lost their belief in the immortality of the soul.)belief in the immortality of the soul.)

The Victorian NovelThe Victorian Novel

leading literary formleading literary form

publication of novels publication of novels

in in instalmentsinstalments

((serialisationserialisation): part): part--issueissue

serial publication in weekly newspapersserial publication in weekly newspapers

advantages:advantages:

keeping contact with the readers keeping contact with the readers ––

testing their opiniontesting their opinion

necessity to keep their interest awake necessity to keep their interest awake ––

to buy the next to buy the next instalmentinstalment

disadvantages:disadvantages:

the necessity to use too many characters and plotsthe necessity to use too many characters and plots

InconsistenciesInconsistencies

chronological presentationchronological presentation

the writers often feel the necessity to teach a moral lesson (Chthe writers often feel the necessity to teach a moral lesson (Ch. Dickens). Dickens)

many discuss the heromany discuss the hero’’s actions with the readers (W. M. Thackeray)s actions with the readers (W. M. Thackeray)

narrative technique:narrative technique:

3rd person narration 3rd person narration ––

omniscient author omniscient author ––

more objective (W. M. Thackeray, Ch. more objective (W. M. Thackeray, Ch. BrontBrontëë

in Shirley, in Shirley, George EliotGeorge Eliot

1st person narration 1st person narration ––

autobiography autobiography ––

more subjective (Ch. more subjective (Ch. BrontBrontëë

in Jane Eyre)in Jane Eyre)

using narrators (E. using narrators (E. BrontBrontëë

in Wuthering Heights)in Wuthering Heights)

generations of writersgenerations of writers

spokesperson of the epoch, confident in Victorian institutions,spokesperson of the epoch, confident in Victorian institutions,

science and progress, the possibility science and progress, the possibility that the individual can be improved (C. Dickens, W. M. Thackeraythat the individual can be improved (C. Dickens, W. M. Thackeray, Ch. and Anne , Ch. and Anne BrontBrontëë, E. Gaskell, , E. Gaskell, George Eliot) George Eliot) ––

popular at the timepopular at the time

more pessimistic, less confident in Victorian values, explore tmore pessimistic, less confident in Victorian values, explore the darker sides of the human personality he darker sides of the human personality (George Meredith, Th. Hardy) (George Meredith, Th. Hardy) ––

less popular during the ageless popular during the age

Link and transition between romanticism and modernismLink and transition between romanticism and modernism

Emily BronteEmily Bronte

author of one single novel, author of one single novel, Wuthering Heights ( a novel of Wuthering Heights ( a novel of passion, love and hatred)passion, love and hatred)

story driven by profound and story driven by profound and primitive energies primitive energies --

out of space, out of space, time and moraltime and moral

Structure: a cyclical novel, moving Structure: a cyclical novel, moving in a tragic circle from relative peace in a tragic circle from relative peace and harmony to violence, and harmony to violence, destruction, and intense suffering, destruction, and intense suffering, and finally back into peace and and finally back into peace and harmony again. harmony again.

a work of extreme contrasts:a work of extreme contrasts:

HeathcliffHeathcliff: :

bipolar personality bipolar personality dominated by love and dominated by love and hatred hatred ––

genius of evil, genius of evil,

rules and manipulates rules and manipulates everybody everybody ––

obsession obsession for revengefor revenge

mythic dimensions mythic dimensions ––

principle of evil and principle of evil and destructiondestruction

Wuthering Heights is the name of Mr. Wuthering Heights is the name of Mr. Heathcliff'sHeathcliff's

dwelling. 'Wuthering' being a significant provincial dwelling. 'Wuthering' being a significant provincial adjective, descriptive of the atmospheric tumult to which its stadjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, ation is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeedbracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind : one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted fblowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of irs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving agaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had lms of the sun. Happily, the architect had foresight to build it strong: the narrow windows are deeply set foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with in the wall, and the corners defended with large jutting stones. large jutting stones.

Before passing the threshold, I paused to admire a quantity of gBefore passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and rotesque carving lavished over the front, and especially about the principal door; above which, among a wilderespecially about the principal door; above which, among a wilderness of crumbling griffins and shameless ness of crumbling griffins and shameless little boys, I detected the date '1500,' and the name 'little boys, I detected the date '1500,' and the name 'HaretonHareton

EarnshawEarnshaw.' I would have made a few .' I would have made a few comments, and requested a short history of the place from the sucomments, and requested a short history of the place from the surly owner; but his attitude at the door rly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, anappeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his d I had no desire to aggravate his impatience previous to inspecting the impatience previous to inspecting the penetraliumpenetralium. .

One stop brought us into the family sittingOne stop brought us into the family sitting--room, without any introductory lobby or passage: they call it room, without any introductory lobby or passage: they call it here 'the house' prehere 'the house' pre--

eminently. It includes kitchen and eminently. It includes kitchen and parlourparlour, generally; but I believe at Wuthering Heights , generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarterthe kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, : at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about no signs of roasting, boiling, or baking, about the huge fireplace; nor any glitter of copper saucepans and tin the huge fireplace; nor any glitter of copper saucepans and tin colanders on the walls. One end, indeed, colanders on the walls. One end, indeed, reflected splendidly both light and heat from ranks of immense preflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs ewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to and tankards, towering row after row, on a vast oak dresser, to the very roof. The latter had never been the very roof. The latter had never been underunder--drawn: its entire anatomy lay bare to an inquiring eye, except wdrawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with here a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealeoatcakes and clusters of legs of beef, mutton, and ham, concealed it. Above the chimney were sundry d it. Above the chimney were sundry villainous old guns, and a couple of horsevillainous old guns, and a couple of horse--pistols: and, by way of ornament, three gaudilypistols: and, by way of ornament, three gaudily--painted canisters painted canisters disposed along its ledge. The floor was of smooth, white stone; disposed along its ledge. The floor was of smooth, white stone; the chairs, highthe chairs, high--backed, primitive structures, backed, primitive structures, painted green: one or two heavy black ones lurking in the shade.painted green: one or two heavy black ones lurking in the shade.

In an arch under the dresser reposed a In an arch under the dresser reposed a huge, liverhuge, liver--colouredcoloured

bitch pointer, surrounded by a swarm of squealing puppies; and bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other dogs haunted other recesses. other recesses.

