tag:blogger.com,1999:blog-37989617510042995192024-03-14T13:02:50.659+01:00Introducción a la Literatura InglesaJoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.comBlogger238125tag:blogger.com,1999:blog-3798961751004299519.post-2545221206703708802022-10-30T00:10:00.003+02:002022-10-30T00:10:34.553+02:00Un blog sobre literatura inglesa (y norteamericana)<p> </p><p>Este blog fue utilizado como material auxiliar para una asignatura
del grado de Lenguas Modernas en la Universidad de Zaragoza, asignatura
que presentaba un panorama introductorio a la literatura inglesa y norteamericana. Estuvo activo
durante unos años entre 2018 y 2022, año en el que me jubilé. A partir
del curso 2022-23 se usan otros materiales, y este blog ya no tiene
ninguna relación con la asignatura en cuestión, que sigue existiendo y
tampoco tiene ya ninguna relación con este blog. Lo dejo en la red, sin
embargo, por si resulta de utilidad a alguien interesado en estudiar aquí la literatura escrita en inglés.<br /></p><p>Para usarlo, conviene
remitirse a las etiquetas de la derecha, en especial a las primeras de
la columna, las numeradas de 0 a 8. Estas entradas remiten a una
introducción (0) y seguidamente a ocho temas. Los cinco primeros son los más detallados, y cubren la literatura clásica inglesa y norteamericana previa a 1900.<br /></p><p>Estas entradas numeradas tienen estructura de blog:
es decir, lo más antiguo está al final. Se aconseja, por tanto, ir al
final de la entrada, y progresar de abajo arriba, pasando de una
sección separada por una línea horizontal a la inmediatamente superior.
De allí parten enlaces al resto de los contenidos del blog.</p>A los
que también se puede acceder, naturalmente, usando el resto de las
etiquetas, que remiten a los diversos autores, géneros y temas tratados.JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-88047328458221287632022-10-30T00:05:00.000+02:002022-10-30T00:05:48.726+02:00Bienvenida y programa<p><span style="font-size: x-large;">Curso 2021-22</span></p><p><span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large; font-weight: bold;">Bienvenidas/os</span><span style="font-size: x-large;">
a <a href="https://fyl.unizar.es/grado/grado-en-lenguas-modernas">vuestra única asignatura de Literatura Inglesa</a>, y a esta web que utilizaremos para seguirla.<br /></span>
<span style="font-size: x-large;"><br />
Estos son los autores que trataremos; en clase los de la sección A, y
no presencialmente los demás
de la sección B. Os iré proporcionando en
esta web materiales sobre cada una de las
secciones, y especificaremos "nivel avanzado" para los materiales menos
básicos, y que sirven para ampliar materiales de estudio más allá de lo
imprescindible. <br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large; font-weight: bold;">
<br />
</span><span style="font-size: x-large;">
SECCIÓN A (hasta 1900) <br /></span>
<span style="font-size: x-large;"><br />
1. Literatura inglesa medieval<br /></span>
<span style="font-size: x-large;"><br />
1. <span style="font-style: italic;">Beowulf,</span><br />
2. <span style="font-style: italic;">Sir Gawain and
the Green Knight,</span><br />
3. Chaucer,<br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br />
2. Literatura inglesa renacentista<br /></span>
<span style="font-size: x-large;"><br />
4. Spenser, <br />
5. Sidney, <br />
6. Shakespeare, <br />
7. Jonson,<br style="font-weight: bold;" />
8. Donne,<b> </b><br />
9. Marvell, <br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br />
3. Literatura inglesa 1660-1800<br /></span>
<span style="font-size: x-large;"><br />
10. Milton, <br />
11. Rochester, <br />
12. Dryden, <br />
13. Egerton,<br />
14. Pope, <b><br style="font-weight: bold;" />
</b>15. Defoe, <b><br style="font-weight: bold;" />
</b>16. Swift,<b> <br />
</b>17. Richardson, <b><br />
</b>18. Fielding, <br />
19. Sterne,<br />
20. Gray, <br />
21. Johnson, <br />
22. Blake,<b> <br style="font-weight: bold;" />
</b>23. Wollstonecraft, <br /></span>
<span style="font-size: x-large;"><br />
4. Literatura inglesa del siglo XIX<br /></span>
<span style="font-size: x-large;"><br />
24. Austen,<b> <br style="font-weight: bold;" />
</b>25. Scott,<b><br style="font-weight: bold;" />
</b>26. Wordsworth,<br />
27. Keats,<br />
28. Byron,<br />
29. Mary Shelley,<b><br />
</b>30. Dickens, <br />
31. George Eliot,<br />
32. Tennyson,<br />
33. Hopkins, <br />
34. Wilde,<b> <br style="font-weight: bold;" />
</b>35. Wells.<br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large; font-style: italic;">
5. Literatura norteamericana hasta 1900<br />
<br />
</span><span style="font-size: x-large;">36. Irving, <br />
37. Cooper,<b> <br />
</b>38. Poe, <br />
39. Emerson, <br />
40. Thoreau, <br />
41. Hawthorne, <b><br style="font-weight: bold;" />
</b>42. Melville, <br />
43. Dickinson, <br />
44. Whitman,<b> </b><br style="font-weight: bold;" />
45. Mark Twain, <br />
46. Stephen Crane, <br />
47. Henry James<span style="font-style: italic;"><br />
</span><br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large; font-style: italic;">
SECCIÓN B (SIGLO XX) - PREPARACIÓN
NO PRESENCIAL<br />
<br />
<br />
</span>
<span style="font-size: x-large; font-style: italic;">6. Literatura inglesa y
norteamericana 1900-1960<br />
<br />
</span><span style="font-size: x-large;">48. Yeats, <br />
49. Joyce, <br />
50. Frost, <br />
51. T. S. Eliot, <br />
52. Woolf, <br />
53. Hemingway, <br />
54. Cummings, <br />
55. Auden, <br />
56. Faulkner, <br />
57. Beckett, <br />
58. Nabokov, <br /></span>
<span style="font-size: x-large; font-style: italic;"><br />
<br />
7. Literatura inglesa 1960-<br />
<br />
</span><span style="font-size: x-large;">59. Larkin,<br />
60. Pinter,<br />
61. Stoppard, <br />
62. Rushdie, <span style="font-style: italic;"><br />
<br />
<br />
8. Literatura norteamericana 1960-<br />
<br />
</span>63. Barth, <br />
64. Sexton, <br />
65. Oates, <br />
66. Roth, <br />
67. Morrison.<span style="font-style: italic;"><br /></span></span></p><p style="text-align: right;"><span style="font-size: x-large; font-style: italic;">
(<a href="https://litinglesa.blogspot.com/2020/10/fotocopias-lecturas.html" target="_blank">Detalle de las lecturas</a>)<br /></span></p><p><span style="font-size: x-large; font-style: italic;">
<br />
<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;">
</span></span>______<br />
<br />
<br />
</span></span><span style="font-size: x-large;">La literatura es (en su definición más relevante aquí) la
disciplina que recoge y estudia los textos más importantes o icónicos
para el estudio de una cultura en su contexto histórico: incluye poesía
y prosa, narración o teatro, ficción o no ficción, pero siempre son
textos ideológicamente relevantes, significativos e influyentes en su
representación de las maneras de sentir, de pensar y de representar la
sociedad, y especialmente de sus transformaciones. La literatura va muy
unida a la comunicación social y al tipo de cultura favorecido por una
comunidad dada, en especial por las clases ideológicamente dominantes.
La literatura representa la cultura, dirige la atención sobre aspectos
concretos del mundo y de ella, la transmite, y la transforma
por el hecho de representarla y difundirla, promoviendo la comunicación
entre las capas sociales y entre las culturas, y a la vez transmitiendo
y reelaborando ideas y palabras:
ideales, valores, ideologías, expresiones y presuposiciones sobre el
mundo, la
sociedad, las personas y sus relaciones entre sí—ideas morales o
éticas, religiosas o generalmente culturales.<br />
<br />
Un poco de contexto histórico y científico para el estudio de la
cultura: un documental sobre <a href="https://litinglesa.blogspot.com/2021/09/history-of-world.html">A
HISTORY OF THE WORLD IN TWO HOURS</a>, y unas lecciones sobre el
desarrollo cultural de la humanidad: <a href="https://www.youtube.com/playlist?list=PLBOXjuzxIKcrqTyqh2Wwh6B86sIN-42di">A
Brief History of Mankind</a>.<span style="font-weight: bold;"><br />
<br />
</span>Conviene, para vuestro dominio del inglés, que veáis con
frecuencia constante este tipo de documentales en red que os pueden
ayudar
además en vuestros estudios. Y la tele, por supuesto, en inglés (o en
francés). Pero<span style="font-weight: bold;"> </span>no
olvidéis que a través de Internet podéis asistir a clases magistrales y
conferencias de los mejores profesores y pensadores de nuestro tiempo,
además de ver tutoriales y materiales sobre cualquier tema y autor,
clásicos o modernos, o
películas relacionadas con el temario de la asignatura.<span style="font-weight: bold;"><br />
</span><br />
___________<br />
<br />
<br />
Tenéis las fotocopias en Reprografía; son un buen fajo (pero que no
suman
más de un
par de libros o tres en conjunto). <a href="https://litinglesa.blogspot.com/2020/10/fotocopias-lecturas.html" target="_blank">Esta es la lista de lo que contienen.</a> Divididlas en 2: el primer bloque,
hasta 1900,
son las lecturas que manejaremos en clase. Id
trayendo a clase algunas de las lecturas que veremos en orden
cronológico (un par de autores cada día máximo). Aquí pondremos a veces
materiales adicionales,
enlaces, apuntes o vídeos para complementar el estudio de la asignatura.<br />
<br />
______</span><span style="font-size: x-large; font-style: italic;"><br />
</span><big><br />
</big><br />
<big>
<br />
<br />
<span style="font-weight: bold;">
<span style="font-size: x-large;">Programa de la asignatura</span></span><span style="font-size: x-large;"><br />
<br />
Objetivos:<br />
El objetivo principal de esta asignatura de "Introducción a la
literatura
inglesa" es el de proporcionar a los estudiantes conocimientos básicos
sobre la literatura en lengua inglesa, en especial sobre las
literaturas inglesa y norteamericana, así como destrezas para su
comprensión y análisis. Trabajaremos en clases tanto teóricas como
prácticas (enfocadas al estudio de textos representativos de cada época
y contexto cultural) <br />
<br />
<br />
Opción A: Sistema de evaluación continua:<br />
</span></big><span style="font-size: x-large;"><br />
- Entrega de dos trabajos escritos, el primero en noviembre, el segundo
en enero, más una prueba final (examen) en las fechas
fijadas por la Facultad para las
convocatorias de febrero y de septiembre.<br />
<br />
El examen valdrá un 40% de la nota. Constará de (1) preguntas sobre los
temas, autores y lecturas del programa (incluyendo preguntas de
elección múltiple y un tema sobre un autor o género/época); y (2)
comentario o comprensión de un texto. <br />
<br />
Los trabajos (60% de la nota) serán:<br />
- un comentario de texto sobre literatura clásica (hasta 1800), 30%.<br />
- un trabajo grupal sobre literatura contemporánea (desde 1800)
30%. Se valorará la capacidad de comprensión y análisis
y el uso adecuado de herramientas propias del comentario de textos
literarios. Se penalizará el plagio. <br />
<br />
Examen: 40%. Preguntas sobre los temas y obras tratados en clase, y
comentario de texto. Se valorará la habilidad para definir conceptos;
conocer y explicar datos sobre géneros/autores/ obras; relacionar
temas; y desarrollar interpretaciones personales, en relación todo ello
tanto con la parte más teórica de la asignatura como con la parte
referente a los textos de lectura obligatoria.</span></p><p><span style="font-size: x-large;"> <br />Hay un requisito de nota mínima de
4.5 (18%) en el examen para mediar con los
trabajos.
Una nota inferior conllevará un descuento de puntuación por DESCOMPENSACIÓN.<br /></span>
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br />
Opción B: Examen final<br /></span>
<span style="font-size: x-large;">
Si el alumno/a no entrega trabajos, el examen consistirá entonces en:
preguntas (40%), incluyendo un tema, y además un comentario de texto
(60%). Nota
mínima de 4.5 en una parte para que medie con la de la otra
parte (es decir: 1,8 en la primera parte, 2,7 en la segunda). <br /></span>
<span style="font-size: x-large;"><br />
Opcionalmente, podrá
realizarse una traducción del texto en lugar de un comentario.
En el examen no se utilizarán diccionarios ni otros materiales
adicionales.<br /></span>
<span style="font-size: x-large;"><br />
Los trabajos sólo podrán entregarse durante el período de clases.
Es
decir, en la segunda convocatoria, los estudiantes que no hayan
entregado trabajos durante el primer cuatrimestre tendrán que atenerse
a la opción B. Si bien se guardarán las notas favorables de los
trabajos a aquellos alumnos que tengan pendiente el examen de febrero,
no podrán realizarse trabajos adicionales para la convocatoria de
septiembre.<br /></span>
<span style="font-size: x-large;"><br />
Más información sobre criterios de evaluación, corrección de exámenes,
etc., <a href="https://personal.unizar.es/garciala/materiales/criterios.html" target="_blank">puede verse aquí</a>.<span style="font-style: italic;"><br />
<br />
</span><span style="font-style: italic;">
</span><br /></span>
</p><div style="text-align: center;">
<span style="font-size: x-large; font-style: italic;">—oOo—<br />
</span></div><span style="font-size: x-large;">
</span><span style="font-style: italic;"><span style="font-size: x-large;">
</span><big><br />
<br />
<br />
<br />
<span style="font-weight: bold;">
<span style="font-size: x-large;">Programa de la asignatura:</span></span><span style="font-size: x-large;"><br />
<br />
Sección A) Hasta 1900<br />
1. Literatura inglesa medieval<br />
2. Literatura inglesa renacentista<br />
3. Literatura inglesa 1660-1800<br />
4. Literatura inglesa del siglo XIX<br />
</span></big></span><span style="font-size: x-large; font-style: italic;">
5. Literatura norteamericana hasta 1900.</span><span style="font-size: x-large;"><br />
<span style="font-style: italic;">
<br />
Sección B) Desde 1900<br />
6. Literatura inglesa y norteamericana 1900-1960<br />
7. Literatura inglesa 1960-<br />
8. Literatura norteamericana 1960-<br />
<br />
<br />
</span><br />
Las lecturas obligatorias consistirán en una selección de textos breves
extraídos de algunos de los principales autores y obras del canon
anglonorteamericano, incluyendo: Beowulf,
Sir Gawain and the Green
Knight, Chaucer, Spenser, Sidney, Shakespeare, Donne, Marvell,
Milton,
Rochester, Dryden, Pope, Defoe, Swift, Richardson, Fielding, Johnson,
Gray, Blake, Wollstonecraft, Wordsworth, Austen, Scott, Dickens,
George Eliot, Tennyson, Hopkins,
Wilde, Wells, Irving, Cooper, Poe, Emerson,
Hawthorne, Melville,
Thoreau,
Dickinson, Henry James, Mark Twain, Whitman, Crane, Yeats, Joyce,
Frost, T. S. Eliot, Woolf,
Hemingway, Cummings, Auden, Faulkner, Beckett, Nabokov, Larkin, Barth,
Stoppard, Sexton, Oates, Rushdie, Roth, Morrison.<br />
<br />
Las clases teóricas y actividades prácticas presenciales se dedicarán a
la Sección A
del programa (literatura inglesa y norteamericana hasta 1900). El
primer trabajo a realizar
por los alumnos/as, así como el tema del examen, versará sobre esta
sección.<br />
<br />
Habrá a la vez un estudio personal guiado de la Sección B del programa
(literatura inglesa y
norteamericana desde 1900). El segundo trabajo, grupal, versará sobre
un tema relacionado con la literatura de este periodo (o bien del siglo XIX).<span style="font-style: italic;"><br />
<br />
<br />
</span><br />
BIBLIOGRAFÍA RECOMENDADA:<span style="font-style: italic;"><br />
<br />
</span>La mayoría de los textos pueden obtenerse e<span style="font-style: italic;">n <span style="font-style: italic;">Project
Gutenberg</span> </span><a href="http://www.gutenberg.org/">http://www.gutenberg.org</a><span style="font-style: italic;"><br />
</span><br />
Las lecturas obligatorias se pondrán a disposición de los
estudiantes en el servicio de Reprografía. Muchas de las lecturas
obligatorias están incluidas asimismo en <i>The Norton Anthology of
English Literature.</i> La antología incluye, además de textos primarios,
introducciones a periodos históricos y autores.<br />
<br />
Historias breves (en un volumen) de la literatura inglesa:<span style="font-style: italic;"><br />
</span><br />
Alexander, Michael.<span style="font-style: italic;"> <span style="font-style: italic;">A History of
English Literature. </span></span>2nd ed. Basingstoke and New York: Palgrave,
2007.<span style="font-style: italic;"><br />
</span>Barnard, Robert.<span style="font-style: italic;"> <span style="font-style: italic;">A Short History of
English Literature.</span> </span>Oxford: Blackwell, 1998.<span style="font-style: italic;"><br />
</span>Blamires, Harry. <span style="font-style: italic;"><span style="font-style: italic;">A Short History of
English Literature. </span></span>London: Routledge, 1994.<span style="font-style: italic;"><br />
</span>Carter, Roland and John McRae. <span style="font-style: italic;"><span style="font-style: italic;">Penguin
Guide to English Literature.</span> </span>Harmondsworth: Penguin, 1995.<span style="font-style: italic;"><br />
</span>Coote, Stephen. <span style="font-style: italic;"><span style="font-style: italic;">The Penguin Short
History of English Literature.</span> </span>Harmondsworth: Penguin, 1993.<span style="font-style: italic;"><br />
</span>Peck, John & Martin Coyle.<span style="font-style: italic;"><span style="font-style: italic;"> A Brief
History of English Literature.</span> </span>Basingstoke & New York:
Palgrave, 2002.<span style="font-style: italic;"><br />
</span>Poplawski, Paul, ed. <span style="font-style: italic;"><span style="font-style: italic;">English
Literature in Context.</span> </span>Cambridge: Cambridge University Press,
2008.<span style="font-style: italic;"><br />
</span>Sanders, Andrew.<span style="font-style: italic;"> <span style="font-style: italic;">The Short Oxford
History of English Literature.</span> </span>2nd ed. Oxford: Oxford UP, 2000.<span style="font-style: italic;"><br />
<br />
</span>Sobre literatura norteamericana, hay otra antología Norton, y estos
manuales entre otros:<span style="font-style: italic;"><br />
</span><br />
Bertens, Hans, and Theo d'Haen.<span style="font-style: italic;"> <span style="font-style: italic;">American
Literature: A History.</span> </span>London: Routledge, 2016.<span style="font-style: italic;"><br />
</span>Bradbury, Malcolm, and Richard Ruland. <span style="font-style: italic;"><span style="font-style: italic;">From Puritanism to
Postmodernism: A History of American Literature.</span> </span>London:
Routledge,
1991.<span style="font-style: italic;"><br />
</span>Elliott, Emory, et al., eds.<span style="font-style: italic;"> <span style="font-style: italic;">Columbia
Literary History of the United States. </span></span>New York: Columbia UP,
1988.<span style="font-style: italic;"><br />
</span>Gray, Richard. <span style="font-style: italic;"><span style="font-style: italic;">A History of American
Literature.</span></span> 2nd ed. Chichester: Wiley-Blackwell, 2012.<span style="font-style: italic;"><br />
</span>Klarer, Mario.<span style="font-style: italic;"> <span style="font-style: italic;">A Short Literary
History of the United States.</span> </span>Abingdon and New York: Routledge,
2014.<span style="font-style: italic;"><br />
</span><br />
Más bibliografía sobre autores, períodos, géneros, etc., puede
encontrarse en <span style="font-style: italic;"><span style="font-style: italic;">A Bibliography of
Literary Theory, Criticism and Philology,<br />
</span></span><a href="http://bit.ly/abibliog">http://bit.ly/abibliog</a></span><span style="font-style: italic;"><big><span style="font-size: x-large; font-style: italic;"><br />
</span><span style="font-size: x-large;"><br />
</span><br />
<br />
<br />
</big>
</span><br />
<div style="text-align: center;">
<big>—oOo—</big><span style="font-style: italic;"><big></big></span></div><div style="text-align: center;"><span style="font-style: italic;"><big><br />
</big></span></div><div style="text-align: center;"><span style="font-style: italic;"><big><br />
</big></span></div><div style="text-align: center;"><span style="font-style: italic;"><big><br />
</big></span></div><div style="text-align: left;"><span style="font-style: italic;"><big>Con frecuencia recomendaremos materiales en audio o vídeo disponibles en Internet, a veces introductorios, como esta lección sobre historia de la lengua: <a href="https://litinglesa.blogspot.com/2021/10/his110-history-of-english-overview.html" target="_blank">THE HISTORY OF ENGLISH</a></big></span></div><div style="text-align: left;"><span style="font-style: italic;"><big> </big></span></div><div style="text-align: left;"><span style="font-style: italic;"><big>—y otras veces <a href="https://litinglesa.blogspot.com/search/label/A%20NIVEL%20AVANZADO" target="_blank">A NIVEL AVANZADO</a> (indicados así, y que no entran en el programa para examen). <br /></big></span></div><div style="text-align: left;"><span style="font-style: italic;"><big><br />
</big></span></div>
<span style="font-style: italic;">
<big><br />
<br />
<br />
<br />
<span style="font-size: large;"><br />
Y más material:<br />
<br />
Enlaces a algunos de los autores y textos estudiados (Sección A)—para
leer, consultar o curiosear. En Internet, que es inagotable, cada cual
tiene que seleccionar lo que le sirve para orientar su estudio.</span><br />
<br />
Free Online Literature Course (OpenCulture)<br />
<a href="http://www.openculture.com/literature_free_courses">http://www.openculture.com/literature_free_courses</a><br />
2015<br />
<br style="font-style: italic;" />
<span style="font-style: italic;">The Project Gutenberg eBook Old
English Poems.</span> Trans. Cosette Faust Newton and Stith Thompson. <br />
<a href="http://www.gutenberg.org/files/31172/31172-h/31172-h.htm">http://www.gutenberg.org/files/31172/31172-h/31172-h.htm</a><br />
2012<br />
<br />
Spenser, Edmund. <span style="font-style: italic;">The Faerie Queene:</span>
Book 1. Ed. George Armstrong
Wauchope. (South Carolina College). New York and London: Macmillan,
1903. 1921.<br />
1921. Online at Project Gutenberg<br />
<a href="http://www.gutenberg.org/files/15272/15272-h/15272-h.htm">http://www.gutenberg.org/files/15272/15272-h/15272-h.htm</a><br />
2012<br />
<br />
Shakespeare, William. <span style="font-style: italic;">The Tempest. </span>In
<span style="font-style: italic;">The Complete Works of William
Shakespeare. </span>Online at MIT.<br />
<a href="http://shakespeare.mit.edu/tempest/full.html">http://shakespeare.mit.edu/tempest/full.html</a><br />
<br />
_____. <span style="font-style: italic;">The Complete Works of William
Shakespeare. </span>Online at MIT.<br />
<a href="http://shakespeare.mit.edu/">http://shakespeare.mit.edu/</a><br />
<br />
Wordsworth, William. <span style="font-style: italic;">Wordsworth's
Poetical Works, vol. 3: The Prelude.</span> Ed. William Knight. 1896.
Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/files/12383/12383-h/Wordsworth3c.html">http://www.gutenberg.org/files/12383/12383-h/Wordsworth3c.html</a><br />
_____. <span style="font-style: italic;">Complete poetical works. </span>Online
at Bartleby.com<br />
<a href="http://www.bartleby.com/145/">http://www.bartleby.com/145/</a><br />
<br />
Edgar, Pelham (Ph.D.; Professor of English, Vi<br />
ctoria Coll., Univ. of
Toronto)., ed. <span style="font-style: italic;">Selections from
Wordsworth and Tennyson.</span> Toronto : Macmillan Canada, 1917.
Online at Project Gutenberg<br />
<a href="http://www.gutenberg.org/cache/epub/14952/pg14952.html">http://www.gutenberg.org/cache/epub/14952/pg14952.html</a><br />
<br />
Keats, John. <span style="font-style: italic;">Poems published in 1820</span>
by John Keats. Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/23684">http://www.gutenberg.org/ebooks/23684</a><br />
<a href="http://www.gutenberg.org/files/23684/23684-h/23684-h.htm">http://www.gutenberg.org/files/23684/23684-h/23684-h.htm</a>
<br />
<br />
"Darkness (Poem by Lord Byron)." <span style="font-style: italic;">Wikipedia:
The Free Encyclopedia</span><br />
<a href="http://en.wikipedia.org/wiki/Darkness_%28poem%29">http://en.wikipedia.org/wiki/Darkness_%28poem%29</a><br />
<br />
Austen, Jane. <span style="font-style: italic;">Mansfield Park</span>
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/141">http://www.gutenberg.org/ebooks/141</a><br />
<a href="http://www.gutenberg.org/files/141/141-h/141-h.htm">http://www.gutenberg.org/files/141/141-h/141-h.htm</a>
<br />
<br />
Scott, Walter. Walter Scott's Novels Available as e-Texts:<br />
<a href="http://www.walterscott.lib.ed.ac.uk/etexts/novels.html">http://www.walterscott.lib.ed.ac.uk/etexts/novels.html</a><br />
_____. <span style="font-style: italic;">Woodstock, or The Cavalier.</span>
Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/cache/epub/9785/pg9785.html">http://www.gutenberg.org/cache/epub/9785/pg9785.html</a><br />
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Shelley, Mary Wollstonecraft (Godwin). <span style="font-style: italic;">Frankenstein, or The Modern Prometheus. </span>Online
at <span style="font-style: italic;">Project Gutenberg.</span><br />
<a href="http://www.gutenberg.org/files/84/84-h/84-h.htm">http://www.gutenberg.org/files/84/84-h/84-h.htm</a><br />
<br />
Dickens. <span style="font-style: italic;">Great Expectations. </span>eTexts
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/1400">http://www.gutenberg.org/ebooks/1400</a><br />
<a href="http://www.gutenberg.org/files/1400/1400-h/1400-h.htm">http://www.gutenberg.org/files/1400/1400-h/1400-h.htm
</a><br />
<br />
Eliot, George. <span style="font-style: italic;">Middlemarch. </span>Online
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/145">http://www.gutenberg.org/ebooks/145</a>
<br />
<a href="http://www.gutenberg.org/files/145/145-h/145-h.htm">http://www.gutenberg.org/files/145/145-h/145-h.htm</a><br />
<br />
Wilde, Oscar. <span style="font-style: italic;">Intentions. </span>Online
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/dirs/etext97/ntntn10h.htm">http://www.gutenberg.org/dirs/etext97/ntntn10h.htm</a><br />
2012<br />
<br />
Wells, H. G. <span style="font-style: italic;">The Time Machine.</span>
Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/cache/epub/35/pg35.html">http://www.gutenberg.org/cache/epub/35/pg35.html</a><br />
<br />
Irving. <span style="font-style: italic;">The Crayon Papers.</span>
Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/7994">http://www.gutenberg.org/ebooks/7994</a><br />
_____. <span style="font-style: italic;">The Sketch Book of
Geoffrey Crayon. </span>Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/files/2048/2048-h/2048-h.htm">http://www.gutenberg.org/files/2048/2048-h/2048-h.htm</a><br />
_____. <span style="font-style: italic;">Knickerbocker's History of
New York.</span><br />
<a href="http://www.gutenberg.org/files/13042/13042-h/13042-h.htm">http://www.gutenberg.org/files/13042/13042-h/13042-h.htm</a><br />
<br />
"Rip Van Winkle." <span style="font-style: italic;">Wikipedia: The
Free Encyclopedia.</span><br />
<a href="http://en.wikipedia.org/wiki/Rip_Van_Winkle">http://en.wikipedia.org/wiki/Rip_Van_Winkle</a><br />
<br />
Cooper, James Fenimore. <span style="font-style: italic;">The Last of
the Mohicans.</span> Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/files/940/940-h/940-h.htm">http://www.gutenberg.org/files/940/940-h/940-h.htm</a><br />
<br />
Poe, Edgar Allan. "The Fall of the House of Usher." Online at Project
Gutenberg.<br />
<a href="http://www.gutenberg.org/files/932/932-h/932-h.htm">http://www.gutenberg.org/files/932/932-h/932-h.htm</a><br />
<br />
Emerson. <span style="font-style: italic;">Essays.</span> (Merrill's
English Texts). New York: Charles E. Merrill, 1907. Online at Project
Gutenberg:<br />
<a href="http://www.gutenberg.org/files/16643/16643-h/16643-h.htm">http://www.gutenberg.org/files/16643/16643-h/16643-h.htm</a><br />
<br />
Hawthorne, Nathaniel. <span style="font-style: italic;">The Scarlet
Letter.</span> Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/cache/epub/33/pg33.html">http://www.gutenberg.org/cache/epub/33/pg33.html</a><br />
<br />
Melville. Works at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/browse/authors/m#a9">http://www.gutenberg.org/browse/authors/m#a9</a><br />
<br />
_____. <span style="font-style: italic;">Bartleby, the Scrivener. </span>Online
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/cache/epub/11231/pg11231.html">http://www.gutenberg.org/cache/epub/11231/pg11231.html</a><br />
<br />
_____. <span style="font-style: italic;">Moby Dick, or, The Whale. </span>Online
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/2701">http://www.gutenberg.org/ebooks/2701</a><br />
<br />
Thoreau, Henry. <span style="font-style: italic;">On the Duty of Civil
Disobedience.</span> Online at Project Gutenberg.* (Original title,
1849: <span style="font-style: italic;">Resistance to Civil Government</span>).<br />
<a href="http://www.gutenberg.org/files/71/71-h/71-h.htm">http://www.gutenberg.org/files/71/71-h/71-h.htm</a><br />
<br />
_____. <span style="font-style: italic;">Walden; and, On the Duty of
Civil Disobedience. </span>Online texts at Project Gutenberg<br />
<a href="http://www.gutenberg.org/files/205/205-h/205-h.htm">http://www.gutenberg.org/files/205/205-h/205-h.htm</a><br />
<br />
Dickinson, Emily. <span style="font-style: italic;">The Complete
Project Gutenberg Poems.</span><br />
<a href="http://www.gutenberg.org/files/12242/12242-h/12242-h.htm">http://www.gutenberg.org/files/12242/12242-h/12242-h.htm</a><br />
<br />
Twain, Mark. <span style="font-style: italic;">The Adventures of
Huckleberry Finn.</span> Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/files/76/76-h/76-h.htm">http://www.gutenberg.org/files/76/76-h/76-h.htm</a><br />
<br />
Crane, Stephen. <span style="font-style: italic;">The Monster and
Other Stories.</span> Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/files/31189/31189-h/31189-h.htm">http://www.gutenberg.org/files/31189/31189-h/31189-h.htm</a><br />
<br />
_____. <span style="font-style: italic;">The Red Badge of Courage. </span>Online
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/files/73/73-h/73-h.htm">http://www.gutenberg.org/files/73/73-h/73-h.htm</a><br />
<br />
James, Henry. Works by Henry James at Project Gutenberg.*<br />
<a href="http://www.gutenberg.org/browse/authors/j#a113">http://www.gutenberg.org/browse/authors/j#a113</a><br />
<br />
_____. <span style="font-style: italic;">The Figure in the Carpet.</span>
Online at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/ebooks/645">http://www.gutenberg.org/ebooks/645</a><br />
<br />
_____. <span style="font-style: italic;">The Real Thing.</span> Online
at Project Gutenberg.<br />
<a href="http://www.gutenberg.org/cache/epub/2715/pg2715.html">http://www.gutenberg.org/cache/epub/2715/pg2715.html</a><br />
<br />
_____. <span style="font-style: italic;">The Middle Years.</span>
Memoir. Online at Project Gutenberg.*<br />
<a href="http://www.gutenberg.org/files/32649/32649-h/32649-h.htm">http://www.gutenberg.org/files/32649/32649-h/32649-h.htm</a><br />
<br />
Eliot, T. S. <span style="font-style: italic;">The Waste Land.</span>
Hypertext ed. at Tripod.com.*<br />
<a href="http://eliotswasteland.tripod.com/">http://eliotswasteland.tripod.com/</a><br />
<br />
</big></span>
<br />
<div style="text-align: center;">
<br />
<br />
<big><big>—oOo</big><span style="font-style: italic;"><big>—</big></span></big><br />
<big><span style="font-style: italic;"></span></big></div>
<big><span style="font-style: italic;"><big>
<br />
<a href="https://sia.unizar.es/doa/consultaPublica/look[conpub]MostrarPubGuiaDocAs?entradaPublica=true&idiomaPais=es.ES&_anoAcademico=2019&_codAsignatura=30432"><br />
</a></big></span><a href="https://estudios.unizar.es/estudio/asignatura?anyo_academico=2021&asignatura_id=30432&estudio_id=20210153&centro_id=103&plan_id_nk=455"><span style="font-style: italic;"><big>Guía docente de la asignatura Introducción a la Literatura Inglesa </big></span></a></big><br />
<big><span style="font-style: italic;"><big><br /></big></span></big>
<br />
<big><span style="font-style: italic;"><big></big></span></big><br />
<big><span style="font-style: italic;"><big></big></span></big><br />
<big><span style="font-style: italic;"><big></big></span></big><br />
<big><span style="font-style: italic;"><big></big></span></big><br />
<br />
<br />
<br />
<div style="text-align: center;">
<big><big> —oOo—</big></big></div><p>
<br />
<br />
TUTORÍAS Y CONSULTAS:<br />
<br />Horario de tutorías (primer cuatrimestre): Lunes, martes, miércoles, 17-19h,
Despacho 307 D, tercera planta de la Facultad de Filosofía y Letras (c/San Juan Bosco) - En el segundo cuatrimestre con cita previa.<br />
<br />
Consultas: por correo electrónico,<a href="mailto:garciala@unizar.es"> garciala@unizar.es</a><br />
</p><p><br /></p><p></p><p><br />
<br />
CLASES Y EXÁMENES <br />
<br />
Las clases presenciales del curso 2020-21 serán en el aula III, Facultad de Filosofía y Letras, lunes y martes a las 8,30. Se hará control de asistencia pero no se penaliza la no presencialidad.<br />
<br />
La Facultad ha establecido provisionalmente una presencialidad de un 75%: </p><p>la semana 1 asisten los apellidos A-O, </p><p>la semana 2 asisten los apellidos G-Z</p><p>la semana 3 asisten los apellidos M-F,</p><p>la semana 4 asisten los apellidos P-L - y sigue la semana 1.<br />
</p><div class="MsoNormal" style="margin-bottom: 0cm;">
<span lang="ES-TRAD">Los exámenes finales de la asignatura tendrán lugar en las fechas asignadas en el calendario de la Facultad: 31 de enero (primera convocatoria) y 7 de septiembre (2ª convocatoria)<br /></span></div>
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—oOo—</div>
JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-59181581707475394132022-08-07T21:07:00.005+02:002022-08-07T21:07:58.114+02:00Examen de septiembre<p> </p><p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;">Ya tenemos FECHA
DE EXAMEN para la convocatoria de septiembre de</span><span style="font-family: "Times New Roman",serif; font-size: large; mso-ansi-language: ES; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"> Introducción a la literatura inglesa, </span><span style="font-size: large;">el miércoles </span><span lang="ES" style="font-family: "Times New Roman"; mso-ansi-language: ES; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><span style="font-size: large;"> 7 de septiembre,
tarde, de 17 a 20h. En el Aula III del edificio central de Filosofía y Letras.</span><br /></span></p>
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<span style="font-size: large;">
</span>
<p><span style="font-size: large;"> Recordad que el examen teórico
tiene una sección de preguntas de tipo test, y además un tema a elegir entre dos
(siendo uno de los temas uno de los principales autores del programa, y
otro una época o género, donde puedan entrar varios autores)</span></p>
<p><span style="font-size: large;">Y la segunda parte, el examen práctico, que también
tiene que hacer todo el mundo, es un texto para traducir al español o comentar
en inglés. Sin diccionarios, etc. (—se da por hecho que habrá palabras que falten—<i>no matter</i>). Se valoran la precisión, la capacidad
de comprensión, y el conocimiento de la materia y del idioma inglés.</span></p><p><span style="font-size: large;">Para quienes hayan entregado trabajos, el examen cuenta un 40% de la nota, y cada uno de los trabajos un 30%. Si no se han entregado trabajos en febrero, el examen es el 100% de la nota final.</span></p><p><span style="font-size: large;">Recordad que en las preguntas de tipo test, un fallo no descuenta, pero cada dos fallos descuentan un acierto. (No contestar no sube ni baja puntos). Conviene preparar los contenidos centrales de la asignatura: conocer los principales autores y ubicarlos en una época, saber cuáles eran sus principales obras, qué temas tratan, y a qué género pertenecen. <br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-56862183935491163582022-08-07T21:07:00.004+02:002022-08-07T21:07:40.674+02:00Un libro una hora: 1984 de George Orwell<p> </p><iframe width="560" height="315" src="https://www.youtube.com/embed/OEwuaDvepgc?start=656" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-66480937788841232962022-07-29T07:39:00.004+02:002022-07-29T07:39:43.866+02:00Acerca de "El Paraiso Perdido" de John Milton | Joan Curbet<iframe width="480" height="270" src="https://youtube.com/embed/1hVVDEfXUPo" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-13744366794280861002022-04-28T19:37:00.004+02:002022-04-28T19:37:50.790+02:00Anne Sexton<p> <span style="font-size: large;"><br />
</span></p><div align="right" class="MsoNormal" style="text-align: right;"><span style="font-size: large;">
From Hart and
Leininger's <i style="mso-bidi-font-style: normal;">Oxford Companion to American
Literature:</i></span></div><div align="right" class="MsoNormal" style="text-align: right;"><span style="font-size: large;"><i style="mso-bidi-font-style: normal;"> </i><br /></span>
</div><span style="font-size: large;">
</span><div class="MsoNormal" style="text-align: justify;"><span style="font-size: large;">
Sexton, Anne (1928-74) , poet who
lived in her native Massachusetts and traced her ancestry to <i style="mso-bidi-font-style: normal;">Mayflower</i> Pilgrims, but whose writing is
concerned not with heritage or religion but very frankly with her firsthand
experience. Her first book, <i style="mso-bidi-font-style: normal;">To Bedlam and
Part Way Back</i> (1960), was the outcome of a nervous breakdown. The poems in <i style="mso-bidi-font-style: normal;">All My Pretty Ones</i> (1962) are equally
revealing. The same characteristics are evident also in the lyrics of <i style="mso-bidi-font-style: normal;">Live or Die</i> (1966, Pulitzer Prize) and <i style="mso-bidi-font-style: normal;">Love Poems</i> (1969). Her dark, bitter
views of life are evident in <i style="mso-bidi-font-style: normal;">Transformations</i>
(1971), retellings of the Grimms' fairy tales; <i style="mso-bidi-font-style: normal;">The Book of Folly</i> (1972), poems and prose parables; and <i style="mso-bidi-font-style: normal;">The Death Notebooks</i> (1974), which were
followed by the poems in <i style="mso-bidi-font-style: normal;">The Awful Rowing
toward God</i> (1975), published after her suicide. <i style="mso-bidi-font-style: normal;">45 Mercy Street</i> (1976), <i style="mso-bidi-font-style: normal;">Words
for Dr. Y</i> (1978), and <i style="mso-bidi-font-style: normal;">The Complete
Poems</i> (1981) are posthumous collections of poems. <i style="mso-bidi-font-style: normal;">A Self-Portrait in Letters</i> appeared in 1977. In 1985 was published <i style="mso-bidi-font-style: normal;">No Evil Star,</i> a collection of essays,
interviews, and other prose.</span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"> </span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"> </span></div><div class="MsoNormal" style="text-align: justify;"><span style="font-size: large;"> </span></div><span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><br /></span></div><span style="font-size: large;">
</span><div align="right" class="MsoNormal" style="text-align: right;"><span style="font-size: large;">
From <i style="mso-bidi-font-style: normal;">The Norton Anthology of American Literature:</i></span></div><span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><br /></span></div><span style="font-size: large;">
</span><div class="MsoNormal"><span style="font-size: large;">
Anne Sexton's first book of poems, <i style="mso-bidi-font-style: normal;">To Bedlam and Part Way Back</i> (1960), was published at a time when the
label <i style="mso-bidi-font-style: normal;">confessional</i> came to be
attached to poems more frankly autobiographical than had been usual in American
verse. For Sexton the term <i style="mso-bidi-font-style: normal;">confessional</i>
is particularly apt. Although she had abandoned the Roman Catholicism into
which she was born, her poems enact something analogous to preparing for and
receiving religious absolution.<br /></span>
</div><span style="font-size: large;">
</span><div class="MsoNormal"><span style="font-size: large;">
Sexton's own confessions were to be made in terms more
startling than the traditional Catholic images of her childhood. The purpose of
her poems was not to analyze or explain behavior but to make it palpable in all
its ferocity of feeling. Poetry "should be a shock to the senses. It
should also hurt." This is apparent both in the themes she chooses and the
particular way in which she chooses to exhibit her subjects. Sexton writers
about sex, illegitimacy, guilt, madness, and suicide. Her first book portrays
her own mental breakdown, her time in a mental hospital, her efforts at
reconciliation with her young daughter and husband when she returns. Her second
book, <i style="mso-bidi-font-style: normal;">All My Pretty Ones</i> (1962) takes
its title from <i style="mso-bidi-font-style: normal;">Macbeth</i> and refers to
the death of both her parents within three months of one another. Later books
act out a continuing debate about suicide: <i style="mso-bidi-font-style: normal;">Live
or Die</i> (1966), <i style="mso-bidi-font-style: normal;">The Death Notebooks</i>
(1974), and <i style="mso-bidi-font-style: normal;">The Awful Rowing toward God</i>
(1975—posthumous), titles that prefigure the time when she took her life
(1974).</span></div><div class="MsoNormal"><span style="font-size: large;"><br /></span>
</div><span style="font-size: large;">
</span><div class="MsoNormal"><span style="font-size: large;">
Sexton spoke of images as "the heart of poetry. Images
come from the unconscious. Imagination and the unconscious are one and the
same." Powerful images substantiate the strangeness of her own feelings
and attempt to redefine experiences so as to gain understanding, absolution, or
revenge. These poems poised between, as her titles suggest, life and death or
"bedlam and part way back" are efforts at establishing a middle
ground of self-assertion, substituting surreal images for the reductive
versions of life visible to the exterior eye.</span></div><div class="MsoNormal"><span style="font-size: large;"><br /></span>
</div><span style="font-size: large;">
</span><div class="MsoNormal"><span style="font-size: large;">
Anne Sexton was born in 1928 in Newton, Massachusetts, and
attended Garland Junior College. She came to poetry fairly late—when she was
twenty-eight, after seeing the critic I. A. Richards lecturing about the sonnet
on television. In the late 1950s she attended poetry workshops in the Boston
area, including Robert Lowell's poetry seminars at Boston University. One of
her fellow students was Sylvia Plath, whose suicide she commemorated in a poem
and whose fate she later followed. Sexton claimed that she was less influenced
by Lowell's <i style="mso-bidi-font-style: normal;">Life Studies</i> than by W.
D. Snodgrass's autobiographical <i style="mso-bidi-font-style: normal;">Heart's
Needle</i> (1959), but certainly Lowell's support and the association with
Plath left their mark on her and made it possible for her to publish. Although
her career was relatively brief, she received several major literary prizes,
including the Pulitzer Prize for <i style="mso-bidi-font-style: normal;">Live or
Die</i> and an American Academy of Arts and Letters traveling fellowship. Her
suicide came after a series of mental breakdowns.</span></div><span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><br /></span></div><span style="font-size: large;">
</span><div class="MsoNormal"><span style="font-size: large;">
____</span></div><span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><br /></span></div><span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><br /></span></div><span style="font-size: large;">
</span><div class="MsoNormal">
<span style="font-size: large;"><a href="http://www.poetryfoundation.org/bio/anne-sexton#poet">Anne Sexton</a> at The Poetry Foundation </span></div>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-71994606817585208702022-04-28T19:13:00.002+02:002022-04-28T19:13:23.005+02:00Postmodernity in Prose (NIVEL AVANZADO)<p> </p><div style="text-align: right;"><span style="font-size: large;">
From Richard Gray's <span style="font-style: italic;">History of American Literature:</span></span></div><p>
<span style="font-size: large;">
<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-style: italic;"><br /></span></span></span>WATCHING NOTHING: POSTMODERNITY IN PROSE</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">When
Wolfe was cataloguing the forms of the contemporary American novel
that, he believed, had failed in the primary duty to the real, he picked
out one group for particular condemnation. They were the
postmodernists: those who, Wolfe scornfully suggested, wrote about "The
Prince of Alienation . . . sailing off to Lonesome Island on his Tarot
boat with his back turned and his Timeless cape on, reeking of camphor
balls." For their part, some of those writers have returned the
compliment. One of them, for example, clearly thinking of figures like
Raymond Carver, has referred to the school of "Post Alcoholic
Blue-Collar Minimalist Hyperrealism." The opposition is not universal,
of course, not even inevitable. On the contrary, most contemporary
American novelists exploit the possibilities of both realism and
postmodernism, and others besides, as they attempt to navigate the two
rivers of American history described by Mailer. Nevertheless, the
opposition hs been there at times: between the New Journalists and the
Fabulators, the dirty realists and the fantasists or systems builders.