The apartment and furniture would have been nothing extraordinarThe apartment and furniture would have been nothing extraordinary as belonging to a homely, northern y as belonging to a homely, northern farmer, with a stubborn countenance, and stalwart limbs set out farmer, with a stubborn countenance, and stalwart limbs set out to advantage in kneeto advantage in knee--

breeches and gaiters. breeches and gaiters. Such an individual seated in his armSuch an individual seated in his arm--chair, his mug of ale frothing on the round table before him, ischair, his mug of ale frothing on the round table before him, is

to be to be seen in any circuit of five or six miles among these hills, if yseen in any circuit of five or six miles among these hills, if you go at the right time after dinner. But Mr. ou go at the right time after dinner. But Mr. HeathcliffHeathcliff

forms a singular contrast to his abode and style of living. He forms a singular contrast to his abode and style of living. He is a darkis a dark--

skinned gypsy in aspect, in skinned gypsy in aspect, in dress and manners a gentleman: that is, as much a gentleman as mdress and manners a gentleman: that is, as much a gentleman as many a country squire: rather slovenly, any a country squire: rather slovenly, perhaps, yet not looking amiss with his negligence, because he hperhaps, yet not looking amiss with his negligence, because he has an erect and handsome figure; and rather as an erect and handsome figure; and rather morose. Possibly, some people might suspect him of a degree of umorose. Possibly, some people might suspect him of a degree of undernder--bred pride; I have a sympathetic bred pride; I have a sympathetic chord within that tells me it is nothing of the sort: I know, bychord within that tells me it is nothing of the sort: I know, by

instinct, his reserve springs from an aversion instinct, his reserve springs from an aversion to showy displays of feeling to showy displays of feeling --

to manifestations of mutual kindliness. He'll love and hate equto manifestations of mutual kindliness. He'll love and hate equally under cover, ally under cover, and esteem it a species of impertinence to be loved or hated agaand esteem it a species of impertinence to be loved or hated again. No, I'm running on too fast: I bestow my in. No, I'm running on too fast: I bestow my own attributes overown attributes over--liberally on him. Mr. liberally on him. Mr. HeathcliffHeathcliff

may have entirely dissimilar reasons for keeping his may have entirely dissimilar reasons for keeping his hand out of the way when he meets a wouldhand out of the way when he meets a would--be acquaintance, to those which actuate me. Let me hope my be acquaintance, to those which actuate me. Let me hope my constitution is almost peculiar: my dear mother used to say I shconstitution is almost peculiar: my dear mother used to say I should never have a comfortable home; and ould never have a comfortable home; and only last summer I proved myself perfectly unworthy of one. only last summer I proved myself perfectly unworthy of one.

DickensDickens

his novels are fables about the his novels are fables about the good and the evil and their good and the evil and their purpose is obviously to purpose is obviously to educateeducate

he uses elements of the he uses elements of the detective novel, parallelisms, detective novel, parallelisms, sensational incidents, sensational incidents, melodrama, etc.melodrama, etc.

he deals chiefly with the life of he deals chiefly with the life of the middle and lower classes the middle and lower classes of societyof society

his novels are filled with his novels are filled with humourhumour, grotesqueness and , grotesqueness and pathos.pathos.

he is satirical he is satirical ––

satire satire associated with caricatureassociated with caricature

his characters are often his characters are often depicted in a funny way but depicted in a funny way but always with sympathyalways with sympathy

DickensDickens’’s criticism is s criticism is commonly directed against commonly directed against institutions and not institutions and not individuals.individuals.

Great ExpectationsGreat Expectations

(1860(1860--1861) 1861)

based on his own based on his own autobiographical experienceautobiographical experience

"Dear Pip," said Biddy, "you are sure you don't fret for her?""Dear Pip," said Biddy, "you are sure you don't fret for her?"

"O no "O no --

I think not, Biddy."I think not, Biddy."

"Tell me as an old, old friend. Have you quite forgotten her?"Tell me as an old, old friend. Have you quite forgotten her?

"My dear Biddy, I have forgotten nothing in my life that ever ha"My dear Biddy, I have forgotten nothing in my life that ever had a foremost place d a foremost place there, and little that ever had any place there. But that poor dthere, and little that ever had any place there. But that poor dream, as I once used to ream, as I once used to call it, has all gone by, Biddy, all gone by!"call it, has all gone by, Biddy, all gone by!"

Nevertheless, I knew while I said those words, that I secretly iNevertheless, I knew while I said those words, that I secretly intended to revisit the ntended to revisit the site of the old house that evening, alone, for her sake. Yes evesite of the old house that evening, alone, for her sake. Yes even so. For Estella's sake.n so. For Estella's sake.

I had heard of her as leading a most unhappy life, and as being I had heard of her as leading a most unhappy life, and as being separated from her separated from her husband, who had used her with great cruelty, and who had becomehusband, who had used her with great cruelty, and who had become

quite renowned quite renowned as a compound of pride, avarice, brutality, and meanness. And I as a compound of pride, avarice, brutality, and meanness. And I had heard of the had heard of the death of her husband, from an accident consequent on his illdeath of her husband, from an accident consequent on his ill--treatment of a horse. treatment of a horse. This release had befallen her some two years before; for anythinThis release had befallen her some two years before; for anything I knew, she was g I knew, she was married again.married again.

The early dinnerThe early dinner--hour at Joe's, left me abundance of time, without hurrying my tahour at Joe's, left me abundance of time, without hurrying my talk lk with Biddy, to walk over to the old spot before dark. But, what with Biddy, to walk over to the old spot before dark. But, what with loitering on the with loitering on the way, to look at old objects and to think of old times, the day hway, to look at old objects and to think of old times, the day had quite declined when I ad quite declined when I came to the place.came to the place.

There was no house now, no brewery, no building whatever left, bThere was no house now, no brewery, no building whatever left, but the wall of the ut the wall of the old garden. The cleared space had been enclosed with a rough fenold garden. The cleared space had been enclosed with a rough fence, and, looking over ce, and, looking over it, I saw that some of the old ivy had struck root anew, and wasit, I saw that some of the old ivy had struck root anew, and was

growing green on low growing green on low quiet mounds of ruin. A gate in the fence standing ajar, I pushequiet mounds of ruin. A gate in the fence standing ajar, I pushed it open, and went in.d it open, and went in.