And it is mapped out clearly in the gap that separates Wolfe, Carver,
and the Capote of <span style="font-style: italic;">In Cold Blood</span> from
the wholehearted postmodernists of contemporary American writing,
notably Thomas Pynchon (19837) and John Barth (1930-). Pynchon is
perhaps the most acclaimed and personally the most elusive of the
postmodernists. Relatively little is known about him, apart from the
fact that he studied at Cornell, for some of the time under Vladimir
Nabokov (who did not remember him). and that he worked for a while for
the Boeing Aircraft Company in Seattle. He has chosen social
invisibility, the last known photograph of him dating from the 1950s.
Although this is almost certainly motivated by a desire to avoid the
pitfalls of celebrity and the publicity machine, it has given the figure
of Pynchon a certain alluring mystery. It also adds to the mystique his
fiction projects, since that projection is of a world on the edge of
apocalypse, threatened by a vast conspiracy directed by or maybe against
and established power elite. This conspiracy, the intimation is, is
decipherable through a series of arcane sighs. The signs, however,
require interpretation, decoding according to the rules of structural
paranoia. And one of those rules is that structural paranoia is
impossible to distinguish from clinical paranoia. So interpretation may
be a symptom rather than a diagnosis. Pynchon's novels are
extraordinarily intricate webs, self-reflexive halls of mirrors,
precisely because they replicate the world as text—a system of signs
that must but cannot be interpreted. Each of his books creates a lexical
space, a self-referential verbal system, that imitates the
post-humanist space, steadily running down and losing energy, that all
of us now occupy.<br /><br />Pynchon has been his own fiercest critic. In an introductory essay to his early stories, <span style="font-style: italic;">Slow Learner</span> (1984),
he has said that his fundamental problem when he began writing was an
inclination "to begin with a theme, symbol, or other unifying agent, and
then try to force characters and events to conform to it." His books
are certainly packed with ideas and esoteric references; and, whether
one agrees with this self-criticism or not, it is clear that Pynchon
laid down his intellectual cards early. The title of his first important
short story is "Entropy" (1960). It contains specific references to
Henry Adams; and it follows carefully the Adams formulation, "Chaos was
the law of nature; Order was the dream of man." The use of entropy as a
figure for civilization running down was to become structurally
formative in his later fiction. So was his use of two kinds of
characters, alternative central figures first sketched out here. The
situation in "Entropy" is simply and deliberately schematic. There is a
downstairs and an upstairs apartment. Downstairs, a character called
Meatball Mulligan is holding a lease-breaking party, which moves
gradually toward chaos and consequent torpor. Upstairs, another
character, an intellectual called Callisto, is trying to warm a freezing
bird back to life. In his room he maintains a small hothouse jungle,
referred to as a "Rousseau-like fantasy." "Hermetically sealed, it was a
tiny enclave in the city's chaos," the reader is told, "alien to the
vagaries of the weather, national politics, or any civil disorder." The
room is a fantasy, a dream of order, in which Callisto has "perfected
its ecological balance." But the room leaves him in paralysis, the dream
does not work; the bird dies, and Callisto's girlfriend, realizing that
he is "helpless in the past," smashes the window of their hermetically
sealed retreat, breaking the shell surrounding his fantasy life.
Meatball Mulligan, meanwhile, does what he can to stop his party
"deteriorating into total chaos" by tidying up, calming his guests,
getting things mended.<br /><br />"Entropy," in this way, mediates between
binary opposites: which are the opposites of modern consciousness and
culture. There is the pragmatist, active to the point of excess, doing
what he can with the particular scene, working inside the chaos to
mitigate it. And there is the theorist, passive to the point of
paralysis, trying to shape and figure the cosmic process, standing
outside as much as he can, constructing patterns for the chaos to
explain it. Meatball is immersed, drowning in the riotous present;
Callisto is imprisoned in the hermetically sealed glasshouse of the
past. The text, which here and later is the dominant presence in
Pynchon's writing, is the interface between these two figures, these two
systems or levels of experience. As such, it sketches out human
alternatives in a multiverse where mind and matter are steadily heading
for extinction. Or, it may be, the alternatives of hyperactivity and
containment, the open and the closed, between which the individual
consciousness constantly vacillates. The two are not, in any event,
mutually exclusive. To an extent, what Pynchon does in his work is to
give a decidedly postmodernist spin to perennial American
preoccupations. In the tradition of the American jeremiad, he presents a
culture, if not bound for heaven, then bent toward hell, its own form
of apocalypse or heat death. And in the grain of American writing
structured around the figures of the wilderness and the clearing, he
develops a sometimes bewildering series of systems, human and nonhuman,
built around the fundamental, formaive principles of spatial openness
and closure, immersion and separation, the flexible and the fixed, the
signified and the signifier—a world that is a totality of things, data,
and a world that is a totality of fact, signs.<br /><br />In his first novel, <span style="font-style: italic;">V</span> (1963),
Pynchon returned to two formative characters recalling Callisto and
Meatball in the shape of Hubert Stencil and Benny Profane. The book
confirms its author's sense of the modern world as an entropic waste
land, inhabited by men and women dedicated to the annihilation of all
animatedness. It is bounded by dead landscapes, urban, mechanical,
underground. A populous narrative, it is also packed with characters who
are ciphers; seeing others and themselves, not as people, but as
things, objects, they lapse into roles, masquerade, and cliché. Blown
along the mean streets and even meaner sewers of this story, Benny
Profane is a schlemiel, the suffering absurd comedian of Jewish lore. A
faded copy of a picaro, he drifts through life in such enterprises as
hunting alligators underneath New York City; it is there, in fact, in
the darkness and oblivion of the sewers, that he finds his greatest
comfort and peace. Hubert Stencil, on the other hand, searches the world
for V., the mysterious female spy and anarchist who is by turns Venus,
Virgin, and Void and seems to be everywhere and nowhere. Stencil appears
to be on a significant quest. Described as "a century's child" and born
in 1901, he is pursuing the remnants of the Virgin in the world of the
Dynamo. His father, a former British spy, has left behind enigmatic
clues pointing to a vast conspiracy in modern history So, whereas
Profane lives in a world of sightlessness without signs or discernible
patterns, Stencil enters a world of elusive signs and apparent patterns,
all gravitating toward an absent presence, the lady V. his quest is for
a fulcrum identity. In a sense, he is given an outline identity by his
search, since he thinks of himself as "quite purely He who looks for V.
(and whatever impersonations that might involve)." It is also a quest
for the identity of modern times. Using the oblique strategy of "attack
and avoid," Stencil moves through many of the major events of the
twentieth century, seeking to recover the master plot, the meanings of
modern history and this book. The only meaning found, however, is the
erasure of meaning: the emptying of a significant human history and its
sacrifice to mechanism and mass. The purposiveness of Stencil, it turns
out, and the purposelessness of Profane are both forms of "yo-yoing"
movement, often violent oscillation, bereft of all significance except
the elemental one of postponing inanimatedness.<br /><br />At the heart of <span style="font-style: italic;">V,</span> in
short, is a paradox characteristic of all Pynchon's work. Its enormous
historical bulk and vast social fabric is so constructed that it may be
deconstructed, so complexly created that it may be doubted then
decreated. The deconstruction is there, centrally, in the controlling
sign of V. herself, "a remarkably scattered concept" as we are told. A
human figure, passsing through many stages and identities, she comes
down to Stencil's final dream of her as a plasticated technological
object. A shifting letter attached to a historical process of
progressive deanimation, the human figure is translated into a figure of
speech. The other two compositional principles of the novel, Stencil
and Profane, may apparently be opposed, just as Callisto and Meatball
are, as the creator of patterns and the man of contingency, the
constructive and the deconstructive, he who seeks and he who floats They
are joined, however, not only in a failure of significance but a
failure of identity. Stencil and Profane inhabit a textual world that
simultaneously exhausts and drains meaning: there is a proliferation of
data, in excess of possible systems and in denial of any need, any
compulsion to explain. Not only that, they are created only to be
decreated, just as that textual world is—and in the same terms as that
elusive noncharacter V. herself. Their names are parodies, their words
and gestures gamesome or stereotypical, their physcial bearing a series
of masks. As such, they offer playful variations on a definition of life
supplied during the novel: as "a successive rejection of
personalities." In the simplest sense, <span style="font-style: italic;">V</span>is
not a book without a subject or a plot. Full of characters (of a sort)
and events, it exploits a number of narrative genres to keep the action
lively and the attention engaged: among them the mystery story, the tale
of the quest, and science fiction. But in another, more elemental
sense, it is. Not only a text about indeterminacy, <span style="font-style: italic;">V </span>is an indeterminate text: its significance, its subject is the lack, the impossibility of one.</span></p><p><span style="font-size: large;"> </span></p><div class="separator" style="clear: both; text-align: center;"><small><a href="https://1.bp.blogspot.com/-ChSRrG5e2HA/X9ir7ayTApI/AAAAAAAAjUk/tY6QU-1NZy06YJlrV3DzDFajnurtlQMDwCLcBGAsYHQ/s1025/pynchon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="771" data-original-width="1025" height="482" src="https://1.bp.blogspot.com/-ChSRrG5e2HA/X9ir7ayTApI/AAAAAAAAjUk/tY6QU-1NZy06YJlrV3DzDFajnurtlQMDwCLcBGAsYHQ/w640-h482/pynchon.jpg" width="640" /></a></small></div><small><br /><big><br /></big></small><p><small><big><br /><span style="font-size: large;">Almost
the last reported words of V. are "How pleasant to watch Nothing." In
his subsequent fiction, Pynchon has continued this watching and
searching of the boundlessness of "Nothing" in a variety of fictional
guises. In his second novel, <span style="font-style: italic;">The Crying of Lot 49</span> (1966),
the main character, Oedipa Maas, learns that her onetime lover, Pierce
Inverarity, has made her an executor of his estate. Now he is dead, she
sets out to investigate Inverarity's property: an investigation that
leads to the discovery of what she takes to be a conspiratorial
underground communication system dating back to the sixteenth century.
Following the clues, she finally believes she will solve the enigma
thorugh a mysterious bidder keen to buy Inverarity's stamp collection.
But the novel ends with the enigma unsolved, the plot and its meaning
unresolved, as Oedipa awaits the crying out at the auction of the
relevant lot number 49. The subject, and its significance, still wait to
be located. So do they in <span style="font-style: italic;">Gravity's Rainbow</span> (1973),
Pynchon's third novel. Set in the closing years of World War II, the
story here, a complex web of plots and counterplots, involves a Nazi
Lieutenant Weissman, disguised as a mysterious Captain Blicero, and an
American sleuth, Lieutenant Tyron Slothorp, while V-2 rockets rain down
on London. Weissman, it appears, was once the lover of V.—in this
elaborate intertextual world, Pynchon's texts echo his own as well as
the texts of others. The gravitations of mood are characteristic: from
black humor to lyricism to science fiction to fantasy. So is the feeling
the reader experiences, while reading the book, that he or she is
encountering not so much different levels of meaning or reality, as
different planes in fictive space, with each plane in its shadow box
proving to be a false bottom, in an evidently infinite regression. So,
also, finally is the suspicion of conspiracy: <span style="font-style: italic;">Gravity's Rainbow</span> explores
the possibility that, as one character puts it, "war was never
political at all, the politics was all theater, all just to keep the
people distracted."<br /><br />In this fictive maze, the V-2 rocket assumes
an elusive significance. It answers "to a number of shapes in the dreams
of those who touch it—in combat, in tunnel, or on paper"; each rocket,
the reader learns, "will know its intended and hunt him . . . shining
and pointed in the sky at his back . . . rushing in, rushing closer."
The intimations of a conspiratorial system, here "dictated . . . by the
needs of technology," is wedded, in a way characteristic of Pynchon, to a
centrally, crucially indeterminate sign. Like V., the V-2 rocket is as
compelling as it is mysterious, as beautiful as it is dangerous,
constantly dissolving into nothingness, deadly. Compared to a rainbow
arched downwards, as if by a force of gravity that is dragging humankind
to its death, the rocket initiates the same need to find meaning as V.
did. Similarly, it offers an excess of meaning, an excess that is an
evacuation. Since <span style="font-style: italic;">Gravity's Rainbow,</span> Pynchon has moved forward to the landscape of the 1980s and, through ample reminiscence, the 1960s in <span style="font-style: italic;">Vineland</span> (1990), then back to the early twentieth century in <span style="font-style: italic;">Against the Day </span>(2006) and forward again to the 1960s in his variation on the noir novel, <span style="font-style: italic;">Inherent Vice</span> (2009). In between <span style="font-style: italic;">Vineland </span>and <span style="font-style: italic;">Against the Day,</span> he moved back to the early republic in <span style="font-style: italic;">Mason and Dixon</span> (1997)_
to the days when men like the two famous surveyors mentioned in the
title were trying to establish boundaries in the boundlessness of
America, in order to appropriate it. America is memorably described in
this novel as "a very Rubbish-Tip for subjunctive Hopes, for all that <span style="font-style: italic;">may yet be true</span>".
It is the world, the landscape that inahbits all Pynchon's fiction: the
realm of measurelessness and dream, the indicative and the subjunctive,
the closed and appropriated and the open And it is typical of the
author that he should weave his speculations on legends, the rich
"Rubbish-Tip" of dreams ("Does Britannia when she sleeps, dream? one
character asks, "Is America her dream?"), into a densely populated
social fabric and a meditation on historical decline. The fictive energy
of Pynchon seems inexhaustible, not least because it careers with
tireless energy between contraries. But to an extent, what drives it is
summed up in one simple question one character asks the other in this
novel: "Good Christ, Dixon. What are we about?"<br /><br />The narrator of John Barth's second novel, <span style="font-style: italic;">The End of the Road</span> (1958), begins the story he is to tell with a sly parody of the opening sentence of <span style="font-style: italic;">Moby-Dick: "In a sense, I am Jake Horner."</span> That
use of language to set up distances is characteristic. The distances
are several: between reader and character (Horner is already asking us
to look at him as only "in a sense" what he names himself), between the
narrator and character (who only "in a sense" form a negotiable,
nameable identity)—above all, between the world inside the text and the
world outside Barth has proved to be his own best critic and commentator
precisely because his is a fiction that continually backs up on itself,
subverting any temptation to link that fiction to reality by commenting
on form. His texts and characters are constatnly commenting on
themselves, or inviting or insisting on such comment. His fourth novel, <span style="font-style: italic;">Giles Goat-Boy</span> (1966),
for instance, begins with fictive letters of introduction by several
editors that suggest, among other things, that the author is "unhealthy,
embittered, desperately unpleasant, perhaps masturbative, perhaps
alcoholic or insane, if not a suicide." Or then, again, that he is a
mysterious unknown, or even a computer.. Besides creating multiple
dubieties, making the book a series of masks, the letters both liberate
the author from the authority of authorship and advie the reader as to
how to read this fiction. Which is, as fiction: a series of signs that
have no reference to objects outside themselves, and whose value lies in
their intrinsic relationship, the play between them. "This author," one
editor complains, "has maintained that language <span style="font-style: italic;">is </span>the matter of his books"; "he turns his back on what <span style="font-style: italic;">is the case,</span> rejects
the familiar for the amazing, embraces artifice and extravagance;
washing his hands of the search for Truth, he calls himself 'doorman of
the Muses' fancy-house'."<br /><br />"What <span style="font-style: italic;">is the case</span>"
is a sly allusion to a famous remark made by the philosopher Ludwig
Wittgenstein. "The world is all that is the case." The world,
Wittgenstein argues, is the sum of what we take to be true and believe
that others take to be rue. We construct our world from the inside out;
and the crucial weapon in those configurations, those patternings of
things, is the system of language we have at our disposal. We cannot, in
fact, get outside the prisonhouse of our language; all we can do, when
we draw a picture of our world, is draw the bars. Inadvertently, one of
the fictive editors revelas the project that is at the heart of all
Barth's fiction, and all other work that is sometimes called postmodern
and sometimes metafiction. Everything is only "in a sense" this or that
it is named. The self is the sum of its rules, its locutions; the world
is the sum of our constructions of it; any apparent essence, any
"natural" baing or feeling or presence, is really a social construct, a
sign of culture trying to wear the mask of nature (and "nature" is a
cultural convention, too). And the text refers to nothing but itself.
The ultimate postmodern protagonist is perhaps Echo in <span style="font-style: italic;">Lost in the Funhouse</span> (1968),
Barth's first collection of stories, who "becomes no more than her
voice." That, together with the self-referential nature of his language
and the self-reflexive character of his fiction, may make Barth's work
sound abstract to the point of being ossified. It is not, on the whole,
because the voice is vital: his novels and stories are packed with
voices, energetic, comically ebullient, often ironic, as Pynchon's are
with masks and figures. Not only that, in his hands, the prisonhouse of
language does become a funhouse: a place for play and passionate
virtuosity.<br /><br />As for voices: these range from the tones of the narrator of Barth's first novel, <span style="font-style: italic;">The Floating Opera</span> (1956), recalling his experiences on the day in 1937 when he debates suicide, to the multiple voices of his fifth novel, <span style="font-style: italic;">Letters </span>(1979). As its title implies, <span style="font-style: italic;">Letters</span> is
an unusual development of epistolary fiction. In it, seven more or less
parallel narratives are revealed through correspondence written by
seven characters from Barth's earlier fiction, including the author
himself as just another imaginary figure. The intricate story that
emerges is a characteristic inquiry into enclosure and liberation: the
patterns into which all seven characters have previously been set, the
degree of freedom they may possibly discover and possess. Typical of
Barth's voices, that of Jake Horner, in turn, is notable for its
sometimes playful, sometimes angry irony, its humorous elusiveness.
Horner is a man so aware of the plural possibilities of existence, the
"game" involved in living, that he often finds himself incapable of
reacting, acting out a role. He can always find a reason for doing
something, or its complete opposite. And the action of <span style="font-style: italic;">The End of the Road </span>concerns a time when, on the advice of his doctor, he attempts to remedy this by becoming a college teacher, to<br />"teach
the rules. Teach the truth about grammar," the vocabulary of life. The
novel circles around a disastrous travesty of a love triangle when Jake
becomes briefly involved with the wife of a fellow teacher who does
belive life can be contained within one version of it—who, as Jake
marvels, is "always sure of his ground." Yet that triangular affair, and
its dreadful outcome, is less in the foreground than Jake's sustained
sense of the absence of identity, his or that of others, outside of
roles, or the absence of action or meaning apart from performance.
He—and we the readers—are constantly being reminded that this is a
story, one possible version of the world among an infinite number. What
gives the novel its power is the tricky movements of Jake's voice,
always prone to tell us something and then confide "in other senses, of
course, I don't believe this at all." And what gives it its passion is
the vacillation, the constant movement Jake's awareness of his
predicament instigates, between play and paralysis. The games enforced
in <span style="font-style: italic;">The End of the Road</span> with
their painful consequences, conclude with Jake leaving the college and
taking a taxi cab to the airport. Jake's last word is his ambiguous
instruction to the driver, as he gets into the taxi: "Terminal."<br /><br />Jake
seems to step out of life and motion as he steps into the cab and out
of the narrative. Life equals language equals story. That is the formula
animating Barth's work. To cease to narrate is to die: a point that
Barth makes more or less explicit in his use of the figure of
Scheherazade in the opening history in his collecction, <span style="font-style: italic;">Chimera</span> (1972).
Scheherazade was, of course, the figure in the Arabian folktale who
stayed alive simply by telling stories. Telling stories, in turn, spins
into fantasy. Barth is fond of creating worlds within worlds, using
parody and pastiche, verbal and generic play to produce multiple layered
simulacra: copies, imitations of something for which the original never
existed. It could and can never exist because there was and is no
reality prior to the imitation, to tales and telling. So, in <span style="font-style: italic;">The Sot-Weed Factor </span> (1960),
Barth takes up the author of the 1708 Maryland poem with the same
title, Ebenezer Cooke, about whom virtually nothing is known. He then
uses Cooke as the hero of a lusty picaresque tale that is a pastiche of
history, conventional historical fiction, autobiography, and much else
besides. <span style="font-style: italic;">The Sot-Weed Factor </span>also
raises the issue of how history aand identity are known, by slyly
eliding them with all kinds of literary "lies" from poetry to tall tales
and braggadocio to mythology. <span style="font-style: italic;">Giles Goat-Boy,</span> after
its initial framing in the debate over authorship, continues theis
subversion through similarly comic devices. The whole modern world is
conceived of as a university campus, controlled by a computer that is
able to run itself and tyrannize people. The book is in part a satirical
allegory of the Cold War, since it is divided into East and West. It is
also a characteristically layered fiction, since it parodies everal
genres (myth, allegory, the quest, and so on) and a variety of texts
(including the Bible, <span style="font-style: italic;">Don Quixote,</span> and <span style="font-style: italic;">Ulysses</span>).
Above all, it translates the earth into an artifice. The world, the
intimation is, is a fable, a structure created by language and, as such,
comparable to the artificial structures created by the author of this
novel (whoever he or it may be) and by all his characters (who practice
their several disciplines, their different roles and subject
vocabularies). Works written since <span style="font-style: italic;">Giles Goat-Boy,</span> such as <span style="font-style: italic;">Letters, Sabbatical: A romance</span> (1982), <span style="font-style: italic;">The Tidewater Tales</span> (1987),<span style="font-style: italic;">The Last Voyage of Sinbad the Sailor</span> (1991), and <span style="font-style: italic;">The Development</span> (2008),
continue Barth's passionate play with various forms, the numerous ways
in which we tell ourselves stories to live them and live in them. For
him, that play is at once imperative and inspiring, a form of necessity
and a liberation, something coextensive with breathing. Some of his
characters sometimes may yearn, as one of them puts it, "to give up
language altogether." But that, as Barth feels and indicates, is to
"relapse into numbness," to "float voiceless in the wash of time like an
amphora in the sea." It may seem attractive occasionally, but to
evacuate voice is to erase identity, place, and prexence. To abandon
language and its difficulties is to surrender to death.<br /><br />Two
writers who have sketched out very different possibilities for
postmodernism, an, in doing so, created distinctive fictive landscapes,
are Donald Barthelme (1931-1989) and John Hawkes (1925-1998). The
distances between them, despite their common allegiance to work of art
as object, an opaque system of language rather than transparnt account
of the world, are suggested by two remarks. "Fragments are the only
forms I trust," observes the narrator in one of the stories in
Barthleme's second collection, <span style="font-style: italic;">Unspeakable Practices, Unnatural Acts</span> (1968).
"The need is to maintain the truth of the fractured picture." Hawkes
insisted in an early interview. Hawkes is interested in creating
strange, phantasmagoric landscapes, dreamscapes in a way, that evoke,
always in their own terms, what he has called "The enormities of
ugliness and potential failure within ourselves and in the world around
us," "our potential for violence and absurdity as well as for graceful
action." Barthelme is just as committed as Hawkes is to the displacement
of the writer from the work. He is also committed to the displacement
of the work from the world, so that the work becomes simply, as
Barthelme puts it, "something that is <span style="font-style: italic;">there,</span> like
a rock or a refrigerator." But, whereas Hawkes's fiction has a quality
of nightmare, entropic stillness, Barthelme's stories and novels are
witty, formally elegant, slyly commenting on themselves as artifacts.
Hawkes began his writing, he said, with "something immediately and
intensely visual—a room, a few figures." Then, eschewing interest in
plot, character, setting, and theme, he aimed for what he called
"totality of vision or structure." Using corresponding events, recurring
images and actions, and a prose style that seems to freeze things in
times and retard readerly attention, he creates landscapes of evil and
decay. As his characters traverse these landscapes almost
somnambulistically, their and our feelings vacillate between fear,
dread, and the bleakly, blackly, humorous. Barthelme, however, begins <span style="font-style: italic;">his</span> writing
in the verbal rather than the visual. "O I wish there were some words
in the world that were not the words I always hear!" complains the title
character in Barthelme's first novel, <span style="font-style: italic;">Snow White</span> (1967).
Barthelme obliges with a verbal collage, full of odd juxtapositions and
unpredictable swerves: a linguistic equivalent of Pop Art, in a way,
which picks up the shards and fragments, the detritus of modern life and
gives them a quality of surprise. "We like books that have a lot of <span style="font-style: italic;">dreck</span> in them," admits the narrator of that same novel. And it is precisely <a href="http://garciala.blogia.com/2007/032501-en-las-escaleras-del-conservatorio.php" style="color: blue; text-decoration: underline;">the <span style="font-style: italic;">dreck</span> of contemporary conversation</a>,
from the commonest clichés to intellectual chatter, that is picked up
in his books and turned all to strangeness by omitting or fragmenting
the habitual arrangements and separations by which we seek to retain a
feeling of control over our environment. Waste is turned to magic in his
work, but the sense of magic is also accompanied by unease. Barthelme's
fiction constantly fluctuates between immersion in trash culture and
the impulse to evade, an impulse that finds its emotional issue in <a href="http://garciala.blogia.com/2006/030501-barthelme-intent....php" style="color: blue; text-decoration: underline;">irony, disappointment, and a free-floating nostalgia</a>.
Everything doubles back on itself, nothing is not placed in implicit,
ironic question marks in his fiction. Nevertheless, what Barthelme
captures in his work, along with what one of his charcters called "the
ongoing circus of the mind," is the suspicion that, after all, it may
not be that easy to go with the junk flow—or to be what Barthelme has
called himself, "a student of surfaces."<br /><br />"Do you like the story so far?" asks the narrator of <span style="font-style: italic;">Snow White </span>about
halfway through. He then helpfully provides the reader with an
opportunity to answer "Yes ( ) No ( )." This is followed by a further
fourteen questions for the reader to fill in his or her preferences.
Quite apart from reminding us that this book is, after all, an artifact,
an object, the product of play and planning, the questionnaire offers a
slyly parodic comment on the currently fashionable ideas of the work of
art as open and the reader as co-producer rather than a consumer of the
text. But the last question sounds a slightly melancholic note. "In
your opinion, should human beings have more shoulders? ( )," the
narrator asks. "Two sets of shoulders? ( ) Three? ( )." Any world has
its stringencies, its absences, restricting the room for magic and play.
The absence of several shoulders is not the most pressing of these,
perhaps. But how else would Barthelme intimate these limits and lacks
but in a manner that subverts, pokes fun at his own intimation?
Barthelme is resistant to message. One of his stories, "The Balloon" in <span style="font-style: italic;">Unspeakable Practices, Unnatural Acts,</span> even
toys with the absurdity of meaning. An enormous balloon appears over
the city. People argue over its significance. Some manage to "write
messages on the surface." Mainly what people enjoy, though, is that it
is "not limited and defined." It is delightfully random, amorphous,
floating free above "the grid of precise, rectangular pathways" beneath
it. And "this ability of the balloon to shift its shape, to change," the
reader learns, "was very pleasing, expecially to people whose lives
were rather rigidly patterned." Clearly, the balloon is a paradigm of
the art object, the kind of free-form product, plastic and ephemeral,
that Barthelme is interested in making: resistant to understanding,
interpretation, or reflection. but, in its own odd, jokey way, as it
floats over the citizens, it generates a ruefulness, a wry regret that
carries over into Barthelme's other fictions. "I am in the wrong time,"
Snow White reflects "How does the concept of 'something better' arise?"
the narrator of that same novel asks, "What does it look like, this <span style="font-style: italic;">something better</span>?"
It is remarkable that the sportive fantasy and verbal trickery of
Barthelme are often at their best when he is playing with loss and
longing: <span style="font-style: italic;">"Emily Dickinson, why have you left me and gone?" </span>goes a passage in <span style="font-style: italic;">Snow White,</span> "ah
ah ah ah ah." Readers can certinly walk around a Barthelme verbal
object, seeing in it above all a model of how to free language and
feeling from stale associations. But what they are likely to catch, as
they walk around, is a borderline melancholia. So, when Snow White
writes a poem, the seven men who live with her have no doubt as to its
theme. "The theme is loss, we take it," they ask causticlally. Her reply
is simple: <span style="font-style: italic;">"I have not been able to imagine anything better."</span><br /><br />Of John Hawkes's 1961 novel, <span style="font-style: italic;">The Lime Twig,</span> his
fellow novelist Flannery O'Connor has observed that "You suffer it like
a dream. It seems to be something that is happening to you, that you
wait to escape from but can't." That is true of all his fiction. His
nominal subjects range far and wide—many of them, he has said, acquired
from the newspapers or from other writers. So, for instance, <span style="font-style: italic;">The Cannibal</span> (1949) explores the horrors of devastation in postwar Germany. <span style="font-style: italic;">The Lime Twig</span> presents the psychopathic effects on a man of life during and after the blitz on London. <span style="font-style: italic;">Travesty</span> (1967)
is the monologue of a Frenchman that serves as a suicide note while he
prepares to kill his daughter, his friend, and himself.<span style="font-style: italic;"> Virginia</span> (1982) concerns a girl who has experienced two previous lives in France, both marked by strange sexual experience. <span style="font-style: italic;">Adventures in the Alaskan Skin Trade</span> (1985) is about a boy confronted with hunting and sexuality during a trip to Alaska. And </span></big></small><span style="font-size: large; font-style: italic;">The Frog </span><span style="font-size: large;">(1996)
tells of a boy with a real or imagined frog in its stomach. What
characterizes all thise and his other novels, however, is the vision of a
dreamscape fractured by an appalling yet almost ritualized violence.
Hawkes has said that he wanted, from the first, to create "a totally new
and necessary fictional landscape." "My writing depends on absolute
detachment," he has explained, "and the unfamiliar or invented landscape
helps me to achieve and maintain that detachment . . . I want to try to
create a world, not represent one." What he is after is
objectification, not representation. As Hawkes puts it, his aim is "to
objectify" the terrifying similarity between the unconscious desires of
the solitary man and the disruptive needs of the visible world, so as to
achieve "a formalizing of our deepest urgencies". His characters come
and go across his frozen landscapes as if caught in a strange sort of
repetition compulsion. They are not so much imitations of life as
figures from an exhibition, waxwork curios from some subliminal house of
horror. And the violence they inevitable encounter is as vivid and
distant as violence seen through soundproof glass. in <span style="font-style: italic;">The Cannibal </span>the
primary act of violent negation is signaled by the controlling metaphor
of the book, which also gives it its title. Although the main setting
is Germany after the war, it reaches back to 1914 and forward to a
future repetition of Nazi control, which will return the entire nation
to an insane asylum. The dominant presence, and narrator, is Zizendorf,
the leader of the Nazis. Set in contrast to him is a young girl,
Selvaggia, who stands at a window, in innocent, impotent terror,
watching the evil that men do. By the end, she is "wild-eyed from
watching the night and the birth of the Nation." Zizendorf orders her to
draw the blinds and sleep. The last sentence of the book gives us her
response: "She did as she was told." The return to an evidently endless
sleep, a nightmare of violent repression, seems inevitable, since there
is no intimation in this or any other book by Hawkes, that things can
change or get better. Just as character and setting appear paralyzed, so
events are peculiarly without progression. Hawkes so rearranges the
fractured elements in his fictive picture that the temporal dimension
drains away into a spatial patterning of detail. And he so contrives his
prose into complex sequences of baroque fragments that the reader too
is held back, left in suspense. We are doomed to watch the world Hawkes
creates just as Selvaggia does, with helpless, horrified wonder. Or, to
return to that remark of O'Connor, we have to suffer it, like a dream.<br /><br />Two
other writers associated with postmodernism, Thomas Berger (1924-) and
John Gardner (1933-1982), could hardly be more different from Barthelme
and Hawkes, or from one another. Which goes to show, perhaps, that
postmodernism is almost as capacious a term as realist. A prolific
writer, Berger has produced a series of comic novels about his
non-Jewish schlemiel hero Carlo Reinhart (<span style="font-style: italic;">Crazy in Berlin</span> (1958), <span style="font-style: italic;">Reinhart in Love</span> (1962), <span style="font-style: italic;">Vital Parts</span> (1970), <span style="font-style: italic;">Reinhart's Women</span> (1981)). He has written parodies of the detective novel (<span style="font-style: italic;">Who is Teddy Villanova?</span> (1977) and Arthurian romance (<span style="font-style: italic;">Arthur Rex</span> (1978)), replayed <span style="font-style: italic;">Oresteia</span> (<span style="font-style: italic;">Ossie's Story</span> (1990)) and Robinson Crusoe (<span style="font-style: italic;">Robinson Crews</span> (1994)) for modern times, and engaged in satirical fables about, for instance, a man with the power to become invisible (<span style="font-style: italic;">Being Invisible</span> (1987)
or a man so discontented about his relationship with real women that he
builds an ideal woman secretly at the animatronics firm where he works (<span style="font-style: italic;">Adventures of the Artificial Woman</span> (2004)). Unquestionably his best novel, however, is <span style="font-style: italic;">Little Big Man</span> (1964).
The narrator of this novel, Jack Crabb, the Little Big Man, is by his
own account 111 years old. He claims to be the sole survivor of Custer's
last stand, knocked out Wyatt Earp, and to have been in a shootout with
"Wild Bill" Hickock. Drawing on the traditions of frontier humor and
the tall tale, Berger endows Crabb with a voice that is vernacular and
vital, and a view of life that is shifty, amoral, and unillusioned.
"Most of all troubles comes from having standards," he declares. So, he
careers between roles and between cultures with "a brainy opportunism"
as it is called by the prissy amateur historian, Ralph Fielding Snell,
who frames the novel with a foreword and epilogue. Snell admits doubt as
to whether Crabb is "the most neglected hero in the history of this
country or a liar of insane proportions." From one point of view,
however, that hardly matters. Either way, Snell and Berger intimate,
Crabb is heroic: providing, either by deed or word, "an image of human
vitality holding its own in the world amid the surprises of unplanned
coincidence." Set in a classic American past though it is, <span style="font-style: italic;">Little Big Man</span> (and, for that matter, <span style="font-style: italic;">The Return of Little Big Man</span> (1999)
is about the typical protean man of postmodern science fiction for whom
there are no settled certainties, no sure codes, and roles are picked
up or discarded like a set of clothes. There are no absolutes, no
essences; that classic past and its myths are themselves demystified,
mocked, and parodied. The only constant here is the constant
self-fashioning: a self-exploratory, in flux, that casually acts or
voices itself into being—that makes itself as it goes along.<br /><br />As the title of one of his critical works, <span style="font-style: italic;">On Moral Fiction</span> (1978),
suggests, Gardner was nominally far from such moral relativism. "Art
leads, it doesn't follow," he said in an interview in 1977. "Art does
not imitate life, art makes people do things," he added, "if we
celebrate bad values in our arts, we're going to have a bad society; if
we celebrate values which make you healthier, which make life better,
we're going to have a better world." Consistent with this, he produced
in his 1976 novel, <span style="font-style: italic;">October Light,</span> two
interwoven stories concerned with the nihilism and alienation of
contemporary life. One circles around popular culture: television, with
its "endless simpering advertising" and "its monstrously obscene games
of greed." The other focuses on high culture: the literature of
absurdism and entropy with its assumption that "life . . . was a boring
novel." What the protagonist in both stories has to learn is a deeply
traditional lesson: the difference between false art and real life. He
has to return from the false worlds of mass cvulture and amoral
literature to the true world of relationship; and, finally, he does.
Gardner's finest novel, <span style="font-style: italic;">Grendel</span> (1971),
however, does not entirely conform to his own expressed views about
art. The book tells the story of the old English epic poem "Beowulf"
from the point of view of the monster. Gardner himself was a medievalist
scholar; and here he plays with medieval notions of psychology and
numerological symbolism as he sets the materialism, nihilis, and sheer
brutishness of Grendel against heroic Christianity. What emerges from
this extraordinary tales is the revelation that Grendel is indispensable
to the civilizing forces of science and the arts. He is the brute
existence on which humans depend for their definition of themselves.
"You stimulate them! You make them think and scheme. You drive them to
poetry, science, religion, all that makes them what they are," a
sympathetic dragon tells Grendel. "You<span style="font-style: italic;"> are</span> mankind,
or man's condition: inseparable as the mountain-climber and the
mountain." A source of power for humanity, apparently, Grendel is also
the source of power for the book. Like Satan in <span style="font-style: italic;">Paradise Lost,</span> he
may lose but the author seems to be secretly on his side. Edgy,
unnatural, unreliable, Grendel is a typically postmodern narrator.
Constantly dramatizing or changing himself, his strong, seductive voice
leaves the reader without sure ground. "I cry, and hug myself, and
laugh," he declares, "letting out salt tears, he he! till I fall down
and gasping and sobbing. (It's mostly fake.)." Gardner may have been
suspicious of postmodernism and keen to give his work a moral dimension.
Ironically, his finest character and narrator is irredeemably,
necessarily amoral. And his best work is his best precisely because it
has a postmodern edge.<br /><br />The range of possibilities charted by
writers as otherwise different as Gardner and Berger, Hawkes and
Barthelme suggests that postmodernism is probably best seen, not as a
unified movement, but as a cluster, a constellation of motives, a
generic field. it is a field that is itself marked by skepticism about
specific generic types; in its disposition to parody, ironic inversion,
and metafictional insistence on its own modes of significance—and, in
particular, language—it is the absolute reverse of the stable. The one
constant in postmodernism, that is constant only in its inconstancey,
was handily summarized by Ronald Sukenick (1932-2004) in <span style="font-style: italic;">The Death of the Novel and Other Stories</span> (1969).
There, he insisted that "the contemporary" lived in "the world of
post-realism" and had "to start from scratch." "Reality doesn't exist,"
Sukenick argued. "God was the omnipresent author, but he died: now no
one knows the plot." So, living in an age of epistemological
redefinition, an urgently felt need to redraw the mental maps of the
world, postmodernist writers thrive on the imperative of being abetrant,
arbitrary—above all, different. And the loose, baggy monster of
postmodernism can include such diverse radical experimentalists, aside
from writers already entioned and Sukenick himself (<span style="font-style: italic;">Up</span> (1968), <span style="font-style: italic;">98.6</span> (1975), <span style="font-style: italic;">Blown Away</span> (1986)) as Nicholson Baker (1940-) (<span style="font-style: italic;">The Mezzanine </span>(1988), <span style="font-style: italic;">Vox</span> (1992) <span style="font-style: italic;">The Everlasting Story of Wory</span> (1998)), William H. Gass (1924-) (<span style="font-style: italic;">Omensetter's Luck</span> (1966)), Steve Katz (1935-) <span style="font-style: italic;">The Exaggerations of Peter Prince</span> (1968), <span style="font-style: italic;">Moving Parts</span> (1977), Clarence Major (1936-) (<span style="font-style: italic;">All-Night Visions</span> (1969), <span style="font-style: italic;">No</span> (1973)), Stephen Schneck (1944-1996) (<span style="font-style: italic;">The Nightclerk</span> (1965)), Gilbert Sorrentino (1929-2006) (<span style="font-style: italic;">Imaginary Qualities of Actual Things</span>(1971)<span style="font-style: italic;">, Flawless Play Restored</span> (1975), <span style="font-style: italic;">Aberration of Starlight</span> (1980)), and Rudolph Worlitzer (1938-) (<span style="font-style: italic;">Nog</span> (1969)). For that matter, it can incorporate Joseph McElroy (1930), whose <span style="font-style: italic;">Lookout Cartridge</span> (1974) conveys a sense of formal systems functioning in a void and one of whose novels, <span style="font-style: italic;">Plus</span> (1977), is about a mind suspended in space. And Robert Coover, who in his finest novel, <span style="font-style: italic;">The Public Burning</span> (1977),
transfers actual events, including the Eisenhower years and the
execution of the Rosenbergs for spying, to the figurative realm. The
execution of the Rosenbergs is turned into a public burning in Times
Square, New York. Times Square itself is presented not just as a public
meeting place but a source of a history, since it is here that the
records of the <span style="font-style: italic;">New York Times</span> are
created. Coover goes on to analyze how historical record is made, in a
bold imaginative gesture which shows that fiction does not only aid fact
in the rehearsal of the past; it can, and does, draw it into subjective
reality. In doing so, he offers what is in effect a postmodernist
meditation on history, and on the urgencies, the origins of story.<br /><br />Two
other writers often associated with postmodernism, Russell Banks (1940)
and David Foster Wallace (1962-2008), have taken very different paths.
Banks's output is unusually varied. His first novel, <span style="font-style: italic;">Family Life</span> (1975)
is a fragmented narrative set in an imaginary kingdom. With its
rejection of traditional forms of characterization and its foregrounding
of artifice, it bears many of the hallmarks of postmodernism. So do his
second and fourth novels, <span style="font-style: italic;">Hamilton Starks</span> (1978) and <span style="font-style: italic;">The Relation of My Imprisonment </span>(1983). With <span style="font-style: italic;">The Book of Jamaica</span> (1980), however, and, even more, <span style="font-style: italic;">Continental Drift</span> (1985), Banks gravitated toward realism while still using metafictional techniques. <span style="font-style: italic;">Continental Drift,</span> perhaps
his finest novel so far, combines two at first sight unrelated
stories—about a Haitian woman's attempt to escape to America and an
American man's relocation of his family to Florida—to explore class
conflict and transnational migration. The shift toward realism has
become even more marked in Banks's later novels, and so has his
preoccupation with forms of violence ranging from the personal to the
global. <span style="font-style: italic;">Affliction</span> (1989), for instance, is an autobiographically based novel about family abuse; <span style="font-style: italic;">The Sweet Hereafter</span> (1991) offers several perspectives on a fatal school-bus accident; <span style="font-style: italic;">Cloudsplitter</span> (1998) tells the story of the radical abolitionist John Brown from the standpoint of his son; while <span style="font-style: italic;">The Darling</span> (2006)
is an account by an ex-member of a radical activist group, on the run
from the law, of her encounter with a crisis-torn Liberia. What binds
these different fictional experiments together is Banks's oncern with
multiple varieties of abuse. As he has put it, "I see my life as a kind
of obsessive return to the 'wound' of abuse,... going back again and
again ... trying to figure out ... who is to blame and who is to be
forgiven."<br /><br />By contrast, Wallace only completed two novels during his brief lifetime. His major work, however, <span style="font-style: italic;">Infinite Jest </span>(1996), <a href="http://garciala.blogia.com/2008/091305-algo-supuestamente-divertido-que-no-volvere-a-hacer.php" style="color: blue; text-decoration: underline;">is over a thousand pages long</a>.
Wallace believed that the mass media exerted a determining, ironic
influence on fiction; and his own work is steeped in irony, a blithe
refusal to be confined to any particular voice or vision. <span style="font-style: italic;">Infinite Jest </span>is
set in a future world in which the United States, Canada, and Mexico
form one unified state, and corporations buy naming rights to each
calendar year. There is a vast range of bizarre characters, and such
plot as the book possesses revolves around a search for the missing
master copy of a film cartridge called "Infinite Jest" and referred to
as "The Entertainment"—a work so entertaining to its viewers that they
become lifeless, losing interest in anything other than the film. But <span style="font-style: italic;">Infinite Jest</span> is
less a novel with a plot than a labyrinth of language, a web of words
that weaves together such diverse topics as substance abuse and recovery
programs, tennis, film theory, child abuse and family relationships,
and the relentless search of the corporate world for new products and
markets. What compounds the intricacy of this web is the radical
discontinuity of idiom. The language careers between the vernacular and
the esoteric; there are wild neologisms, self-generated abbreviations
and acronyms packed into elaborate, multi-clause sentences. There are
nearly a hundred pages of footnotes designed, Wallace explained, to
jumble our perception of reality while persuading us to read on. <span style="font-style: italic;">Infinite Jest</span> the novel is like "Infinite Jest" the film referred to in its pages, <a href="http://garciala.blogia.com/2008/031501-regressus-in-infinite-jest.php" style="color: blue; text-decoration: underline;">a seductive maze capturing the reader within its world of funhouse mirrors</a>.