A cold silvery mist had veiled the afternoon, and the moon was nA cold silvery mist had veiled the afternoon, and the moon was not yet up to scatter it. ot yet up to scatter it. But, the stars were shining beyond the mist, and the moon was coBut, the stars were shining beyond the mist, and the moon was coming, and the ming, and the evening was not dark. I could trace out where every part of the evening was not dark. I could trace out where every part of the old house had been, old house had been, and where the brewery had been, and where the gate, and where thand where the brewery had been, and where the gate, and where the casks. I had done e casks. I had done so, and was looking along the desolate so, and was looking along the desolate gardenwalkgardenwalk, when I beheld a solitary figure in it., when I beheld a solitary figure in it.

The figure showed itself aware of me, as I advanced. It had beenThe figure showed itself aware of me, as I advanced. It had been

moving towards me, moving towards me, but it stood still. As I drew nearer, I saw it to be the figure but it stood still. As I drew nearer, I saw it to be the figure of a woman. As I drew of a woman. As I drew nearer yet, it was about to turn away, when it stopped, and let nearer yet, it was about to turn away, when it stopped, and let me come up with it. me come up with it. Then, it faltered as if much surprised, and uttered my name, andThen, it faltered as if much surprised, and uttered my name, and

I cried out:I cried out:

"Estella!""Estella!"

HardyHardy

he believed that modern he believed that modern civilisationcivilisation

corrupts and crushes corrupts and crushes the individual the individual ––

manman’’s destiny is s destiny is tragictragic

he developed a philosophy of he developed a philosophy of pessimismpessimism

human beings are crushed by a human beings are crushed by a triple superior force:triple superior force:

of natureof nature

of hostile chanceof hostile chance

of personal errorsof personal errors

his characters struggle against ill his characters struggle against ill fortune and try to escape fortune and try to escape predestinationpredestination

he is the creator of an imaginary he is the creator of an imaginary country (in the SW of England): country (in the SW of England): WessexWessex

The city of The city of WintoncesterWintoncester, that fine old city, aforetime capital of , that fine old city, aforetime capital of WessexWessex, lay amidst its convex and concave , lay amidst its convex and concave downlandsdownlands

in all in all the brightness and warmth of a July morning. The gabled brick, tthe brightness and warmth of a July morning. The gabled brick, tile, and freestone houses had almost dried off for ile, and freestone houses had almost dried off for the season their integument of lichen, the streams in the meadowthe season their integument of lichen, the streams in the meadows were low, and in the sloping High Street, from s were low, and in the sloping High Street, from the West Gateway to the mediaeval cross, and from the mediaeval the West Gateway to the mediaeval cross, and from the mediaeval cross to the bridge, that leisurely dusting and cross to the bridge, that leisurely dusting and sweeping was in progress which usually ushers in an oldsweeping was in progress which usually ushers in an old--fashioned marketfashioned market--day.day.

From the western gate aforesaid the highway, as every From the western gate aforesaid the highway, as every WintoncestrianWintoncestrian

knows, ascends a long and regular incline of knows, ascends a long and regular incline of the exact length of a measured mile, leaving the houses graduallthe exact length of a measured mile, leaving the houses gradually behind. Up this road from the precincts of the city y behind. Up this road from the precincts of the city two persons were walking rapidly, as if unconscious of the tryintwo persons were walking rapidly, as if unconscious of the trying ascentg ascent----unconscious through preoccupation and unconscious through preoccupation and not through buoyancy. They had emerged upon this road through a not through buoyancy. They had emerged upon this road through a narrow barred wicket in a high wall a little narrow barred wicket in a high wall a little lower down. They seemed anxious to get out of the sight of the hlower down. They seemed anxious to get out of the sight of the houses and of their kind, and this road appeared to ouses and of their kind, and this road appeared to offer the quickest means of doing so. Though they were young theoffer the quickest means of doing so. Though they were young they walked with bowed heads, which gait of grief y walked with bowed heads, which gait of grief the sun's rays smiled on pitilessly.the sun's rays smiled on pitilessly.

One of the pair was Angel Clare, the other a tall budding creatuOne of the pair was Angel Clare, the other a tall budding creaturere----half girl, half womanhalf girl, half woman----a spiritualized image of a spiritualized image of TessTess, slighter than she, but with the same beautiful eyes, slighter than she, but with the same beautiful eyes----Clare's sisterClare's sister--inin--law, 'law, 'LizaLiza--Lu. Their pale faces seemed to Lu. Their pale faces seemed to have shrunk to half their natural size. They moved on hand in hahave shrunk to half their natural size. They moved on hand in hand, and never spoke a word, the drooping of their nd, and never spoke a word, the drooping of their heads being that of heads being that of Giotto'sGiotto's

"Two Apostles"."Two Apostles".

When they had nearly reached the top of the great West Hill the When they had nearly reached the top of the great West Hill the clocks in the town struck eight. Each gave a start at clocks in the town struck eight. Each gave a start at the notes, and, walking onward yet a few steps, they reached thethe notes, and, walking onward yet a few steps, they reached the

first milestone, standing whitely on the green first milestone, standing whitely on the green margin of the grass, and backed by the down, which here was openmargin of the grass, and backed by the down, which here was open

to the road. They entered upon the turf, and, to the road. They entered upon the turf, and, impelled by a force that seemed to overrule their will, suddenlyimpelled by a force that seemed to overrule their will, suddenly

stood still, turned, and waited in paralyzed suspense stood still, turned, and waited in paralyzed suspense beside the stone.beside the stone.