Like so many major postmodernist work, it resists meaning but, while
doing so, generates strange feelings of loss and longing. Its
characters, and perhaps its readers, are invited to yearn for innocent,
unselfconscious experience while drowning in insignificance, captivated
by artifice.<br /><br />John Barth once suggested that the way postmodernism
showed its distinctly American face was through its "cheerful
nihilism," its comic and parodic texture. That is, of course, too
sweeping. But across from radical experimentalists like McElroy and
Coover, there are those many postmodern writers who have chosen to
pursue an absurd humor, a dark comedy that deconstructs and demystirfies
all it surveys. Apart from those already mentioned, such writers
include J. P. Donleavy (1926-) (<span style="font-style: italic;">The Ginger Man </span>(1955), <span style="font-style: italic;">The Beastly Beatitudes of Balthazar B</span> (1968)) and Terry Southern (1926-2000) (<span style="font-style: italic;">Candy</span> (1958), <span style="font-style: italic;">The Magic Christian</span> (1959), <span style="font-style: italic;">Blue Movie </span>(1970)),
whose predilection for protean, amoral characters has got them into
trouble with the censorship laws. Notably, there is also John Kennedy
Toole (1937-1969) who, in his posthumously published novel <span style="font-style: italic;">A Confederacy of Dunces</span> (1980),
mocked everything to do with his region, the South and his hometown of
New Orleans, making his hero, Ignatius Reilly, sound sometimes like a
Southern traditionalist on speed. And there is Stanley Elkin
(1930-1995), a novelist and storyteller who, during the course of a long
career, produced satirical, surreal versions of the success story (<span style="font-style: italic;">A Bad Man</span>(1967), <span style="font-style: italic;">The Franchiser</span> (1976)), a picaresque tale about adventures in the media trade (<span style="font-style: italic;">The Dick Gibson Show</span> (1971)), and comic fantasies about death (<span style="font-style: italic;">The Living End </span>(1979) and reincarnation (<span style="font-style: italic;">George Mills</span> (1982)).<br /><br />Postmodernism
as black humor or brave fantasy tends to merge here with contemporary
confessional forms of male liberationists like John Irving (1942-) (<span style="font-style: italic;">The World According to Garp</span> (1978), <span style="font-style: italic;">The Hotel New Hampshire</span> (1981), <span style="font-style: italic;">A Prayer for Owen Meany</span> (1989), <span style="font-style: italic;">A Son of the Circus</span> (1994), <span style="font-style: italic;">Until I Find You</span> (2005)) and female liberationists like Erica Jong (<span style="font-style: italic;">Fear of Flying</span> (1973), <span style="font-style: italic;">Fear of Fifty</span>(1994)) and Lisa Alther (1944-) (<span style="font-style: italic;">Kinflicks </span>(1976), <span style="font-style: italic;">Original Sin </span>(1981)).
At the other edge, postmodernism as radical, metafictional experiment
is more inclined to reveal its international relations. Experiment is,
of course, an American tradition and the subversion of fictional forms
in particular goes back at least as far in American literature as Herman
Melville. But the specific terms in which postmodernists have
interrogated word and thing, language and its connection to reality,
show the impact and sometimes the influence of writers from outside
America. Like other cultural movements, more so than most, postmodernism
is on one level an international phenomenon. And the sense
postmodernist writers have of living after realism is one shard with,
say, European poststructuralist critcis, writers of <span style="font-style: italic;">le nouveau roman </span>like
Michel Butor and Raymond Queneau, and Latin American magic realists.
This international dimension is foregrounded in the work of those
postmodern novelists whose own story is one of crossings between
national boundaries, especially the European and American. The fiction
of Vladimir Nabokov, born in Russia, spending long years in Europe
before continuing his exile in America, is a case in point. So are the
narrative experiments of the French-American Raymond Federman
(1928-2009), whose <span style="font-style: italic;">Take It or Leave It</span> (1976)
announces itself as "an exaggerated second hand tale to be read aloud
either standing or sitting," and the books of the Polish-born,
Russian-reared Jerzy Kosinski (1933-1991) from <span style="font-style: italic;">The Painted Bird</span> (1965), through <span style="font-style: italic;">Being There</span> (1971) and <span style="font-style: italic;">Blind Date</span> (1977), to his last novel, <span style="font-style: italic;">The Hermit of 69th Street</span> (1988).<br /><br />Another
instance of international origins promoting international connections
is the writing of Walter Abish (1931-). Abish was born in Austria and
reared in China before taking US citizenship. His first novel, <span style="font-style: italic;">Alphabetical Africa</span> (1974), invites a comparision with <span style="font-style: italic;">le nouveau roman</span> in
its stern attention to verbal structure. Every word of the first
chapter begins with the letter A, the second with A or B, the third with
A, B, or C, and so on. At Z, the process reverses, the final chapter
beginning every word again with the letter A. Abish's second novel, <span style="font-style: italic;">How German It Is</span> (1984),
suggests other international relations. A postmodern political
thriller, it concerns an American of German parentage who returns to a
German town to investigate his father's wartime death and to answer his
own question as to how German he is. The international influential
presences here are several. They include American writers like Pynchon
and French ones like Butor, who have used popular genres to break and
undercut them. More deeply, persuasively, though, they are other,
European writers such as Italo Calvino and Peter Handke. As in the work
of Calvino and Hande, there is a bleak detachment, a flat materialism
to <span style="font-style: italic;">How German It Is,</span> the
presentation of a world of signs without meanings under which dark
meanings may hide. A writer like Abish, as he explores the crisis
relations between history and form and pursues the task of unlocking
some hidden code that might interpret those relations, shows how
postmodernism—like any other movement in American literature, at some
point—has to be perceived within a frame of reference other than the
American. It has to be, not only because postmodernist writers skip
across national boundaries with such calculated and consummate skill—and
not only because some of them, at least, cannot or will not shake off
their own international origins. It is also and more fundamentally
because—as it has been the peculiar fate of postmodernism to
emphasize—no boundary of any kind is impermeable. No frame of reference,
including the national one, is adequate, absolute, or terminal.<br /><br /><br /><br />
</span></p><div style="text-align: right;">
<span style="font-size: large;"><a href="http://personal.unizar.es/garciala/publicaciones/reflexive.html" style="color: blue; text-decoration: underline;" target="_blank">Theory of Reflexive Fiction</a></span></div>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-65476549734727444682022-04-28T19:00:00.007+02:002022-04-28T19:15:10.317+02:00John Barth (1930)<p> <br />
</p><div style="text-align: right;">
<small><big><big>From Hart and Leininger, <i>Oxford Companion to American Literature</i>:</big></big></small></div>
<small><big><big><br />BARTH, John [Simmons] (1930-). Maryland-born
novelist, educated at Johns Hopkins, whose fiction set on the Eastern
Shore of his native state includes <i>The Floating Opera</i> (1956), the experiences of a man recalled on the day in 1937 when he debates suicide, and <i>The End of the Road</i> (1958),
another existential and nihilist view of experience set in a travestied
conventional love triangle. Although placed in the same setting, his
third novel,<i> The Sot-Weed Factor</i> (1960) is more fantastic and
funnier in its lusty parody of an 18th-century picaresque tale
re-creating the life and times of Ebenezer Cooke. This was followed by <i>Giles Goat-Boy</i> (1966),
another lengthy, complex, and comic novel full of ingenious parody in
its satirical allegory of the modern world conceived in terms of a
university campus. <i>Lost in the Funhouse</i> (1968) consists of 14
pieces of fiction related in part by their concern with what happens
when a writer writes (he makes himself a persona) and a reader reads. <i>Chimera</i> (1972)
is also a volume of short fiction, retelling in elaborate style tales
of Scheherazade, Perseus, and Bellerophon dealing with social and
psychological problems of modern life, also introducing the author Barth
along the way. The last-named work won a National Book Award. Barth
returned to the long novel in <i>Letters</i> (1979), an unusual
development of epistolary fiction, in which seven more or less parallel
narratives are reveales through correspondence written by seven
characters from his earlier fiction, including the author himself as
just another imaginary figure, the intricate story comprising an inquiry
into the patterns into which the characters have been previously set
and the degree of freedom they may possess. <i>Sabbatical: A Romance</i> (1982)
tells of the adventures and ideas occasioned by a long cruise of a
college professor and her husband, an aspiring novelist. <i>The Friday Book</i> (1984) collects essays and other nonfiction. <i>The Tidewater Tales</i> (1987)
is a lengthy novel about a novelist who claims he cannot write a
projected novel as he and his wife sail full of friction along
Chesapeake Bay. <i>The Last Voyage of Somebody the Sailor</i> (1991) probes the connection between memory and reality in a postmodern style of narration.<br /><br /><br /><i><b>The Sot-Weed Factor,</b></i><b> </b>novel by John Barth, published in 1960 and in a revised version in 1966.<br /><br />In
a lusty picaresque tale that satirizes conventional historical fiction,
the novel creates a fictive biography of the real Ebenezer Cook,
endowing him with a twin sister, Anna. After failing in his studies at
Cambridge, though abetted by a tutor, Henry Bullingame, Ebenezer is
ordered by his father to manage the family tobacco plantation in
Maryland. There he spends most of his time writing poetry and protecting
his virginity, both of which are under constant assault. Finally he
achieves fame as a writer while simultaneously losing his poetic
inspiration and his virginity.<br /><br /><br /><br /><i><b>Giles Goat-boy,</b></i><b> </b><i>or, The Revised New Syllabus,</i> novel by John Barth, published in 1966.<br /><br />In
the metaphoric world called the University, control is held by a
computer, WESAC, which is able to run itself and to tyrannize people,
for it has the ability to subject them to a radiating and disintegrating
force, that is, to EAT them, an acronym for its power of
"Electroencephalic Amplification and Transaction." WESAC is so out of
hand that one of its developers, Max Spielman, believes it can only be
controlled through reprogramming by a Grand tutor, a prophet, who will
bring a "New Syllabus," that is, a new philosophy. For this role and
this purpose he selects George Giles, whom he had raised among goats as a
goat, though he was actually a human found as an infant in the tapelift
of WESAC. In his undertaking George has to contend with a troublemaker,
Maurice Stoker, who alone fully understands the operation of WESAC, and
with a minor poet, Harold Bray, who contends that he is a Grand Tutor.
George enters the computer to destroy it, and learns to confound WESAC
by answering its questions through paradoxes that paralyze the machine.
When George emerges, authorities eager to put WESAC back into operation
seize him and send him back to the animal site of his boyhood, for he is
now the University's scapegoat.<br /><br /><br /><br />::::::<br /><br />Later works (<i><a href="http://en.wikipedia.org/wiki/John_Barth" style="color: blue; text-decoration: underline;">Wikipedia: John Barth</a>):</i></big></big></small><br />
<ul><small><big><big>
<li><i><a href="http://en.wikipedia.org/wiki/The_Last_Voyage_of_Somebody_the_Sailor" style="color: blue; text-decoration: underline;" title="The Last Voyage of Somebody the Sailor">The Last Voyage of Somebody the Sailor</a></i> (1991)</li>
<li><i><a class="mw-redirect" href="http://en.wikipedia.org/wiki/Once_upon_a_Time:_A_Floating_Opera" style="color: blue; text-decoration: underline;" title="Once upon a Time: A Floating Opera">Once upon a Time: A Floating Opera</a></i> (memoirish novel) (1994)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=On_with_the_Story&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="On with the Story (page does not exist)">On with the Story</a></i> (stories) (1996)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=Coming_Soon%21%21%21&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="Coming Soon!!! (page does not exist)">Coming Soon!!!</a>: A Narrative</i> (2001)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=The_Book_of_Ten_Nights_and_a_Night&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="The Book of Ten Nights and a Night (page does not exist)">The Book of Ten Nights and a Night</a>: Eleven Stories</i> (2004)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=Where_Three_Roads_Meet&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="Where Three Roads Meet (page does not exist)">Where Three Roads Meet</a></i> (three linked novellas) (2005)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=The_Development&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="The Development (page does not exist)">The Development</a>: Nine Stories</i> (2008)</li>
<li><i><a href="http://en.wikipedia.org/wiki/Every_Third_Thought" style="color: blue; text-decoration: underline;" title="Every Third Thought">Every Third Thought</a>: A Novel in Five Seasons</i> (2011)</li>
</big></big></small></ul>
<small><big><big>
</big></big></small>
<h3>
<small><big><big>
<span class="mw-headline" id="Nonfiction">Nonfiction</span></big></big></small></h3><p>
<small><big><big>
</big></big></small></p><ul><small><big><big>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=The_Friday_Book&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="The Friday Book (page does not exist)">The Friday Book</a></i> (1984)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=Further_Fridays&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="Further Fridays (page does not exist)">Further Fridays</a></i> (1995)</li>
<li><i><a class="new" href="http://en.wikipedia.org/w/index.php?title=Final_Fridays&action=edit&redlink=1" style="color: blue; text-decoration: underline;" title="Final Fridays (page does not exist)">Final Fridays</a></i> (2012)</li></big></big></small></ul><p><small><big><big> </big></big></small></p><p style="margin-left: 40px; text-align: right;"><a href="https://litinglesa.blogspot.com/2022/04/postmodernity-in-prose-nivel-avanzado.html" target="_blank">Postmodernity in Prose</a><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-80647428658824584102022-04-28T18:53:00.004+02:002022-04-28T18:53:57.051+02:00Philip Roth (1933-2018)<p> <br />
</p><div style="text-align: right;">
from <i>American Literature: A History,</i> by Hans Bertens and Theo d'Haen</div>
<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">(from "After the war: 1945-80 - Jewish American novelists") (...)</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Still, although Malamud's characters are not invariably Jewish, in his presentation of Jewish milieus in <i>The Assistant</i>
and in his early stories he is the most Jewish of all Jewish American
writers of the fifties and sixties. Here, mainstream America is a vague
presence in the background, just like Poland and its inhabitants only
feature in the distance in the ghettos and streets of I.B. Singer's
stories (<i>Gimpel the Fool,</i> 1957; <i>The Spinoza of Market Street,</i> 1961) or novels (<i>The Family Moskat,</i> 1950; <i>The Magician of Lublin,</i>
1960). Far more usual in Jewish American fiction is a continuous
interaction with mainstream American culture and an unending negotiation
of territorial boundaries. Such interaction even takes place when
mainstream America is nowhere in sight, as in the title story of Philip
Roth's <i>Goodbye, Columbus</i> (1959), a wistful story about class
differences within Newark's Jewish community, in which the narrator's
lover-for-a-summer has had her nose 'fixed'—'I was pretty. Now I'm
prettier"–to conform to mainstream standards of beauty. With this
collection of stories, Roth (1933-[2018]) found himself at the center of
controversy, especially because of the stories 'Defender of the Faith',
in which a calculating Jeish soldier tries to exploit the loyalty he
expects from a Jewish superior, and 'Eli, the Fanatic', in which
suburban, assimilated Jews try to prevent orthodox co-religionists from
establishin a yeshiva in their mostly gentile neighborhood. Roth's
fiercest critics, supset by what seemed a cynical view of middle-class
American Jewry, accused him of self-hatred, even of anti-Semitism. What
Roth captures in 'Eli' is the self-censorship and the dissembling that
in the 1950s were part and parcel of assimilation and the deep sense of
alienation—experienced here by the lawyer hired by his fellow Jews—that
such a forced way of living may bring with it. This is in fact one of
the overriding themes in Jewish-American writing of the first decades
after the war. In order to be accepted by mainstream America, Jewish
Americans abandon much of what may characterize them as Jews—sometimes,
as in 'Goodbye, Columbus', even the shape of their nose—and move out of
typically Jewish neighborhoods. But that estranges them from their
background while their new environment never fully accepts them, leading
to a sort of alienation that differs from that felt by young mainstream
Americans but is felt even more profoundly.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">After
two rather traditional novels featuring a more mainstream cast and
dealing with the familiar themes of relationships and personal problems
and ambitions (<i>Letting Go,</i> 1962, and <i>When She Was Good,</i> 1967), Roth returned to more specifically Jewish themes with <i>Portnoy's Complaint</i>
(1969), a virtuoso rant on a psychiatrist's couch in which the novel's
protagonist, Alexander Portnoy, exhaustively lists all his frustrations
at having been brought up Jewish, and in between details his insatiable
lusting after blonde, all-American girls. Lust would from then on return
regularly in Roth's novels, as in <i>The Professor of Desire</i> (1977) or the fairly recent <i>Sabbath's Theater</i>
(1995), and has contributed disproportionally to his public image, but
in those novels, too, Roth is concerned with Jewishness, even if he sees
himself first of all as an American writer. In the last four decades,
Roth has brilliantly chronicled Jewish life in the Newark of his younger
years and has through an alter ego, the Roth-like writer Nathan
Zuckerman who features in for instance <i>Zuckerman Bound</i> (1985) and <i>The Counterlife</i>
(1987), offered incisive meditations on what it means to be a Jewish
American writer. Early in his career Roth worried that 'the actuality is
continually outdoing our talents', that the technical skills of
American writers were no longer a match for the outrageous images and
events that the culture casually produced. Fortunately, those fears were
unfounded.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">(From "The End and Return of History: 1980-2010 - Philip Roth")</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Philip Roth has remained extremely prolific also after 1980, even to the point of becoming perhaps <i>the</i> iconic American author of the entire period. To begin with, Roth wrote a third novel in the David Kepesh series with <i>The Dying Animal.</i> Then, he has continued the series of novels featuring Nathan Zuckerman, the first instalment of which, <i>The Ghost Writer,</i> appeared in 1979, and the seventh, presumably also the last given its title of <i>Exit Ghost,</i> in 2007, with as other titles <i>Zukerman Unbound</i> (1981), <i>The Anatomy Lesson</i> (1983), <i>The Prague Orgy</i> (1985), <i>The Counterlife</i> (1986), <i>American Pastoral</i> (1997), <i>I Married a Communist</i> (1998) and <i>The Human Stain</i>
(2000). Zuckerman has often been interrpeted as an alter ego for Roth
himself, but as of 1990 there also started appearing a new series
featuring a protagonist called 'Roth', comprising <i>Deception: A Novel</i> (1990), <i>Operation Shylock: A Confession</i> (1993) and <i>The Plot Against America</i> (2004). There is also a free-standing novel, <i>Sabbath's Theatre</i> (1995), and finally a series of short novels, <i>Everyman</i> (2006), <i>Indignation</i> (2008), <i>The Humbling</i> (2009) and <i>Nemesis</i> (2010). We will here briefly treat three exemplary instances from this overwhelming oeuvre.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>American Pastoral,</i>
winner of the Pulitzer Prize in 1998, starts from the premise of the
good life in the country as the culmination of the American Dream and a
counterweight to the chaos, oppression and misery of the Old World. This
is also what the protagonist of the story, whose life Zuckerman
records, seems to have been bound for all his life, until everything
fell apart. The novel is set in Newark, and the turning point is the
1960s, when Newark's earlier prosperity has melted away under the
onslaught of beginning globalization, the city's older population of
first and second generation immigrants, many of them Jewish, like the
protagonist, have moved away or been minoritized by the large numbers of
African Americans that have moved in. Instead of a harmonious community
Newark now is the scene of race riots and labor conflicts. On the level
of the U.S. as a whole the havoc wrought in Newark repeats itself in
the radical youth and political movements rocking the country. Roth
returns a hard verdict on what has gone wrong with America during his
own lifetime.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">A similar feeling speaks from <i>The Plot Against America,</i>
winnner of the Sidewise Award for Alternate History in 2005. Roth finds
his initial inspiration in a plea Charles Lindbergh, the first man to
cross the Atlantic by airplane in 1927 and a national hero, made in 1941
to prevent the U.S. from entering World War II, for which he blamed the
Jews, the British, and President Roosevelt. Lindbergh was in good
standing with the Nazi regime and especially with Goering, the commander
of the German air force. Roth takes the poetic liberty of situating
Lindbergh's speech not in 1941 but in 1940, in the run-up to that year's
Presidential elections, and casting Lindbergh as the Republican
challenger of Roosevelt. When Lindbergh wins the election, life in the
U.S. turns bitter for American Jews, and hence also for little Philip
Roth. Things look even more somber when Lindbergh disappears on a solo
flight with his famous Spirit of St. Louis airplane and Vice-President
Wheeler, an extreme rightwing politician, assumes office. In the end,
everything returns to normal, Rososevelt triumphs in a special election,
Pearl Harbor signals the entry of the U.S. into World War II, and
history resumes its familiar course. <i>The Plot Against America</i>
asks some hard questions about the nature of American democracy and
American politics more generally. For most commentators it was hardly a
coincidence that Roth published a novel focusing on these questions, and
with such characters, in the run-up to the 2004 elections, with an
incumbent who in the wake of 9/11 had institued an authoritarian regime
such as the U.S. had hardly ever seen before, and with a Vice-President
of known conservative sympathies.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">If <i>American Pastoral</i> and <i>The Plot Against America</i> address wider social and political issues, <i>Everyman </i>sticks
to the personal level. In all of Roth's later work the consciousness of
approaching death is overwhelmingly present, and particularly so in the
foru short novels he published towards the end of his career (Roth in
2013 announced that he thought he had written enough and would write no
more). In the futher unspecified 'he' protagonist Roth gives us a
reincarnation of the medieval 'everyman' from the eponymous morality
play. but whereas the medieval Everyman finds that with death all
material worries and constraints dissolve and only spiritual virtues
remain, because after death comes resurrection, noting of the sort
happens in Roth's version. <i>Everyman</i> as the chronicle of a death
announced, a merciless march from the cradle to the grave marked by
disease, illness, the relentless deterioration of the body, deaths and
funerals. Like the medieval play it holds up the mirror of our own
fallibility and ephemerality, but without the consolation of faith.</span><br />
<span style="font-size: large;"><br /><br /></span>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-13360511034534640742022-04-27T18:42:00.001+02:002022-04-27T18:42:07.803+02:00La poesía intimista y confesional (NIVEL AVANZADO) - Gray<p> </p><p style="margin-left: 120px; text-align: left;"><span style="font-size: medium;">From the chapter "Formalists and Confessionals" (The American Century), in Richard Gray's <i>History of American Literature. </i>(Some paragraph divisions added).</span></p><p style="margin-left: 120px; text-align: left;"><span style="font-size: large;"><i><br /></i></span></p><p><span style="font-size: large;"><i>"</i>Be
guilty of yourself in the full looking glass," a poet of slightly
earlier generation, Delmore Schwartz, had said; and that injunction, to
see and know the trught about oneself no matter how painful or
embarrassing it might be, is clearly the enteprise, the heart of these
poems.</span></p><p><span style="font-size: large;">This
rediscovery of the personal in American poetry assumed many forms—as
various, finally, as the poets involved. At one extreme are poets who
attempted to blunge into the unconscious: in the work of Robert Bly
(1926-) (whose best collection is <i>The Light around the Body</i> (1967)), Robert Kelly (1935-) (some of whose best work is in <i>Finding the Measure</i> (1968)), Galway Kinnell (1927-) (whose <i>Selected Poems</i> appeared in 1982), and James Wright (1927-1980) (<i>Collected Poems</i>
(1971)), for example, the poet dives down beneath the level of rational
discourse, using subliminal imagery and a logic of association to
illuminate the darker areas of the self, the seabed of personal feeling,
dream and intuition. </span></p><p><span style="font-size: large;">In
Robert Bly's case, exploration of the subrational has led him toward
"tiny poems," in imitation of the Chinese, and prose poems that are, as
he put it, "an exercise in moving against 'plural consciousness'." His
aim is to uncover the "dense energy that pools in the abdomen," as he
put it in a poem titled "When the Wheel Does Not Move"; the fierce,
mystical forces that unite him, at the deepest level, with the looser,
livelier froms of the natural world. </span></p><p><span style="font-size: large;">Kelly
and Kinnell dip perhaps even further down. "My wife is not my wife"
Kelly insists in one of his poems called "Jeaousy," "/ <i>wife</i> is
the name of a / process, an energy moving, / not an identity, / nothing
in this world is / mine but my action." To articulate the process, the
activity that constitutes identity, Kelly has devised a poetry that is a
haunting mixture of dream, chant, and ritual: his poems are an attempt
to translate the interpenetration of things into intelligible (although
not necessarily paraphraseable) signs and sounds. "The organism / of the
macrocosm," as he puts it in "prefix," "the organism of language / the
organism of <i>I</i> combine in ceaseless natureing / to propagate a fourth, / the poem, / from their trinity." </span></p><p><span style="font-size: large;">Kinnell
began from a rather different base from Kelly, in that his earlier
poems were informed by a traditional Christian sensibility. But, while
retaining a sacramental dimension, his later work burrows ferociously
into the self, away from the traditional sources of religious
authority—and away too, from conventional notions of personality.. "If
you could keep going deeper and deeper;" he wrote in 1978, "you'd
finally not be a person ... you'd be an / animal; and if you kept going
deeper and / deeper, you'd be ... / ultimately perhaps a stone. And if a
stone / could read poetry would speak for it." </span></p><p><span style="font-size: large;">The poems that issue from this conviction (as a collection like <i>When One Has Lived a Long Time Alone</i>
(1990)) illustrates) show Kinnell trying to strip away formal, verbal,
and even surface emotional constructs, anything that might dissipate or
impede the poet's continuing exploration of his deepest self and
experience. "How many nights," he asks in "Another Night in the Ruins,"
"must it take / one such as me to learn / ... / that for a man / as he
goes up in flames, his one work / is / to open himself, to <i>be</i> /
the flames?" Short, chanting lines, a simple, declarative syntax,
emphatic rhythms, bleak imagery and inssitent repetition: all turn the
poet into a kind of shaman, who describes strange apocalyptic
experiences in which he throws off the "sticky infusion" of speech and
becomes one with the natural world ("The Bear") or participates in the
primal experiences of birth ("Under the Maud Moon") and death ("How Many
Nights"). </span></p><p><span style="font-size: large;">The
tone of James Wright's work is quieter, less prophetic than this, but
he too attempts to unravel from his own unconscious the secret sources
of despair and joy. Of another poet whom he admired, Georg Trakl, Wright
said this: "In Trakl, a series of images makes a series of events.
Because these events appear out of their 'natural' order, without the
connection we have learned to expect from reading the newspapers, doors
silently open to unused parts of the brain." This describes the
procedures of many of Wright's own poems, which evolve quietly through
layers of images until they surface with the quick thrust of a striking
final image or epiphany. For instance, in "Lying in a Hammock at William
Duffy's Farm in Pine Island, Minnesota" Wright carefully annotates his
surroundings. "Over my had," he begins, "I see the bronze butterfly /
Asleep on the black trunk / Blowing like a leaf in green shadow." The
vision of the butterfly suggests a being wholly at one with the world:
entrusted, pliable, possessed of the stillness of a plant or even a
mineral ("bronze"). This feeling persists into the following lines
thorugh the subtle harmonizing of time and space ("The distances of
afternoon") and the sense of cowbells, heard from far off, as the
musical measure of both. It is growing late, however, and as "evening
darkens" a succession of images toll the poet back to his sole self. The
last two lines complete the series and confirm the discovery: "A
chicken hawk floates over, looking for home. / I have wasted my life."
The hawk, presumably, will find its home; it possesses the ease, the
buoyancy and assurance, that characterize the other natural objects in
this landscape. But the poet will not. He can see in the things of this
world only a vivvid, subliminal reminder of ruin, his failure truly to
live. Surprising though this last line may seem, it has ben carefully
prepared for by the hidden agenda of the poem; the images that
constitute the argument, strange and emotionally precise as they are,
have opened the doors to the revelation. </span></p><p><span style="font-size: large;">While
writers such as Wright and Kinnell have tried to register the movements
of the subconscious, others have dramatized the personal in more
discursive, conscious forms. These include poets like Richard Hugo
(1923-1982), Karl Shapiro, and Louis Simpson, who explore the self's
discovery of the outer world and its reaction to it and, rather more
significant, those like John Logan (1923-1987), Adrienne Rich (1929-),
Anne Sexton (1923-1974), and W. D. Snodgrass (1926-2009), who
incorporate elements of their personal histories in their poems.</span></p><p><span style="font-size: large;">In
the poetry of Richard Hugo, collected in 1984, the personal dimension
is founded on the relationship between the private self of the poet and
the bleak, lonesome world he describes. The setting he favours is the
Far West: not the Far West of legend, however, but a far more
inhospitable, emptier place. Looking at one decaying township in
Montana, he asks himself, "Isn't this your life?"; and his own poetic
voice, somber and laconic, seems to answer him in the affirmative. Yet
he can also learn from his surroundings; their strength of spirit,
"rage" and endurance, have stamped their mark on him. "To live good,
keep your life and the scene," he concludes in "Montgomery Hollow" "/
Cow, brook, hay: these are the names of coins": the currency of the West
has, in fact, saved him from moral bankruptcy, helped him pay his duess
to himself and the world. Hugo's poetic stance has hardly shifted over
the years. </span></p><p><span style="font-size: large;">By
contrast, Shapiro and Simpson began (as we have seen) as poets of
public event, and only gradually changed their interests and
allegiances. As the personal element in their poetry grew, so its shape
and tone altered too. "Sabotage the stylistic approach," Shapiro
commanded in "Lower the standard: that's my motto," "Get off the Culture
Wagon. Learn how to walk the way you wan." Attacking "the
un-American-activity of the sonnet," writing pieces with titles like
"Anti-Poem," he adopted a long, flowing line somewhere between free
verse and prose poetry. With this, he has explored himself and his
surroundings (in volumes like <i>Poems of a Jew</i> (1958) with
sometimes embarrassing frankness: "When I say the Hail Mary I get an
erection," he admits in "Priests and Freudians will understand," adding
wryly, "Doesn't that prove the existence of God?" </span></p><p><span style="font-size: large;">The alteration in Simpson's work (as a collection like <i>At the End of the Open Road: Poems</i>
(1963) indicates) has been less radical: his verse, while becoming
freer, has retained an iambic base. But he, too wants to know what it is
like to be him at this moment in history, "an Amrican nurse / installed
amid the kitchen ware." Like Whitman, he is concerned wit hthe
representative status of his self, his Americanness; unlike Whitman, his
landscapes are often suburban. "Whare are you Walt?" Simpson asks in
"Walt Whitman at Bear Mountain," observing sardonically, "/ The Open
Road goes to the used-car lot": that observation measures the distance,
as well and the kinship, between it author and the person addressed, the
first, finest poet of national identity.</span></p><p><span style="font-size: large;">Of
the four poets just mentioned who insert their own stories directly
into their narratives, John Logan (whose several collections include <i>The Bridge of Change: Poems 1974-9</i>
(1980) is the most apparently casual. His poems seem simple, informal:
"Three moves in six months," begins one, "and I remain the same." But,
in fact, they are carefully organized to allow for a subtle
orchestration of theme and tone. In the poem just quoted, for instance,
"Three Moves," he graduates from startling colloquialism ("You're all
fucked up") to moments of lyricism and grace: "These foolish ducks lack a
sense of guilt / and so all their multi-thousand-mile range / is too
short for thee hope of change." And although, as these lines imply,
Logan himself suffers from "a sense of guilt" from which the animal
kingdom is blessedly free, he can occasionally participate in the
vitality, the innocence of the natural world around him. "There is a
freshness / nothing can destroy in us—," he says in "Spring of the
Thief"; "Perhaps that / <i>Freshness</i> is the changed name of God." </span></p><p><span style="font-size: large;">The
voice of W. D. Snodgrass, and his stance toward nature, is at once more
controlled and intense. His finest work is "Heart's Needle" (1959), a
series of poems which have as their subject his daughter and his loss of
her through marital breakdown. "Child of my winter," begins the first
poem: "born / When the new fallen soldiers froze / In Asia's steep
ravines and fouled the snows . . . " Cynthia, the poet's child, was born
during the Korean War and she is, he gently suggests, the fruit of his
own cold war: the static, frozen winter campaign that is getting nowhere
is also Snodgrass's marriage. The allusions to the war, and
descriptions of the season, are there, not because of any intrinsic
interest they may possess, historical, geographical, or whatever, but
because they image the poet's inner world, his personal feelings. "We
need the landscape to repeat us," Snodgrass observes later. The
measured, musical quality of his verse, and his frequent attention to
objects and narrative, disguise an obsessive inwardness, a ferocious
preoccupation with the subjective.</span></p><p><span style="font-size: large;">"My
poems ... keep right on singing thee same old song": the words could
belong to Snodgrass, but in fract they were spoken by Ann Sexton, whose
first two collections, <i>To Bedlam and Part Way Back</i> (1960) and <i>All My Pretty Ones</i>
(1962), established both her reputation and her intensely personal
stance. Even those pieces by Sexton that appear not to be concerned with
herself usually turn out to be subjeective, to have to do with her
predicament as a woman. "The Farmer's Wife", for instance, begins as a
description of someone in rural Illinois, caught up in "that old
pantomime of love," and then concludes with lines that suddenly switch
the focus from farmer and wife to the poet and her lover. Elsewhere,
when the narrative mask is dropped, the tone can be painfully raw and
open, and given a further edge by elaborate rhyme-schemes or tight
stanzaic forms. "All My Pretty Ones" is a good illustration of this.
Addressed to the poet's father, the contrast between the passion and
intimacy of the address and the strictness of the given measure only
intensifies the feeling of the poem. It is as if the disciplines of the
poetic form, which Sexton confronts in a half-yielding, half-rebellious
fashion, were part of the paternal inheritance, something else that the
father she both loves and hates has left her to deal with. However, she
was not only concerned with the pain of being daughter, wife, mother,
lover. She also sang, as she put it, "in celebration of the woman I am."
Long before it was fashionable to do so, she wrote in praise of her
distinctive identity, not just as an American poet, but as an American <i>female</i>
poet. "As the African says:" she declares in "Rowing," "This is my tale
which I have told"; and for her this tale was, finally, a source of
pride.</span></p><p><span style="font-size: large;">A similar pride in the condition of being a woman characterizes the poetry of Adrienne Rich. Rich's early work in <i>A Change of World</i> (1951) and <i>The Diamond Cutters</i>
(1955) is decorous, formal, restrained. But even in here there is a
sense of the subversive impulses that lie just below the smooth surfaces
of life. In "Aunt Jennifer's Tigers", for example, the character who
gives the poem its title sems to be crushed beneath patriarchal
authority: "The massive weight of Uncle's wedding band / sits heavily
upon Aunt Jennifer's hand." However, the tigers she has embroidered
"across a screen" suggest her indomitable spirit. Even after her death,
"The tigers in the panel that she made / Will go on prancing, proud and
unafraid." "Sleek chivalric" and poised as they are, these animals
nevertheless emblematize certain rebellious energies, turbulent emotions
that will not be contained polite on the surface, passionate beneath,
Aunt Jennifer's art is, at this stage, Adrienne Rich's art. Gradually,
though Rich came to feel that she could "no longer go to write a poem
with a neat handful of materials and express these materials according
to a prior plan." "Instead of poems <i>about</i> experience," she argued, "I am getting poems that <i>are</i>
experiences." A work like "Diving into the Wreck," the title poem in
her 1973 collection, measures the change. In it, the poet tells of a
journey under the sea, during which she has to discard all the
conventional supports, the crutches on which she has leaned in the upper
world. "I came to xplore the wreck," she says: "The words are purposes.
/ The words are maps ...." And she describes shat she calls "the thing I
came for: / the wreck and not the story of the wreck / the thing itself
and not the myth." Diving deep into the deepest recesses of her being,
exploring the "wreck" of her own life, Rich feels compelled to jettison
inherited techniques and fictions. A more open, vulnerable, and
tentative art is required, she feels, in order to map the geography of
her self: a feling that is signaled in this poem, not only by its
argument, but by its directness of speech, its stark imagery and
idiomatic rhythms, above all by the urgency of its tone. The map, as it
happens, is not just for her own use. "We are all confronted," Rich has
declared in the preface to <i>On Lies, Secrets and Silence: Selected Poems 1966-1978</i>
(1979), "with ... the failure of patriarchal politics." "To be a woman
at this time," she goes on, "is to know extraordinary froms of anger,
joy and impatience, love and hope." "Poetry, words on paper, are
necessary but not enough," she insists, "we need to touch the living who
share ... our determination that the sexual myths underlying the human
condition can and shall be ... changed." In Rich's later work, as in
fact a volume like <i>Fox: Poems 1998-2000</i> (2001) illustrates, the
confrontation with hrself is insparable from her broader, feminist
purposes; her work has become intimate, confessional, but it is an
intimacy harnessed to the service of the community, the invention of a
new social order.<i> </i><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /><br /></span></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-1159113600509978052022-04-27T18:28:00.001+02:002022-04-27T18:28:04.818+02:00Flannery O'Connor, Carson McCullers & Joyce Carol Oates (Gray) - NIVEL AVANZADO<p style="margin-left: 120px; text-align: left;"><span style="font-size: medium;"> From <i>A History of American Literature,</i> by Richard Gray. (The American Century, pp. 590-94).</span></p><p style="margin-left: 120px; text-align: left;"><span style="font-size: medium;"> </span></p><p><span style="font-size: large;">"Ours is the century of unreason," Eudora Welty declared once, "the stamp of our behavior is violence and isolation: nonmeaning is looked upon with some solemnity." Flannery O'Connor (1925-1964) would have agreed with some of this, but not all. What troubled her was not lack of reason but absence of faith. "The two circumstances that have given character to my writing," O'Connor admitted in her collection of essays, <i>Mystery and Manners</i> (1969), "have been those of being Southern and being Catholic"; and it was the mixture of these two, in the crucible of her own eccentric personality, that helped produce the strangely intoxicating atmosphere of her work—at once brutal and farcical, like somebody else's bad dream. A devout if highly unorthodox Roman Catholic in a predominantly Protestant region, O'Connor interpreted experience according to her own reading of Christian eschatology — a reading that was, on her admission, tough, uncompromising, and without any of "the hazy compassion" that "excuses all human weakness" on the ground that "human weakness is human." "For me," she declared, "the meaning of life is centered in our Redemption by Christ"; and to this she might well have added that she neither saw humankind as worthy of being redeemed, nor Redemption itself as anything other than a painful act of divorce from this world. With rare exceptions, the world she explores in her work—in her novels <i>Wise Blood</i> (1952) and <i>The Violent Bear It Away</i> (1960) and her stories gathered in <i>A Good Man Is Hard to Find</i> (1955) and <i>Everything that Rises Must Converge</i> (1965) — is one of corrosion and decay. It is a world invested with evil, apparently forsaken by God and saved only in the last analysis by His incalculable grace. It is a netherworld, in fact, a place of nightmare, comic because absurd, and (as in early Christian allegory) the one path by which its inhabitants can travel beyond it is that of renunciation, penance, and extreme suffering.</span></p><p><span style="font-size: large;">O'Connor herself was inclined to talk in a distinctly equivocal way about the relationship between the two circumstances that shaped her life, her region and her faith. Sometimes, she suggested, it was her "contact with mystery" that saved her from being stereotypically Southern and "just doing badly what has already been done to completion." In the Bible Belt, after all, Roman Catholics wre and still are in a distinct, occasionally distrusted minority. Other times, she argud that there was a perfect confluence, or at least congruity. "To know oneself," she said once, "is to know one's region." And her region, in particular, enaled her to know herself as a Catholic writer precisely because it was "a good place for Catholic literature." It had, she pointed out, "a sacramental view of life": belief there could "still be made believable and in relation to a large part of society"; and, "The Bible being generally known and revered in the section," it provided the writer with "that broad mythical base to refer to what he needs to extend his meaning in depth." Whatever the truth here—and it probably has to do with a creative tension between her education in Southern manners and her absorption in Catholic mystery — there is no doubt that, out of this potent mixture, O'Connor produced a fictional world the significance of which lied precisely in it apparent aberrations, its Gothic deviance from the norm. Her South is in many ways the same one other writers have been interested in — a wasteland, savage and empty, full of decaying towns and villages crisscrossed by endless tobacco roads. And, like Twain, she borrows from the Southwestern humorists, showing a bizarre comic inventiveness in describing it. Her characters — the protagonist Haze Motes in <i>Wise Blood,</i> for instance — are not so much human beings as grotesque parodies of humanity. As O'Connor herself has suggested, they are "literal in the same sense that a child's drawing is literal": people seen with an untamed and alien eye. Where she parts company with most other writers, however, is in what she intends by all this, and in the subtle changes wrought in her work by this difference of intention.</span></p><p><span style="font-size: large;">O'Connor herself explained that difference by saying that "the novelist with Christian concerns will find in modern life distortions which are repugnant to him." His or her audience, though, will find those distortions "natural." So such a novelist has to make his or her vision "apparent by shock." "To the hard of hearing you shout," she says, "and for the almost-blind you draw large and startling figures." Her figures are grotesque, in other words, because she wants us to see them as spiritual primitives. In order to describe to us a society that is unnatural by her own Christian standards — and to make us feel its unnaturalness — she creates a fictional world that is unnatural by almost any accepted standards at all. O'Connor's characters are distorted in some way, social or physical, mental or material, because their distortions are intended to mirror their guilt, original sin, and the spiritual poverty of the times and places they inhabit. That is only half the story, though. From close-up, these characters may seem stubbornly foolish and perverse, ignorant witnesses to the power of evil. But ultimately against their will, they reveal the workings of eternal redemption as well. They are the children of God, O'Connor believes, as well as the children of Adam; and through their lives shines dimly the possibility that they may, after all, be saved. So an extra twist of irony is added to everything that happens in O'Connor's stories. Absurd as her people are, their absurdity serves as much as it does anything else, as a measure of God's mercy in caring for them. Corrupt and violent as their behavior may be, its very corruption can act as a proof, a way of suggesting the scope of His extraordinary forgiveness and love. As, for instance, O'Connor shows us Haze Motes preaching "the Church without Christ" and declaring "Nothing matters but that Jesus was a liar," she practices a comedy of savage paradox. Motes, after all, relies on belief for the power of his blasphemy: Christ-haunted, he perversely admits the sway over him of the very faith he struggles to deny. Every incident in <i>Wise Blood, </i>and all O'Connor's fiction, acquires a double edge because it reminds us, at one and the same time, that man is worthless and yet the favoured of God — negligible but the instrument of Divine Will. The irremediable wickedness of humanity and the undeniable grace of God are opposites that meet head on in her writing, and it is in the humor, finally, that they find their issue, or appropriate point of release. What we are offered on the surface is a broken world, the truth of a fractured picture. But the finely edged character of O'Connor's approach offers an "act of seeing" (to use her own phrase) that goes beyond that surface: turning what would otherwise be a comedy of the absurd into the laughter of the saints. </span></p><p><span style="font-size: large;"> A writer whose fictional world wa as strange yet instantly recognizable as O'Connor''s was Carson McCullers (1917-1967). "I have my own reality," McCullers said once toward the end of her life, "of language and voices and foliage." And it was this reality, her ghostly private world that she tried to reproduce in her stories (collected in <i>The Mortgaged Heart</i> (1971)), her novella <i>The Ballad of the Sad Café</i> (1951), and her four novels: <i>The Heart Is a Lonely Hunter</i> (1940), <i>Reflections in a Golden Eye</i> (1941), <i>The Member of the Wedding</i> (1946), and <i>Clock without Hands</i> (1961). She gave it many names, over the years, and placed it consstently in the South. Southern though its geographical location might be, however, it was like no South ever seen before. It was another country altogether, created out of all that the author had found haunting, soft, and lonely in her childhood surroundings in Georgia. It was also evolved out of her own experience of melancholy, isolation, and occasional if often illusory happiness. "Everything that happens in my fiction has happened to me," she confessed in her unfinished autobiography (<i>Illumination and Night Glare</i> (2000)). Her life, she believed, was composed of "illumination," moments of miraculous insight, and "night glare," long periods of dejection, depression, frustration—feelings of enclosure within herslf. So are the lives of her characters. The people she writes about may seem or feel strange or freakish because of their anomalous desires, aberrant behavior, or grotesque appearance. But in their freakishness they chart the coordinates of all our lives; their strangeness simply brings to the surface the secret sense of strangeness all of us share in what McCullers sometimes called our "lonesomeness." So, for example, <i>The Ballad of the Sad Café</i> revolves around a <i>dance macabre</i> of frustrated love, thwarted communication "There are the lover and the beloved," the narrator tells us, "but these two come from different countries." Similarly, <i>The Member of the Wedding</i> is an initiation novel in which the lonely, sensitive, 12-yar-old protagonist, Frankie Adams, is initiated into the simple ineradicable fact of human isolation: the perception that she can, finally, be "a member of nothing." At the heart of McCullers's work lies the perception Frankie comes to, just as the protagonist of <i>Clock Without Hands,</i> J. J. Malone does when he learns that he has a few months to live. Each of us, as Malone feels it, is "surrounded by a zone of loneliness"; each of us lives and dies unaccompanied by anyone else; which is why, when we contemplate McCullers's awkward and aberrant characters, we exchange what she called "a little glance of grief and lonely recognition." </span></p><p><span style="font-size: large;">Whereas McCullers published only four novels in her short life, and O'Connor only two, Joyce Carol Oates (1938-) has produced more than fifty. In addition, she has written hundreds of shorter works, including short stories and critical and cultural essays, and several of her plays have been produced off Broadway. Often classified as a realist writer, she is certainly a social critic concerned in partiular with the violence of contemporary American culture. But she is equally drawn toward the Gothic, and toward testing the limits of classical myth, popular tales and fairy stories, and established literary conventions Many of her novels are set in Eden Country, based on the area of New York State where she was born. And in her early fiction, <i>With Shuddering Fall</i> (1964) and <i>A Garden of Earthly Delights</i> (1967) she focuses her attention on rural America with its migrants, social strays, ragged prophets, and automobile wrecking yards. In <i>Expensive People</i> (1968), by contrast she moved to a satirical meditation on suburbia; and in <i>Them</i> (1969) she explored the often brutal lives of the urban poor. Other, later fiction, has shown a continued willingness to experiment with subject and forms. <i>Wonderland</i> (1971), a novel about the gaps between generations, is structured around the stories of Lewis Carroll. <i>Childwold</i> (1976) is a lyrical portrait of the artist as a young woman. <i>Unholy Loves</i> (1979), <i>Solstice</i> (1985), and <i>Maya: A Life</i> (1986) cast a cold eye on the American professional classes. <i>You Must Remember This</i> (1987) commemorates the conspiratorial obsessions of the 1950s;<i> Because it is Bitter, and Because it is My Heart</i> (1991) dramatizes the explosive nature of American race relations. <i>Blonde</i> (2000) is an imaginative rewriting of the life of the movie icon Marilyn Monroe, while <i>My Sister, My Love</i> (2008) reimagines an actual murder case, focusing on how ambitious parents alternately push and ignore their unhappy children. Her fiction is richly various in form and focus; common to most of it, however, including recent works like <i>Missing Mom</i> (2005) and <i>The Gravedigger's Daughter</i> (2007), is a preoccupation with crisis. She shows people at risk: apparently ordinary characters whose lives are vulnerable to threats from society or their inner selves or, more likely, both. In Oates's much anthologized short story "Where Are You Going, Where Have You Been?" (1970), for instance, the central character, Connie, is an all-American girl, fatally at ease with the blandness of her adolescent life. She becomes the helpless victim of a caller, realistically presented yet somehow demonic, whom she mistakes for a friend. Her sense of security, it is intimated, is a dangerous illusion. The stories and novels of Oates are full of such characters. Some, like Connie, find violence erupting from their surroundings; others, frustrated by the barren or grotesque nature of their lives and social circumstances, erupt into violence themselves. With all of them, there is the sense that they are the victims of forces beyond their control or comprehension. Whatever many of them may believe to the contrary, they are dwellers in a dark and destructive element.