The prospect from this summit was almost unlimited. In the valleThe prospect from this summit was almost unlimited. In the valley beneath lay the city they had just left, its more y beneath lay the city they had just left, its more prominent buildings showing as in an isometric drawingprominent buildings showing as in an isometric drawing----among them the broad cathedral tower, with its Norman among them the broad cathedral tower, with its Norman windows and immense length of aisle and nave, the spires of St Twindows and immense length of aisle and nave, the spires of St Thomas's, the pinnacled tower of the College, and, homas's, the pinnacled tower of the College, and, more to the right, the tower and gables of the ancient hospice, more to the right, the tower and gables of the ancient hospice, where to this day the pilgrim may receive his dole of where to this day the pilgrim may receive his dole of bread and ale. Behind the city swept the rotund upland of St Catbread and ale. Behind the city swept the rotund upland of St Catherine's Hill; further off, landscape beyond herine's Hill; further off, landscape beyond landscape, till the horizon was lost in the radiance of the sun landscape, till the horizon was lost in the radiance of the sun hanging above it.hanging above it.

Against these far stretches of country rose, in front of the othAgainst these far stretches of country rose, in front of the other city edifices, a large reder city edifices, a large red--brick building, with level brick building, with level gray roofs, and rows of short barred windows bespeaking captivitgray roofs, and rows of short barred windows bespeaking captivity, the whole contrasting greatly by its formalism y, the whole contrasting greatly by its formalism with the quaint irregularities of the Gothic erections. It was swith the quaint irregularities of the Gothic erections. It was somewhat disguised from the road in passing it by yews omewhat disguised from the road in passing it by yews and evergreen oaks, but it was visible enough up here. The wickeand evergreen oaks, but it was visible enough up here. The wicket from which the pair had lately emerged was in t from which the pair had lately emerged was in the wall of this structure. From the middle of the building an uthe wall of this structure. From the middle of the building an ugly flatgly flat--topped octagonal tower ascended against the topped octagonal tower ascended against the east horizon, and viewed from this spot, on its shady side and aeast horizon, and viewed from this spot, on its shady side and against the light, it seemed the one blot on the city's gainst the light, it seemed the one blot on the city's beauty. Yet it was with this blot, and not with the beauty, thatbeauty. Yet it was with this blot, and not with the beauty, that

the two gazers were concerned.the two gazers were concerned.

Upon the cornice of the tower a tall staff was fixed. Their eyesUpon the cornice of the tower a tall staff was fixed. Their eyes

were riveted on it. A few minutes after the hour had were riveted on it. A few minutes after the hour had struck something moved slowly up the staff, and extended itself struck something moved slowly up the staff, and extended itself upon the breeze. It was a black flag.upon the breeze. It was a black flag.

"Justice" was done, and the President of the Immortals, in "Justice" was done, and the President of the Immortals, in AeschyleanAeschylean

phrase, had ended his sport with phrase, had ended his sport with TessTess. And . And the the d'Urbervilled'Urberville

knights and dames slept on in their tombs unknowing. The two spknights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves eechless gazers bent themselves down to the earth, as if in prayer, and remained thus a long timdown to the earth, as if in prayer, and remained thus a long time, absolutely motionless: the flag continued to wave e, absolutely motionless: the flag continued to wave silently. As soon as they had strength they arose, joined hands silently. As soon as they had strength they arose, joined hands again, and went on.again, and went on.

Approaches to narrative and character in British and American liApproaches to narrative and character in British and American literature terature --

the romantic, realist, modernist and postmodernist paradigms.the romantic, realist, modernist and postmodernist paradigms.

Romantic: Romantic:



Edgar, Alan Poe,Edgar, Alan Poe,

The Fall of the House of The Fall of the House of UsherUsher

Nathaniel Hawthorne, Nathaniel Hawthorne, The The Scarlet LetterScarlet Letter

Realist:Realist:

Daniel Defoe, Daniel Defoe, Robinson CrusoeRobinson Crusoe

Jane Austen, Jane Austen, Pride and PrejudicePride and Prejudice

Charles Dickens, Charles Dickens, Great ExpectationsGreat Expectations


__________________________________________________________* See the information and the text * See the information and the text

selection in Michaela Praisler, selection in Michaela Praisler, On On Modernism, Postmodernism and the Novel Modernism, Postmodernism and the Novel (EDP, 2005).(EDP, 2005).

Modernist:Modernist:


WoolfWoolf, Virginia: , Virginia: Mrs. Dalloway*Mrs. Dalloway*

Foster, E.M.: A Passage to India*

Faulkner, William: Faulkner, William: Absalom, AbsalomAbsalom, Absalom

Hemingway, Ernest. Hemingway, Ernest. The Old Man and The Old Man and the Seathe Sea

Postmodernist:Postmodernist:


FowlesFowles, John: , John: The French LieutenantThe French Lieutenant’’s s Woman*Woman*

RomaticismRomaticism

RomanticismRomanticism

is a movement in art and literature that is a movement in art and literature that began in Europe in the late 18th century and was most began in Europe in the late 18th century and was most influential in the first half of the 19th century. influential in the first half of the 19th century.

Romanticism fosters a return to nature and also values Romanticism fosters a return to nature and also values the imagination over reason and emotion over intellect. the imagination over reason and emotion over intellect.

One strain of the Romantic is the One strain of the Romantic is the GothicGothic

with its with its emphasis on tales of horror and the supernatural. emphasis on tales of horror and the supernatural.

Romantic elements in Romantic elements in Wuthering Heights Wuthering Heights ((Robert Robert KielyKiely, The Romantic Novel in England), The Romantic Novel in England)

The dynamic antagonism or antithesis in the novel tends to subveThe dynamic antagonism or antithesis in the novel tends to subvert, if not to reject literary conventions; often rt, if not to reject literary conventions; often a novel verges on turning into something else, like poetry or dra novel verges on turning into something else, like poetry or drama. In ama. In Wuthering HeightsWuthering Heights, realism in presenting , realism in presenting Yorkshire landscape and life and the historical precision of seaYorkshire landscape and life and the historical precision of season, dates, and hours coson, dates, and hours co--exist with the exist with the dreamlike and the unhistorical; dreamlike and the unhistorical; BrontBrontëë

refuses to be confined by conventional classifications. refuses to be confined by conventional classifications.

The protagonists' wanderings are motivated by flight from previoThe protagonists' wanderings are motivated by flight from previouslyusly--chosen goals, so that often there is a chosen goals, so that often there is a pattern of escape and pursuit. Consider Catherine's marriage forpattern of escape and pursuit. Consider Catherine's marriage for

social position, stability, and wealth, her social position, stability, and wealth, her efforts to evade the consequences of her marriage, the demands oefforts to evade the consequences of her marriage, the demands of f HeathcliffHeathcliff

and Edgar, and her final mental and Edgar, and her final mental wandering. wandering.

The protagonists are driven by irresistible passionThe protagonists are driven by irresistible passion––lust, curiosity, ambition, intellectual pride, envy. The lust, curiosity, ambition, intellectual pride, envy. The emphasis is on their desire for transcendence, to overcome the lemphasis is on their desire for transcendence, to overcome the limitations of the body, of society, of time imitations of the body, of society, of time rather than their moral transgressions. They yearn to escape therather than their moral transgressions. They yearn to escape the

limitations inherent to life and may find that limitations inherent to life and may find that the only escape is death. The longings of a the only escape is death. The longings of a HeathcliffHeathcliff

cannot be fulfilled in life. cannot be fulfilled in life.

Death is not only a literal happening or plot device, but also aDeath is not only a literal happening or plot device, but also and primarily a psychological concern. For the nd primarily a psychological concern. For the protagonists, death originates in the imagination, becomes a "teprotagonists, death originates in the imagination, becomes a "tendency of mind," and may develop into an ndency of mind," and may develop into an obsession.obsession.

As in Gothic fiction, buildings are central to meaning; the supeAs in Gothic fiction, buildings are central to meaning; the supernatural, wild nature, dream and madness, rnatural, wild nature, dream and madness, physical violence, and perverse sexuality are set off against sophysical violence, and perverse sexuality are set off against social conventions and institutions. Initially, this cial conventions and institutions. Initially, this may create the impression that the novel is two books in one, bumay create the impression that the novel is two books in one, but finally t finally ThrushcrossThrushcross

Grange and Wuthering Grange and Wuthering Heights fuse. Heights fuse.

Endings are disquieting and unsatisfactory because the writer reEndings are disquieting and unsatisfactory because the writer resists a definitive conclusion, one which sists a definitive conclusion, one which accounts for all loose ends and explains away any ambiguities oraccounts for all loose ends and explains away any ambiguities or

uncertainties. The preference for openuncertainties. The preference for open--

endedness is, ultimately, an effort to resist the limits of timeendedness is, ultimately, an effort to resist the limits of time

and of place That effort helps explain the and of place That effort helps explain the importance of dreams and memories of other times and location, limportance of dreams and memories of other times and location, like Catherine's delirious memories of ike Catherine's delirious memories of childhood at Wuthering Heights and rambles on the moors. childhood at Wuthering Heights and rambles on the moors.

American GothicAmerican Gothic

The gothic explores the dark or uncertain sides of human nature.

Rapid social changes in the nineteenth century cause anxiety in America, nurturing a gothic sensibility in literature.

In stories of obsessive or tormented characters who find their most basic assumptions about the world turned upside-down, these writers challenge their readers to question their own values and beliefs through exploring the ever-evolving character of American identity.

Hawthorne ’s works explore the construction of reality through subjective perception, the past’s inevitable and often malevolent hold on the present, and the agonizing ethical dilemmas encountered by individuals in society.

“The Scarlet Letter”

works through the painful inheritance of rigid Puritan faith, dealing with the wrenching implications of its conception of sin; it also expresses anxiety about the torments of gender inequality

Melville’s Moby-Dick shares a similar interest in the dark truths of humanity; the white whale is a symbol of ambiguity and uncertainty, and the ship functions as

a microcosm of mid-

nineteenth century society; Ahab’s hunt is symbolically a rage against God.

Often set in exotic, vaguely medieval, or indeterminately distant locations, Poe’s work seems more interested in altered states of consciousness than history or culture: his characters often swirl within madness, dreams, or intoxication, and may or may not encounter the supernatural, functioning as allegories of human consciousness. For example, there are many “doubles”

in Poe: characters who mirror each other in profound but nonrealistic ways, suggesting not so much the subtleties of actual social relationships as the splits

and fractures within a single psyche trying to relate to itself.

RealismRealism

Realism is an aesthetic mode which broke with the classical demaRealism is an aesthetic mode which broke with the classical demands of art to show life as it nds of art to show life as it should be in order to show life "as it is." should be in order to show life "as it is."

The work of realist art tends to eschew the elevated subject matThe work of realist art tends to eschew the elevated subject matter of tragedy in ter of tragedy in favourfavour

of of the quotidian; the average, the commonplace, the middle classes the quotidian; the average, the commonplace, the middle classes and their daily struggles and their daily struggles with the mean verities of everyday existence (these are the typiwith the mean verities of everyday existence (these are the typical subject matters of cal subject matters of realism.)realism.)

Realism and the novelRealism and the novel::

George George LevineLevine: : ““a a selfconsciousselfconscious

effort, usually in the name of some moral enterprise of effort, usually in the name of some moral enterprise of truth telling and extending the limits of human sympathy, to maktruth telling and extending the limits of human sympathy, to make literature appear to be e literature appear to be describing directly [describing directly [……] reality itself] reality itself””. .

Ian Ian WattWatt: realism portrays : realism portrays ““all the varieties of human experienceall the varieties of human experience””

and identifies and identifies ““a belief in a belief in the individual apprehension of reality through the sensesthe individual apprehension of reality through the senses””. The text. The text’’s characters within their s characters within their environment, the used language, a realistic plot and the authorenvironment, the used language, a realistic plot and the author’’s claim of truth, all attempt to s claim of truth, all attempt to reflect a reflect a ““correspondence between life and literaturecorrespondence between life and literature””

. .

Roland Roland BarthesBarthes: the narrative or plot of a realist novel is structured around : the narrative or plot of a realist novel is structured around an opening an opening enigma which throws the conventional cultural and signifying praenigma which throws the conventional cultural and signifying practices into disarray. But the ctices into disarray. But the story must move inevitably towards closure, which in the realiststory must move inevitably towards closure, which in the realist

novel involves some novel involves some dissolution or resolution of the enigma: the murderer is caught,dissolution or resolution of the enigma: the murderer is caught,

the case is solved, the hero the case is solved, the hero marries the girl. The realist novel drives toward the final remarries the girl. The realist novel drives toward the final re--establishment of harmony and establishment of harmony and thus rethus re--assures the reader that the value system of signs and cultural passures the reader that the value system of signs and cultural practices which he or ractices which he or she shares with the author is not in danger. The political affilshe shares with the author is not in danger. The political affiliation of the realist novel is iation of the realist novel is thus evident; in trying to show us the world as it is, it often thus evident; in trying to show us the world as it is, it often reaffirms, in the last instance, reaffirms, in the last instance, the way things are. the way things are.