</span></p><p><span style="font-size: large;"><br /></span></p><br /><span style="font-size: large;"> </span><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-30304493991227602342022-04-27T18:11:00.005+02:002022-04-28T19:15:52.000+02:00Prose After Postmodernism (NIVEL AVANZADO)<p style="margin-left: 280px; text-align: left;"> From Hans Bertens and Theo d'Haen's <i>American Literature: A History</i> (Routledge, 2014)</p><p style="margin-left: 280px; text-align: left;">(The American Century: World War I to the Present - The End and Return of History: 1980-2010)</p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;">Prose 'after' postmodernism</span></p><p><span style="font-size: large;">Few
of the 'classical' postmodernists who continued writing into the new
millennium succeeded in repeating their earlier successes. This applies
particularly to Barth, whose many novels, some of them very voluminous,
like <i>The Last Voyage of Somebody the Sailor</i> (1991), and story
collections endelessly keep turning over themes and techniques identical
to those of his earlier work. Gaddis did pretty much the same in <i>A Frolic of His Own</i> (1994), a book harping on the difference between what is true justice and what the judicial system makes of it, while in <i>Carpenter's Gothic</i>
(1985) he satirized religious fundamentalism and personal greed. The
postmodern fame of Stanley Elkin (1930-95) rests mainly on the
combination of exuberant language and black humor in <i>The Dick Gibson Show</i> (1971), about a boy who is enthralled to the voices coming out of the radio, and <i>The Franchiser</i>
(1976), about a man who builds a fast food chain but finds the meaning
of life thorugh the multiple sclerosis he suffers from, and from which
Elkin himself also died. In his later work Elkin took a more and more
tragic view of things. <i>George Mills</i> (1982) is about a man who feels betrayed by God. In <i>The Magic Kingdom</i> (1985) a man who has lost his son takes a group of terminally ill children on a trip to Disneyland. In <i>The Rabbi of Lud</i> (1987) a New Jersey rabbi struggles with his faith.</span></p><p><span style="font-size: large;">With <i>Slow Learner</i> (1984) Pynchon published a collection of his early stories, and he brought new work with <i>Vineland</i> (1990), <i>Mason & Dixon</i> (1997), and <i>Against the Day</i> (2006). Although both <i>Vineland,</i> set in Northern California in a milieu of over-age hippies, and <i>Mason & Dixon,</i>
about the two men, Charles Mason and Jeremiah Dixon, that drew the
famous line that divided the Northern, non-slave holding parts of the
U.S. from the Southern slave-holding parts, and recounted in
eighteenth-century English, sported all kinds of peculiarities (zany
ditties, fantastic events, a cavalier treatment of history) also typical
of Pynchon's earlier fiction, they both received mixed reviews, the
later novel faring somewhat better than the earlier. <i>Against the Day,</i> though was an immediate hit with the critics. A massive affair, like <i>V. A Novel</i> and <i>Gravity's Rainbow, Against the Day</i>
plays intricate games with history, with language, with its characters,
and with the reader. A central plotline features the anarchist Webb
Traverse in his fight against capitalism, his murder on behalf of the
industrialist Scarsdale Vibe, and the desire on the part of his three
sons to revenge their father's death. Set around the turn of the
twentieth century the novel indulges in all kinds of eccentrics,
including a dog that reads Henry James, travel through the center of the
earth, and countless subplots, all of it brought in a welter of styles,
varying from the language of juvenile adventure to tough guy
hard-boiled and everything in between. Like Pynchon's earliest books, <i>Against the Day </i>finally
leaves the reader with more questions than answers, but also with the
feeling that something important has been touched upon.</span></p><p><span style="font-size: large;">The most overtly technically postmodern early work of Don DeLillo (1936-) is <i>Ratner's Star</i>
(1974), in which a fourteen-year-old mathematical genius decodes an
alien message announcing that the earth is about to enter a zone in
which the laws of physics no longer apply, and which at the time was
often likened to the work of Pynchon. DeLillo's other early novels
focused, often satirically, on American popular culture phenomena such
as American football or rock and roll. <i>White Noise</i> (1985)
established DeLillo as a major author. The novel features a university
professor in 'Hitler Studies' (yet who cannot read German), who gets
caught in an environmental disaster, but who also is confronted with his
own fears of death. The novel is a satire of university life, but even
more so of how important events are hijacked by the media and turned
into spectacle for an audience bent on sensation. Undoubtedly it is not a
coincidence that the cable network CNN was launched in 1980, and that
this was also the period in which French thinkers such as Guy Debord
(1931-94) and Jean Baudrillard (1929-2007) were busily discussed in
American literary circles for the relathionship they posited between
consumer society, the cult of the spectacle, and the simulacrisation or
simulation of reality in the media. DeLille continued this line of
thought in <i>Libra</i> (1988), with as protagonist the murderer of President Kennedy, <i>Mao II</i> (1991), and especially the massive <i>Underworld</i>
(1997). Waste, and the problems it causes in a consumerist society,
are a central topic in this novel, the action of which spans the 1950s
to the 1990s, with many interlocking plots, settings ranging from the
New York Giants' baseball grounds to an artist's studio, and both
fictional and historical characters. The novel's title refers to how
waste is buried, to the criminal underworld, to the things hidden in
history, and to how all of this refuses to remain buried and leads a
life of its own. On appearance <i>Underworld</i> was hailed as a major
achievement and as one of the most important works of American fiction
of the final quarter of the twentieth century. Since <i>Underworld</i> DeLillo has delivered shorter fictions. In <i>Cosmopolis</i> (2003) he once again addresses issues of mediatisation, the world of advertising, and the fads dominating American life. <i>Falling Man</i>
(2007) describes how a man who has been wounded in the 9/11 World Trade
Center attack looks for new meaning in life. Unlike other first
generation postmodernists DeLillo does not use metafiction to approach
the postmodern life-world, but meticulously mirrors the latter's
emptiness and artificiality in the smooth, stylized, polished but
clichéd dialogue of his protagonists, who seem to be unable to go beyond
the surface of things. His latter works, though, clearly also engage
more directly with both human and social reality.</span></p><p><span style="font-size: large;">As
of the 1980s a new generation of writers started putting postmodern
techniques to new ends. Kathy Acker (1947-97; née Karen Lehmann) from
the mid-1970s to her death in 1997 published a number of texts that
combine the experimentalism of Burroughs, Sukenick and Federman with a
militant feminism. Paul Auster (1947-) is most classically postmodern in
his early <i>The New York Trilogy,</i> consisting of <i>City of Glass </i>(1985), <i>Ghosts </i>(1986) and <i>The Locked Room</i> (1986), and in the late <i>Travels in the Scriptorium</i>
(2007), which is not only metafictional but likewise heavily
intertextual and self-reflective in that all characters, except for the
narrator 'Mr. Blank' issue from earlier novels by Auster. Central to the
three novels gathered in <i>The New York Trilogy</i> are questions of language, reality and identity. In <i>City of Glass</i>
the protagonist, Quinn, on a whim takes on the role of 'the detective
Paul Auster' to investigate a case loosely based on the histories of
Caspar Hauser and the wild boy of Aveyron, later meets 'the author Paul
Auster', gradually loses all his possessions and his identity, and in
the end turns out to have literally dissolved into thin air, the only
evidence of his ever having been anywhere being a little red notebook.
In <i>Ghosts </i>a private detective called 'Blue' is hired by 'White'
to observe 'Black'. But Black is a detective too, hired to observe
someone. Moreover, it begins to look more and more as if White was
actually Black in disguise. The story ends with a violent confrontation
between Black and Blue. Blue wins, puts on his hat, and departs, leaving
the reader totally confused. Quinn and the red notebook from <i>City of Glass</i> return in <i>The Locked Room,</i>
be it that the notebook here belonged to Fanshawe, a writer who has
disappeared without a trace and whom Quinn is hired to find, without
result. The narrator, a friend of Fanshawe's, then gradually assumes the
role and identity of Fanshawe, until it appears that Fanshawe is still
alive and the narrator has one last conversation with him, though a
locked door. Fanshawe is a character from the eponymous novel by
Hawthorne, and this is only one of the many intertextual references to
literary canonicals throughout <i>The New York Trilogy.</i> Moreover, a
number of episodes in the life of Fanshawe, as we get to hear it,
correspond with events in the life of Auster himself. In all, <i>The New York Trilogy</i>
is a beguiling play with narrative paradoxes, names and identities, the
borderlines between fiction and reality, and the literary canon,
raising the familiar postmodern issues of language, identity, power,
reality, and the (im)possibility of knowing the latter. </span></p><p><span style="font-size: large;">Auster's many novels following <i>The New York Trilogy</i>
all in one way or another pose the same questions as did his first and
still most popular work. A number of them feature recurring characters,
with Quinn for instance resurfacing in <i>In the Country of Last Things</i> (1987) while the protagonest of that novel, Anna Blume, reappears in <i>Moon Palace</i> (1989). Most of them have most unlikely plots, <i>The Music of Chance</i> (1990) being concerned with the building of an endlessly long and useless wall, and <i>Timbuktu</i> (1999) being narrated by a dog. The majority of Auster's characters suffer from one obsession or another. The protagonist of <i>The Book of Illusions</i>
(2002), for instance, is obsessed by a movie actor that disappeared in
the 1920s. These, and most other fictions by Auster, such as <i>Leviathan</i> (1992) or <i>Oracle Nights</i> (2004), offer a very grim outlook on life, the exception being <i>Mr. Vertigo</i>
(1994), in which a nine-year-old orphan learns how to fly. IN some of
his later fictions Auster casts characters that after a serious disease
or mishap have to get their life back on the rails and make a new
beginning. This is so in <i>Oracle Nights,</i> but also in <i>The Brooklyn Follies</i> (2005). <i>Man in the Dark</i> (2008) sees the U.S. torn apart by a new Civil War, while <i>Invisible</i>
(2009), a novel in four parts modeled on the seasons, harps on Auster's
usual questions about the reliability of language to capture reality,
including memories of the past, and authorship. <i>Sunset Park</i>
(2010), finally, seems less convoluted, perhaps less 'postmodern' than
his earlier work, and once again reflects on how to make a new start in
life.</span></p><p><span style="font-size: large;">With
Richard Powers (1957-) we turn to a set of authors, sometimes referred
to as 'The New American School', who have clearly grown up with
postmodernism as a major influence, but who in various ways go beyond
it. With Powers, as with David Foster Wallace (1962-2008), Mark Z.
Danielewski (1966-), Dave Eggers (1970-) and Jonathan Safran Foer
(1977-), the postmodern connnection most clearly shows in their
fascination with themes of language and identity, and with how they
fashion their narratives to reflect them. Powers made his debut with <i>Three Farmers on Their Way to a Dance</i>
(1985), which is undeniably postmodern in both technique and themes. We
are first given a series of reflections on art, and specifically
photography in the modern era, what the German writer-philosopher Walter
Benjamin (1892-1940), who is quoted by Powers, called 'the era of
mechanical reproduction', followed by episodes in the lives of three
young men photographed on their way to a dance in August 1914, just
before the outbreak of World War I, and by how a Boston editor of a
computer magazine discovers that one of the young men pictured in the
photograph is his grandfater. Finally, however, everything turns out to
be a verbal construct raised on a photograph of three unknown young men
on a country road. <i>Prisoner's Dilemma</i> (1988) likewise plays with
postmodern constructions and masquerades, and alternative realities,
giving Walt Disney Japanese ancestors, for instance. <i>The Gold Bug Variations</i>
(1991) via its title to a story by Edgar Allan Poe, but also to J. S.
Bach's Goldberg Variations as played by the Canadian pianist Glenn
Gould, and to the structure of DNA, the discovery or near-discovery of
which by the scientist-narrator provides the backbone of the novel.
Although undeniably inventive, <i>The Gold Bug Variation </i>risks sacrificing story and character to erudition, and this applies even more to <i>Operation Wandering Soul</i> (1993). In <i>Galatea 2.2 </i>(1995)
Powers himself admits that with his two previous books he had reached a
dead end. He does so by mouth of 'the author Richard Powers' who, after
having written a couple of books (that is to say <i>Prisoner's Dilemma</i> and <i>The Gold Bug Variations</i>)
during a prolonged stay in The Netherlands, on his return to the U.S.
discovers that he has nothing left to say. Like Barth in his 1960s
fictions, though Powers in <i>Galatea 2.2</i> turns this defeat into a triumph by having his author Richard Powers narrate the genesis of his earlier <i>Three Farmers on Their Way to a Dance. </i>If this still sounds very classically postmodern, with his next novel Powers broke out of this mold. <i>Gain</i>
(1998) draws a powerful picture of the rise of corporate America, and
of how the individualistic and visionary entrepreneurism of the
nineteenth century has developed into the nameless and faceless
executive leadership of the late twentieth century. In <i>Plowing the Dark</i>
(2000) computer-generated virtual reality in the service of the
military is juxtaposed to an American being held hostage by guerrillas
in Lebanon, the connecting factor between the two being the threat they
both pose to man's mental sanity. <i>The Time of our Singing</i> (2003)
addresses problems of racial inequality and discrimination via the
marriage and offspring of a German-Jewish immigrnat and an African
American woman. In <i>The Echo Maker</i> (2006) Powers raises questions
about the about the relationship between reality, memory and identity
via a protagonist who, as the result of a car accident, suffers from
Capgras syndrome, the unfounded conviction that someone familiar is in
fact an impostor. At the same time Powers also addresses issues of
nature conservation and land and water use vua a refuge of sandhill
cranes in Nebraska, the setting of the novel. In <i>Generosity: An Enhancement</i>
(2009) the possible discovery of a genetic source of happiness and its
possible or potential commercial misuse provide the central strand. </span></p><p><span style="font-size: large;">In several of his essays, collected in <i>A Supposedly Fun Thing I'll Never Do Again</i> (1997), <i>Consider the Lobster</i> (2005) and <i>Both Flesh and Not</i>
(2012), David Foster Wallace denounced postmodernism for its ironical
anti-humanism and metafictional pirouettes, and for the disrespect it
showed its characters. Instead, he argued for '"real", albeit
pop-mediated characters'. Especially John Barth seems to have served as
Wallace's prime target, as can be seen from the parody of the latter in
the story <i>'</i>Westward the Course of Empire Takes Its Way', from the collection <i>Girl with Curious Hair</i> (1989). A look at his own work, though, and particularly at his debut, <i>The Broom of the System</i>
(1987), leads us to suspect that with these denunciations of his
immediate predecessors Wallace was primarily trying to lay his own
literary ghosts. With characters named Rick Vigorous, Candy Mandible,
Wang-Dang Lang, a talking parrot called 'Vlad the Impaler', a publishing
company that goes by the name 'Frequent and Vigorous' (the director of
which cannot live up to that motto in the bed of the novel's protagonist
Lenore Beardsman), and the zany plan of the Ohio state authorities to
create a 'Great Ohio Desert' to foster recreation, the shadow of Pynchon
looms heavily over <i>The Broom of the System</i>. Add to this that the
plot concerns a search for truth and identity by Lenore, which also
involves a search for her great-grandmother also called Lenore, the
latter having been a student of Wittgenstein, and the relationship
between languasge and reality that is the holy grail of classical
postmodernism reappears again here too.</span></p><p><span style="font-size: large;">Wallace's massive (1079 pages) second novel, <i>Infinite Jest</i>
(1996), definitively established him as one of the most important
voices of his generation. In this novel Wallace, in his own words, tries
to describe 'what it's like to live in America around the millennium'.
The book is set in a near future in which the U.S., Canada and mexico
have united to form the Organization of North American Nations, also
known as O.N.A.N., with a clear Biblical reference. The President of
O.N.A.N. is a former pop-singer and actor, the larger part of New
England and South-Eastern Canada is used as a dump for toxic waste,
transported there by rocket, and society has become commercialized to
the extent that calendar years no longer go by digits but by sponsor
advertisements: 'Year of the Whopper', 'Year of the Tucks Medicated
Pad'. There is a gang of French-Canadian terrorists ('Les Assassins des
Fauteuils Rollents' [<i>sic</i>]) chasing a movie, 'The Entertainment',
that is so impossible to tear oneself away from that its spectators die
from dehydration, and with which the assassins plan to bring down the
hated American society. <i>Infinite Jest</i> also sports 388 endnotes.
All of this sounds very Pynchonesque, but other than his postmodernist
predecessors, and unlike his own earlier work, Wallace in <i>Infinite Jest</i>
focuses on the existential anxieties life in such a disorienting and
disoriented society engenders. What matters, Wallace insists, is that
notwithstanding all the linguistic frolics and jests his characters are
'real' people, with 'real' problems, even if the environment in which
they find themselves is recognizably postmodern. To use postmodern irony
in these conditions would be unforgivable and stand in the way of real
human communication and compassion. Notwithstanding their often comical
use of language and situations, the same move toward what we can broadly
call a variation of psychological realism can also be noted in the
stories collected in <i>Brief Interviews with Hideous Men</i> (1999) and <i>Oblivion</i>
(2004), with the tone of the latter colelction getting grimmer,
influenced by the events of 9/11, which are also referred to a few
times. </span></p><p><span style="font-size: large;">Mark Z. Danielewski's <i>The House of Leaves</i>
created a major stir upon publication in 2000. Of all the more recent
publications this is probably the most orthodoxly postmodern. The
novel's central given is a report of a documentary movie registering how
movie producer Navidson and his crew explore the enormous spaces that
without warning have attached themselves ot his house and that, like the
house itself, can just as unpredictably change shape. The report,
written up by a certain Zampanó, after the latters death is found by
Johnny Truant, an assistant in a tattoo shop and on the brink of
succumbing to his drug addiction. To Zampanó's already copious notes
Truant adds his own, which clearly show him to be sliding into paranoia.