ModernismModernism

A radical shift in aesthetic and cultural sensibilities evident A radical shift in aesthetic and cultural sensibilities evident in the in the art and literature of the first half of the 20art and literature of the first half of the 20thth

century.century.

It rejected nineteenthIt rejected nineteenth--century optimism, presenting a profoundly century optimism, presenting a profoundly pessimistic picture of a culture in disarray. This despair oftenpessimistic picture of a culture in disarray. This despair often

results in an apparent apathy and moral relativism.results in an apparent apathy and moral relativism.

Literary tactics and devices:Literary tactics and devices:

the radical disruption of linear flow of narrative; the radical disruption of linear flow of narrative;

the frustration of conventional expectations concerning unity anthe frustration of conventional expectations concerning unity and d coherence of plot and character and the cause and effect developcoherence of plot and character and the cause and effect development ment thereof; thereof;

the deployment of ironic and ambiguous juxtapositions to call inthe deployment of ironic and ambiguous juxtapositions to call into to question the moral and philosophical meaning of literary action;question the moral and philosophical meaning of literary action;

the opposition of inward consciousness to rational, public, objethe opposition of inward consciousness to rational, public, objective ctive discourse; and an inclination to subjective distortion to point discourse; and an inclination to subjective distortion to point up the up the evanescence of the social world of the nineteenthevanescence of the social world of the nineteenth--century bourgeoisie. century bourgeoisie.

PostmodernismPostmodernism

The term The term postmodernismpostmodernism

implies a movement away from and implies a movement away from and

perhaps a reaction against modernism. perhaps a reaction against modernism.

If modernism sees man rejecting tradition and authority in favorIf modernism sees man rejecting tradition and authority in favor

of a of a reliance on reason and on scientific discovery, postmodernism reliance on reason and on scientific discovery, postmodernism stretches and breaks away from the idea that man can achieve stretches and breaks away from the idea that man can achieve understanding through a reliance on reason and science. understanding through a reliance on reason and science.

Postmodernist fiction is generally marked by one or more of the Postmodernist fiction is generally marked by one or more of the following characteristics:following characteristics:

playfulness with language playfulness with language

experimentation in the form of the novel experimentation in the form of the novel

less reliance on traditional narrative form less reliance on traditional narrative form

less reliance on traditional character development less reliance on traditional character development

experimentation with point of view experimentation with point of view

experimentation with the way time is conveyed in the novel experimentation with the way time is conveyed in the novel

mixture of "high art" and popular culture mixture of "high art" and popular culture

interest in interest in metafictionmetafiction, that is, fiction about the nature of fiction , that is, fiction about the nature of fiction

Narrative discourse (Gerard Narrative discourse (Gerard GenetteGenette))

narrativenarrative::

storystory

((histoirehistoire): the succession of events being narrated; it provides the cont): the succession of events being narrated; it provides the content of the tale in the order in which ent of the tale in the order in which events events ““actually happenedactually happened””

to characters, an order that does not always coincide with the to characters, an order that does not always coincide with the order in which they order in which they are presented in the narrative;are presented in the narrative;

discoursediscourse//narrativenarrative

((rréécitcit): the actual words on the page, the text itself from which the ): the actual words on the page, the text itself from which the reader constructs both reader constructs both story and narration (narrative is produced by the narrator in thstory and narration (narrative is produced by the narrator in the act of narration);e act of narration);

narrationnarration: the act of telling the story to some audience, and thereby pro: the act of telling the story to some audience, and thereby producing the narrative. However, just as ducing the narrative. However, just as the narrator almost never corresponds exactly to the author, thethe narrator almost never corresponds exactly to the author, the

audience (audience (narrateenarratee) almost never corresponds ) almost never corresponds exactly to the reader.exactly to the reader.

tensetense: the arrangement of events with respect to time; it involves th: the arrangement of events with respect to time; it involves the notions of e notions of orderorder

(i.e. the relationship between (i.e. the relationship between the chronology of the story and the chronology of the narrative)the chronology of the story and the chronology of the narrative); ; durationduration

(i.e. the relationship between the length of (i.e. the relationship between the length of time over which a given event occurs in the story and the numbertime over which a given event occurs in the story and the number

of pages devoted to it; that which produces the of pages devoted to it; that which produces the sense of narrative speed); sense of narrative speed); frequencyfrequency

(the relationship between the ways in which events may be repea(the relationship between the ways in which events may be repeated in the story ted in the story --

the same event may occur more than one the same event may occur more than one --

and in the narrative and in the narrative --

a single event may be described more than once.)a single event may be described more than once.)

moodmood: the atmosphere of the narrative which is created by the : the atmosphere of the narrative which is created by the distancedistance

between narration and storybetween narration and story[1][1]

and and perspectiveperspective, which refers to the point of view of the narrative., which refers to the point of view of the narrative.

voicevoice: the voice of the narrator; it helps determine the narrator: the voice of the narrator; it helps determine the narrator’’s attitude to the story being told and his reliability in s attitude to the story being told and his reliability in relation to the way in which the story is told. relation to the way in which the story is told.

[1][1]

The greatest distance is achieved when the narrator is one of tThe greatest distance is achieved when the narrator is one of the characters in the narrative, filtering the events he characters in the narrative, filtering the events through his consciousness, as well as by the absence of descriptthrough his consciousness, as well as by the absence of descriptive detail which greatly diminishes the effect of reality; ive detail which greatly diminishes the effect of reality; consequently, the least distance requires a minimum presence of consequently, the least distance requires a minimum presence of the narrator and a maximum of informationthe narrator and a maximum of information

Point of ViewPoint of View

The perspective from which the reader views the action and charaThe perspective from which the reader views the action and characters. The point cters. The point of view determines the limitations and freedoms that the author of view determines the limitations and freedoms that the author has in presenting has in presenting the plot and theme to the reader. the plot and theme to the reader.

Major types of point of view:Major types of point of view:

firstfirst--personperson

(observations of a character who narrates the story): the narr(observations of a character who narrates the story): the narrator speaks as ator speaks as ““II””, and is himself a participant in the story as: , and is himself a participant in the story as:

a fortuitous witness of the matters he/she relates, a fortuitous witness of the matters he/she relates,

a minor or peripheral participant in the story, a minor or peripheral participant in the story,

the central character in the story the central character in the story

thirdthird--person: person:

OMNISCIENT: the convention in a work of fiction that the narratoOMNISCIENT: the convention in a work of fiction that the narrator knows everything that r knows everything that needs to be known about the agents and the events; is free to moneeds to be known about the agents and the events; is free to move at will in time and place, ve at will in time and place, to shift from character to character, and to report (or conceal)to shift from character to character, and to report (or conceal)

their speech and actions; and their speech and actions; and also that the narrator has privileged access to the charactersalso that the narrator has privileged access to the characters’’

thoughts and feelings and thoughts and feelings and motives, as well as to their overt speech and actions. Within thmotives, as well as to their overt speech and actions. Within this mode, the narrator may be: is mode, the narrator may be:

INTRUSIVE (not only reports, but freely comments on and evaluateINTRUSIVE (not only reports, but freely comments on and evaluates the actions and motives of s the actions and motives of the characters, and sometimes expresses personal views about humthe characters, and sometimes expresses personal views about human life in general)an life in general)

UNINTRUSIVE (IMPERSONAL or OBJECTIVE) (i.e. describes, reports, UNINTRUSIVE (IMPERSONAL or OBJECTIVE) (i.e. describes, reports, or or ‘‘showsshows’’

the action in the action in dramatic scenes without introducing his own comments or judgemendramatic scenes without introducing his own comments or judgements.)ts.)

LIMITED: the narrator tells the story in the thirdLIMITED: the narrator tells the story in the third--person, but within the confines of what is person, but within the confines of what is experienced, thought, felt by a single character (or at the mostexperienced, thought, felt by a single character (or at the most

by very few characters) within by very few characters) within the story. This technique later evolved into STREAMthe story. This technique later evolved into STREAM--OFOF--CONSCIOUSNESS narration, in CONSCIOUSNESS narration, in which we are presented with outer observations only as they impiwhich we are presented with outer observations only as they impinge on the current of nge on the current of thought, memory, feelings, and associations which constitute thethought, memory, feelings, and associations which constitute the

observerobserver’’s awarenesss awareness

CharacterisationCharacterisation

The process by which an author presents and develops a fictionalThe process by which an author presents and develops a fictional

character. character.

Character: a textual representation of a human being (or occasioCharacter: a textual representation of a human being (or occasionally another nally another creature). creature).

Key points to note:Key points to note:

we learn about individual characters from their own words and acwe learn about individual characters from their own words and actions; from what tions; from what other characters say about them and the way others act towards tother characters say about them and the way others act towards themhem

characters help to advance the plotcharacters help to advance the plot

believable characters must grow and change in response to their believable characters must grow and change in response to their experiences in the experiences in the novel.novel.

Types:Types:

protagonistprotagonist: a story: a story’’s main character s main character

antagonistantagonist: the character or force in conflict with the protagonist: the character or force in conflict with the protagonist

round characterround character: a complex, fully developed character, often prone to change: a complex, fully developed character, often prone to change

flat characterflat character: a one: a one--dimensional character, typically not central to the storydimensional character, typically not central to the story

James Joyce, A Portrait James Joyce, A Portrait ……

Narration:Narration:

Narrative voice changes greatly over the course of the book Narrative voice changes greatly over the course of the book

The narrator is neither simply the protagonist telling his own sThe narrator is neither simply the protagonist telling his own story, nor tory, nor an omniscient outsider capable of describing the general social an omniscient outsider capable of describing the general social consensus consensus --

rather he is a projection of the individual and idiosyncratic rather he is a projection of the individual and idiosyncratic perspective of the protagonist himself. perspective of the protagonist himself.

Fusion of objective and subjective modes of description Fusion of objective and subjective modes of description

The diary at the end, written in first person, offers an apparenThe diary at the end, written in first person, offers an apparent t resolution of the tension: the young man with his subjective impresolution of the tension: the young man with his subjective impressions ressions becomes the narrator and a purely subjective firstbecomes the narrator and a purely subjective first--person account person account replaces the tainted objectivity that has constituted the narratreplaces the tainted objectivity that has constituted the narrative up to ive up to that point. that point.

Projection of the consciousness of an individual protagonistProjection of the consciousness of an individual protagonist

Stephen: archetypal hero of a Stephen: archetypal hero of a buildungsromanbuildungsroman

with a with a dissilusionmentdissilusionment

plotplot

the obscure young man from an impoverished but respectable countthe obscure young man from an impoverished but respectable country ry family, closely identified with the author, who wants to become family, closely identified with the author, who wants to become his his country's national novelist; country's national novelist;

his identification with Jesus Christ, Napoleon, Parnell, the Couhis identification with Jesus Christ, Napoleon, Parnell, the Count of nt of Monte Monte CristoCristo, Dante, and St. Stephen (the first Christian martyr) , Dante, and St. Stephen (the first Christian martyr)

each chapter Joyce repeats the same pattern of showing Stephen each chapter Joyce repeats the same pattern of showing Stephen embracing a dream in contempt of reality, then seeing that dreamembracing a dream in contempt of reality, then seeing that dream

destroyed (e.g. his loss of innocence; his disappointment in romdestroyed (e.g. his loss of innocence; his disappointment in romantic antic love and his subsequent turn to prostitutes)love and his subsequent turn to prostitutes)

his prodigality at his devoted family's expense followed by his his prodigality at his devoted family's expense followed by his attempted attempted return to the fold of family and church; return to the fold of family and church;

the novel's conclusion with his apparent but suspect arrival at the novel's conclusion with his apparent but suspect arrival at maturitymaturity

Literary devices:Literary devices:

stream of stream of conciousnessconciousness

abrupt abrupt tranisionstranisions/lack of plot/ flashbacks/lack of plot/ flashbacks

mythical mythical DaedalusDaedalus

(Stephen's imaginary flights and the maze (Stephen's imaginary flights and the maze of Dublin's streets; like of Dublin's streets; like DedalusDedalus, he plans his escape from , he plans his escape from Ireland) Ireland)

role of epiphany (arrest and embody artistic meaning in a role of epiphany (arrest and embody artistic meaning in a single moment) Stephen embraces a dream in contempt of single moment) Stephen embraces a dream in contempt of reality and has his dream destroyed reality and has his dream destroyed

language language plays a critical role in defining Stephen's life (Irish plays a critical role in defining Stephen's life (Irish vernacular, Latin, word association)vernacular, Latin, word association)

A girl stood before him in midstream, alone and still, A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a seabird. Her long slender bare legs were delicate as a crane's and pure save where an emerald trail of seaweed crane's and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, had fashioned itself as a sign upon the flesh. Her thighs, fuller and softfuller and soft--hued as ivory, were bared almost to the hued as ivory, were bared almost to the hips, where the white fringes of her drawers were like hips, where the white fringes of her drawers were like feathering of soft white down. Her slatefeathering of soft white down. Her slate--blue skirts were blue skirts were kilted boldly about her waist and dovetailed behind her. kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird's, soft and slight, slight and soft Her bosom was as a bird's, soft and slight, slight and soft as the breast of some darkas the breast of some dark--plumaged dove. But her long plumaged dove. But her long fair hair was girlish: and girlish, and touched with the fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face.wonder of mortal beauty, her face.

She was alone and still, gazing out to sea; and when she She was alone and still, gazing out to sea; and when she felt his presence and the worship of his eyes her eyes felt his presence and the worship of his eyes her eyes turned to him in quiet sufferance of his gaze, without turned to him in quiet sufferance of his gaze, without shame or wantonness. Long, long she suffered his gaze shame or wantonness. Long, long she suffered his gaze and then quietly withdrew her eyes from his and bent and then quietly withdrew her eyes from his and bent them towards the stream, gently stirring the water with them towards the stream, gently stirring the water with her foot hither and thither. The first faint noise of gently her foot hither and thither. The first faint noise of gently moving water broke the silence, low and faint and moving water broke the silence, low and faint and whispering, faint as the bells of sleep; hither and thither, whispering, faint as the bells of sleep; hither and thither, hither and thither; and a faint flame trembled on her hither and thither; and a faint flame trembled on her cheek.cheek.

--

Heavenly God! cried Stephen's soul, in an outburst of Heavenly God! cried Stephen's soul, in an outburst of profane joy.profane joy.

((A Portrait of the Artist as a Young ManA Portrait of the Artist as a Young Man, Chapter IV.), Chapter IV.)

W. W. GoldingGolding, , Lord of the FliesLord of the Flies

(1954)(1954)

‘‘WeWe’’ll build a fire now.ll build a fire now.’’The greatest ideas are the simplest. Now there was something to The greatest ideas are the simplest. Now there was something to be be

done, they worked with passion. Piggy was so full of delight anddone, they worked with passion. Piggy was so full of delight and expanding expanding liberty in Jackliberty in Jack’’s departure, so full of pride in his contribution to the good ofs departure, so full of pride in his contribution to the good of society, that he helped to fetch wood. The wood he fetched was csociety, that he helped to fetch wood. The wood he fetched was close at lose at hand, a fallen tree on the platform that they did not need for thand, a fallen tree on the platform that they did not need for the assembly; he assembly; yet to the others the sanctity of the platform had protected eveyet to the others the sanctity of the platform had protected even what was n what was useless there. The twins realized they would have a fire near thuseless there. The twins realized they would have a fire near them as a em as a comfort in the night and this set a few comfort in the night and this set a few littlunslittluns dancing and clapping hands.dancing and clapping hands.

The wood was not dry as the fuel they had used on the mountain. The wood was not dry as the fuel they had used on the mountain. Much of it was damply rotten and full of insects that scurried; Much of it was damply rotten and full of insects that scurried; logs had to be logs had to be lifted from the soil with care or they crumbled into sodden powdlifted from the soil with care or they crumbled into sodden powder. More er. More than this, in order to avoid going deep into the forest the boysthan this, in order to avoid going deep into the forest the boys worked near worked near at hand on any fallen wood no matter how tangled with new growthat hand on any fallen wood no matter how tangled with new growth. The . The skirts of the forest and the scar were familiar, near the conch skirts of the forest and the scar were familiar, near the conch and the and the shelters and sufficiently friendly in daylight. What they might shelters and sufficiently friendly in daylight. What they might become in become in darkness nobody cared to think. They worked therefore with greatdarkness nobody cared to think. They worked therefore with great energy energy and cheerfulness, though as time crept by there was a suggestionand cheerfulness, though as time crept by there was a suggestion of panic of panic in the energy and hysteria in the cheerfulness. They built a pyrin the energy and hysteria in the cheerfulness. They built a pyramid of amid of leaves and twigs, branches and logs, on the bare sand by the plaleaves and twigs, branches and logs, on the bare sand by the platform. For tform. For the first time on the island, Piggy himself removed his one glasthe first time on the island, Piggy himself removed his one glass, knelt down s, knelt down and focused the sun on tinder. Soon there was a ceiling of smokeand focused the sun on tinder. Soon there was a ceiling of smoke and a and a bush of yellow flame.bush of yellow flame.

Values, symbols and myths in British Values, symbols and myths in British and American literatureand American literature





of the of the DD’’UrbervillesUrbervilles


as a Young Manas a Young Man


WoolfWoolf, Virginia: , Virginia: Mrs. DallowayMrs. Dalloway

Foster, E.M.: A Passage to IndiaA Passage to India

FowlesFowles, John: , John: The French LieutenantThe French Lieutenant’’s s WomanWoman

Faulkner, William: Faulkner, William: Absalom, Absalom, AbsalomAbsalom

Hemingway, Ernest. Hemingway, Ernest. The Old Man The Old Man and the Seaand the Sea;;



Edgar, Alan Poe,Edgar, Alan Poe,

The Fall of the The Fall of the House of UsherHouse of Usher

Nathaniel Hawthorne, Nathaniel Hawthorne, The Scarlet The Scarlet LetterLetter

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