All of this is edited and edited again by nameless further editors that
themselves add the occasional further footnote. Zampanó's notes refer
to both existing and non-existing articles and books, to scholarly and
pseudo-scholarly discussions, and to pseudo-commentaries by Douglas
Hofstadter, Stephen King, and Jacques Derrida. Add o this that the
novel's page lay-out mirrors Navidson's moves, thereby forcing the
reader to sometimes hold the book upside down or at an anlge, uses
different colors, and sports a great number of different fonts,
including braille and musical notations, as well as photobraphs,
drawings, and poems, and that an exhaustive index concludes it all. <i>House of Leaves</i>
is hilariously and irrepresibly inventive in its use of techniques yet
at the same time extremely menacing in atmosphere, even to the point of
horror. As a result, the reader is constantly torn between a distancing
reading of what after all could only be sheer linguistic
construction—literally a 'house of leaves', that is to say leaves of a
book or pages—and a strong emotional response called forth by the
reality of the situations and the characters. It is this tension that
finally yields the meaning, and the greatness, of <i>House of Leaves.</i> In his second novel, <i>Only Revolutions</i>
(2006), loosely modeled on the genre of the road novel, but also
involving a trip through American history, Danielewski tried to outdo
the experimentalism even of <i>House of Leaves.</i></span></p><p><span style="font-size: large;">Dave Eggers gained immediate fame with <i>A Heartbreaking Work of Staggering Genius</i>
(2000) a deeply moving and at the same time hilariously funny
metafictional recount of the period immediately following the decease of
the parents of the protagonist Dave Eggers. When father and mother
Eggers die within a month of one another the three older Eggers
children, but in the first instance Dave, take upon themselves the care
of the much younger Toph. Although based in fact, Eggers' account is
thoroughly fictionalized. The book shows many postmodern features, but
the pain the Eggers children feel is undeniably real and authentic. Not
surprisingly, then, in interviews Eggers has consistently declined to be
identified as a postmodernist, a position borne out by his later books,
such as <i>You Shall Know Our Velocity</i> (2002), in which two friends
find out how difficult it is to give away money on reasonable gounds,
even in desperately poor places, or <i>What is the What: The Autobiography of Valentino Achak Dent</i> (2006), the true story of a Sudanese refuge. In <i>A Hologram for the King</i> (2012) Eggers tackles the excesses of globalization and the personal and collective dramas they lead to.</span></p><p><span style="font-size: large;">In Jonathan Safran Foer's first novel, <i>Everything Is Illuminated</i>
(2002), Jonathan, a young Jewish American, visits the Ukraine in search
of the village where his ancestors emighrated to the U.S. He meets a
young Ukrainian, Alex, who, along with his grandfather, the latter's
unbelievable dog ('Sammy Davis, Junior, called Junior') and equally
incredible car, takes Jonathan to his destination. All this is being
recounted by Alex in a hilarious—and occasionally belabored—varian of
the English language. Alex also keeps up a running correspondence with
Jonathan. The true beginning of the story, thouh, lies in Trachimbrod,
the village Jonathan is looking for. It soon transpires that the history
of Trachibrod is being reconstructed, or better, construed, by Jonathan
, who sends chapters to Alex for the latter's comment. For the longest
time the history of Trachimbrod remains as hilarious as Alex's usage of
English, but it assumes a grimmer outleook when it becomes clear that
Alex's grandfather himself comes from Trachimbrod, that the village has
been wiped off the face of the earth by the Nazis, and that the
grandfather in question has played a less than heroic role in this
event. Issues of memory, reality, and language, and the thin line
between fact and fiction, play a major role in <i>Everything Is Illuminated,</i>
and give the novel a postmodern tinge, but the latter, as with Eggers,
Danielewski, and the later works of Powers, is here again gainsid by
the authenticity of the tragic events and the reality of the characters.
This is less the case in Foer's second novel, <i>Extremely Loud and Incredibly Close</i>
(2005), notwithstanding the fact that this novel is rooted in the
events of 9/11, one of the first novels to do so. Foer's use of
typographical and other tricks recalls Danielewski's <i>House of Leaves,</i>
but his protagonist oscar Schell, a nine-year-old who has lost his
father in the 9/11 attacks, is obviously modeled on Oskar Matzerath in <i>The Tin Drum</i>
(1959) by German writer Günther Grass (1927-[2015]). And a number of
characters and episodes further recall earlier instances of inhuman
behavior, such as the bombardment of Dresden and the dropping of the
atom bomb on Hiroshima by the Allies in World War II. With <i>Eating Animals</i> (2009) Foer made a plea against present-day commercial practices around food, such as factory farming and commercial fishing. </span></p><p><span style="font-size: large;">The work of Nicole Krauss (1974-) shares a number of characteristics and topics with that of Foer. Her first novel, <i>Man Walks into a Room</i>
(2002), although not immediately referring to 9/11 itself, has
nevertheless been seen as expressing the mood of desolation and despair
caused by those events. A novel about memory, the hopelessness and
passing of love, and the loneliness of life, all tied together by a
nuclear experiment conducted in the Mojave desert in 1957, <i>Man Walks into a Room</i>
is an extended symbolical reflection on good and evil, and on the need
for the U.S. to leave the trauma of 9/11 behind while at the same time
searching for its causes. Krauss has listed DeLillo as one of her main
influences, but the mood of <i>Man Walks into a Room</i>,<i> </i>the
apparently aimless conversations, the games with language and memory,
the role of coincidence, and how man suffers all this without
understanding why and without a hold on her or his own existence, also
recall the work of Paul Auster. In fact, the book obliquely refers to
Auster when the desert is compared to a 'hunger artist', a thematic
constant of much of auster's work, especially in his middle period. <i>The History of Love</i>
(2005) is concerned with the Holocaust, features a character from
Slonim, in present-day Belarus, from which one of Krauss's Jewish
grandparents originated, and its plot at least partially truns upon a
manuscript. <i>The Great House</i> (2010), with magical realist traits,
again is rooted in Jewish history, and links the lives of characters
living as far apart as Chile, the U.S. London and Jerusalem via a desk
of many drawers. </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p style="text-align: right;"><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2022/04/postmodernity-in-prose-nivel-avanzado.html" target="_blank">Postmodernity in Prose </a><br /></span></p><span style="font-size: large;"><br /><br /></span><p> </p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-21457824537221331192022-04-27T18:05:00.004+02:002022-04-27T18:05:44.894+02:00Tom Stoppard, ROSENCRANTZ AND GUILDENSTERN ARE DEAD (NIVEL AVANZADO)<br />
<span style="font-size: large;">Tom Stoppard's play, re-scripted and directed by himself.</span><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3YHHHEg3ioc" width="560"></iframe>
<br />
<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Subtitled in Spanish, also here:</span><br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube.com/embed/LcpbKvMLSo8?rel=0" width="640"></iframe> <br />
<br />
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<br />
<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-62485879267604462772022-04-07T19:45:00.002+02:002022-04-07T19:47:20.092+02:00Queen Anne Prose<big><big><small><big><big><small><big><big><small><br />
</small></big></big>
</small></big></big></small></big></big>
<br />
<div style="text-align: right;">
<big><big><small><big><big><small><big><big><small>From
George
Saintsbury's <i>Short
History of English Literature</i> (1907):</small></big></big></small></big></big></small></big></big></div>
<big><big><small><big><big><small><big><big><small><br />
<br />
(From BOOK VIII - THE AUGUSTAN AGES )<br />
<br />
</small></big></big>
</small></big></big></small></big></big>
<br />
<div style="text-align: center;">
<big><big><small><big><big><small><big><big><small>CHAPTER
IV</small></big></big></small></big></big></small></big></big></div>
<div style="text-align: center;">
<big><big><small><big><big><small><big><big><small><br />
</small></big></big></small></big></big></small></big></big></div>
<div style="text-align: center;">
<big><big><small><big><big><small><big><big><small><big>
<span style="font-size: large;">Q</span><big><big><big><big><big><span style="font-size: xx-small;"><big><big>UEEN</big></big></span></big></big></big></big></big>
<span style="font-size: large;">A</span><span style="font-size: xx-small;"><big><big>NNE</big></big></span> <span style="font-size: large;">P</span><span style="font-size: xx-small;"><big><big>ROSE</big></big></span></big></small></big></big></small></big></big></small></big></big></div><p>
<big><big><small><big><big><small><big><big><small><br />
<small>Swift—His life—His verse—His prose—His quality and
achievement—The Essayists—Steele—His plays—Addison's life—His
miscellaneous work—His and Steele's
Essays—Bentley—Middleton—Arbuthnot—Atterbury—Bolingbroke—Butler and
other divines—Shaftesbury—Mandeville—Berkeley—Excellence of his
style—Defoe.</small><br />
<br />
<i>Swift.</i><br />
<br />
<span style="font-size: x-large;"><i> </i></span><span style="font-size: large;"><span style="font-size: x-large;">J</span>OHN
DUNTON</span>,
the eccentric bookseller mentioned at the close of the last chapter,
refers to a certain "scoffing Tubman," with whose identity neither he,
extensive and peculiar as was his knowledge of literary London, nor
almost any one else, was then acquainted. The reference is, of course,
to the <i>Tale of a Tub, </i>published anonymously in 1704—the first
great book, either in prose or verse, of the eighteenth century, and in
more ways than one the herald and champion of its special achievements
in literature. Jonathan Swift,<small><sup>1</sup></small> its author,
one of the very greatest names in English literature, was, like his
connections Dryden and Herrick, a plant of no very early development.
He had been born as far back as 1667, and his earlier literary
productions had been confined to wretched Pindaric odes, some of them
contributed to Dunton's own papers, and drawing down upon him that
traditional and variously quoted sentence of his great relative,
"Cousin Swift, you will never be a [Pindaric] poet," which is said to
have occasioned certain ill-natured retorts on Dryden later. Swift's
origin, like his character and genius, was purely English, but an
accident caused him to be born in Dublin, and other accidents brought
about his education in Ireland. His father died before his birth, and
his mother was very poor: but his paternal uncle paid for his education
at Kilkenny Grammar School and Trinity College, Dublin. He entered
Trinity very early, in 1682, and seems to have been neither happy nor
successful there, though there may have been less disgrace than has
sometimes been thought in his graduation <span style="font-style: italic;">speciali gratia,</span> and not by the
ordinary way of right, in 1686.<br />
<br />
<span style="font-style: italic;">His life.</span><br />
<br />
He was still under twenty, and for some years found no better
connection than a secretaryship in the house of his distant connection,
Sir William Temple. In 1694 he went to Ireland, was ordained, and
received a small living, but in two years returned to Temple, in whose
house he met "Stella," Esther Johnson, his lifelong friend and, as
seems most probable, latterly his wife. Temple died in 1699, leaving
Swift a small legacy and his literary executorship. He once more
returned to Ireland, acted as secretary to Lord-Deputy Berkeley,
received some more small preferments, though not such as he wanted, and
spent the first decade of the century at Laracor, his chief benefice,
and London, where he was a sort of agent for the Archbishop of Dublin.
He had all this time been a kind of Whig in politics, but with a strong
dislike to Whig anti-clericalism and some other differences; and about
1710 he joined the new Tory party under Harley and St. John, and
carried on vigorous war against the Whigs in <span style="font-style: italic;">The Examiner,</span>
though he did not break personal friendship with Addison and others.
His inestimable services during the four last years of Queen Anne were
rewarded only with the Deanery of Dublin—it is said owing to the
Queen's pious horror of the <span style="font-style: italic;">Tale of
a Tub.</span>
Swift lived chiefly in Dublin, but with occasional visits to his
friends in England, for more than thirty years longer, and the events
of his life, the contests of "Vanessa" and "Stella" for his hand, or at
least his heart, his interference with Irish politics, his bodily
sufferings, and the end which, after five terrible years of madness,
painful or lethargic, came in October 1745, are always interesting and
sometimes mysterious. But we cannot dwell on them here, though they
have more to do with his actual literary characteristics than is often
the case. His dependency in youth, his long sojourn in lettered
leisure, though in bitterness of spirit, with a household the master of
which was a dilettante but a distinctly remarkable man of letters, his
suppressed but evidently ardent affections, his disappointment when at
last he reached fame and the chance of power, and his long residence,
with failing health, in a country which he hated—all these things must
be taken into account, though cautiously, in considering his work.</small></big></big></small></big></big></small></big></big></p><div class="separator" style="clear: both; text-align: center;"><big><small><big><big><small><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9XUkU7QsFYbVQ-2mRte3AybDwvbcU9Pu5xn5xaAnWbVI_82tHfD2NB_GFv-Eq4u9lzcLkgxh5jTalWxXMSw6BvuN7obmrymW8RdHtq6-NzOMpTuWSlAyWOr1qEJFNwtyXN0ZFFjYxt-DXgx7p425IaVoimQtDML9vZbV3JjtrIZgognx1Z0suajIqQ/s700/swiftbust.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="508" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO9XUkU7QsFYbVQ-2mRte3AybDwvbcU9Pu5xn5xaAnWbVI_82tHfD2NB_GFv-Eq4u9lzcLkgxh5jTalWxXMSw6BvuN7obmrymW8RdHtq6-NzOMpTuWSlAyWOr1qEJFNwtyXN0ZFFjYxt-DXgx7p425IaVoimQtDML9vZbV3JjtrIZgognx1Z0suajIqQ/s320/swiftbust.jpg" width="232" /></a></small></big></big></small></big></div><big><small><big><big><small><br /><br />
<br />
</small></big></big><big><big><small><span style="font-style: italic;">His verse</span></small></big></big><br />
<big><big><small><br />
This [<span style="font-style: italic;">His work</span>] is of very
great bulk, and in parts of rather uncertain
genuineness, for Swift was strangely carele</small></big></big><big><big><small>ss
of literary reputation,
published for the most part anonymously, and, intense as is his
idiosyncrasy, contrived to impress it on one or two of his intimate
friends, notably on Arbuthnot. It consists of both verse and prose, but
the former is rarely poetry and is at its best in easy <span style="font-style: italic;">vers de société,</span> such as <span style="font-style: italic;">Cadenus and Vanessa</span>
(the record of
his passion or fancy for Esther Vanhomrigh), "Vanbrugh's House," the
pieces to Harley and others, and above all, the lines on his own death;
or else in sheer burlesque or grotesque, where he has seldom been
equalled, as in the famous "Mrs. Harris's Petition," and a hundred
trifles, long and short, of the same general kind. Poetry, in the
strict and rare sense, Swift seldom or never touches; his chief example
of it—an example not absolutely authenticated, seeing that we only
possess it as quoted by Lord Chesterfield—is a magnificent fragment
about the Last Judgment. Here, and perhaps only here in verse, his
characteristic indignation rises to poetic heat. Elsewhere he is
infinitely ingenious and humorous in fanciful whim, and, sometimes at
least, infinitely happy in expression of it, the pains which, do doubt
partly owing to Temple's influence and example, he spent upon correct
prose-writing being here extended and reflected in verse. For Swift,
although not pedantically, or in the sense of manuals of composition, a
correct writer, is so in the higher and better sense to a very unusual
degree; and we know that he was better sense to a very unusual degree;
and we know that he was so deliberately. Several passages, especially
one in the <span style="font-style: italic;">Tatler</span>,<small><sup>2</sup></small>
express his views on the point, and his dislike at once of the other
luxuriance which it was impossible for a man of his time to relish, and
of the inroad of slovenly colloquialism which we have noticed in the
last chapter.<br />
<br />
<br />
<span style="font-style: italic;">His prose</span><br />
<br />
Yet if Swift had been, like his patron, and perhaps in some sort
exemplar, Temple, nothing more, or little more, than a master of form
in prose, his prosition in literature would be very different from that
which he actually holds. His first published prose piece, the <span style="font-style: italic;">Dissenssions of Athens and Rome</span>
(an application, according to the way of the times, to contempoarary
politics), contains, except in point of style, nothing very noticeable.
But the anonymous volume of 1704 is compact of very different stuff.
The <span style="font-style: italic;">Battle of the Books,</span> a
contribution to the "Ancient and Modern" debate on Temple's side and in
Temple's honour, is not supreme, though very clever, admirably written
and arranged, and such as no Englishman recently living, save Butler
and Dryden, could have written, while Butler would have done it with
more clumsiness of form, and Dryden with less lightness of fancy. The <span style="font-style: italic;">Tale of a Tub</span>
has supremacy. It may be peremptorily asserted that irreligion is
neither intended nor involved in it. For nearly two centuries the
ferocious controversies, first between Rome and Protestantism, then
between different bodies of Protestants, had entirely blinded men to
the extreme danger that the rough handling which they bestowed upon
their enemies would recoil on the religion which underlay those
enemies' beliefs as well as their own. Adn this, as well as the other
danger of the excessive condemnation of "enthusiasm," was not seen till
long after Swift's death. But the satire on Peter (Rome), Jack
(Calvinism, or rather the extremer Protestant sects generally), and
Martin (Lutheranism and Anglicanism) displays an all-pervading irony of
thought, and a felicity of expressing that irony, which had never been
seen in English prose before. The irony, it must be added, goes, as far
as things human are concerned, very deep and very wide, and its zigzag
glances at politics, philosophy, manners, the hopes and desires and
pursuits and pleasures and pains of man, leave very little unscathed.
There is a famous and not necessarily false story that Swift, in his
sad latter days, once exclaimed, in reference to the <span style="font-style: italic;">Tale,</span> "What a genius I had when I
wrote that book!" The exclamation, if made, was amply justified. The <span style="font-style: italic;">Tale of a Tub </span>is
one of the very greatest books of the world, one of those in which a
great drift of universal thought receives consummate literary form.<br />
<br />
The decade of his Whiggery (or, as it has been more accurately
described, of his neutral state with Whig leanings) saw no great bulk
of work, but some exquisite examples of this same irony in a lighter
kind. This was the time of the charming <span style="font-style: italic;">Argument against Abolishing Christianity</span>
(1708) and of Swift's contributions to the <span style="font-style: italic;">Tatler,</span> which periodical indeed
owed him a great deal more than the mere borrowing of the <span style="font-style: italic;">nom de guerre</span>—Isaac
Bickerstaffe—which he had used in a seris of ingenious persecutions of
the almanack-maker, Partridge. The shorter period of Tory domination
was very much more prolific in bulk of work, but except in the
wonderful <span style="font-style: italic;">Journal to Stella</span>
(1710-13), which was never intended for any eye but hers (and the
faithful "Dingley's"), the literary interest is a littel inferior. The <span style="font-style: italic;">Examiners</span> are of extraordinary
force and vigour; the <span style="font-style: italic;">Remarks on the
Barrier Treaty</span> (1712), the <span style="font-style: italic;">Public
Spirit of the Whigs</span> (1714), and above all the <span style="font-style: italic;">Conduct of the Allies</span>
(1711), which Johnson so strangely decried, are masterly specimens of
the political pamphlet. The largest work of this time, the <span style="font-style: italic;">History of the Four Last Years of Queen
Anne,</span> is sometimes regarded as doubtfully genuine, though there
is no conclusive reason for ruling it out. <br />
<br />
His very greatest prose work, however, dates from the last thirty years
of his life, and especially from the third, fourth and firth lustres of
this time, for the last was darkened by his final agony, and in the
first decade he was too marked a man to venture on writing what might
have brought upon him the exile of Atterbury or the prison of Harley
and Prior. He began at once, however, a curious kind of Irish
patriotism, which was in fact nothing but an English <span style="font-style: italic;">Fronde.</span> In 1724 some jobbery about
a new copper coinage in Ireland gave him a subject, and he availed
himself of this in the <span style="font-style: italic;">Drapier's
Letters</span>
with almost miraculous skill; while two years later came the greatest
of all his books, greater for method, range, and quiet mastery than
even the <span style="font-style: italic;">Tale,</span> that is to say
<span style="font-style: italic;">Gulliver's Travels.</span> The short
but consummate <span style="font-style: italic;">Modest Proposal</span>
for eating Irish children, the pair to the <span style="font-style: italic;">Argument against Abolishing Christianity,</span>
as a short example of the Swiftian irony, came in 1729; and the chief
of his important works later were the delightful <span style="font-style: italic;">Polite Conversation</span>
(1738), probably written or at least begun much earlier, in which the
ways and speeches of ordinary good society are reproduced with infinite
humour and spirit, and the <span style="font-style: italic;">Directions
to Servants,</span>
almost as witty, but more marked with Swift's ugliest fault, a
coarseness of idea and language, which seems rather the result of
positive and individual disease than the survival of Restoration
license.<br />
<br />
<span style="font-style: italic;">His quality and achievement</span><br />
<br />
There is no doubt that on the whole Swift's peculiar powers, temper,
and style are shown in his one generally known book as well as anywhere
else. The absence of the fresher, more whimsical, and perhaps even
deeper, irony and pessimism of the <span style="font-style: italic;">Tale
of a Tub,</span>
and the loss of self-control indicated in the savage misanthropy of the
Hoyhnhnms finale, are compensated by a more methodical and intelligible
scheme, by the charm of narrative, by range and variety of subject, and
by the abundance of little lively touches which that narrative suggests
and facilitates. The mere question of the originality of the scheme is,
as usual, one of the very slightest importance. Swift had predecessors,
if he had not patterns, in Lucian and in scores of other writers down
to and beyond Cyrano de Bergerac. The idea, indeed, of combining the
interest and novelty of foreign travel with an obvious satire on
"travellers' tales," and a somewhat less obvious one on the follies,
vices, and contrasted foibles of mankind, is not beyond tthe range of
an extremely moderate intellect, and could never be regarded as the
property or copyright even of the greatest. It is the astonishing
vigour and variety of Swift's dealing with this public stuff that
craves notice: and twenty times the space here available would be too
little to do justice to that. The versatility with which the picture—it
can hardly even at its worst be called the caricature—of mankind is
adjusted to the different meridians of the little people the giants,
the pedants, the unhappy inmortals, and the horses—the dexterous relief
of the satirists' lash with the mere tickling of the humourist—the
wonderful prodigality of power and the more wonderful economy of words
and mere decorations—all these things deserve the most careful study,
and the most careful study will not in the least intefere with, but
will only enhance, the perpetual enjoyment of them.<br />
<br />
It only remains to point out very briefly the suitableness of the style
to the work. Swift's style is extremely unadorned, though the unfailing
spirit of irony prevents it from being, exept to the most poor and
unhappy tastes, in the very least degree flat. Though not free from
grammatical licenses, it is on the whole corret enough, and is
perfectly straightforward and clear. There may be a very different
meaning lurking by way of innuendo behind Swift's literal and
grammatical sense, but that sense itself can never be mistaken.
Further, he has—unless he deliberately assumes them as the costumes of
a part he is playing—absolutely no distinguishing tricks or manners, no
catchwords, and in especial no unusual phrases or vocables either
imitated or invented. In objecting to neologisms, as he did very
strongly, he was perhaps critically in the wrong; for a language which
ceases to grow dies. But, like some, though by no means all, similar
objectors, he has justified his theory by his practice. In fact, if
intellectual genius and literary art be taken together, no
prose-writer, who is a prose-writer mainly, is Swift's superior, and a
man might be hard put to it to say who among such writers in the
plainer English can be pronounced his equal.<br />
<br />
<span style="font-style: italic;">The Essayists</span><br />
<br />
It has been said that it is hard to settle the credit of the invention
of the Queen Anne Essay, in which the characteristic of the later
Augustan period was chiefly shown. For years before it appeared, the
essay-writers, from Bacon to Temple on the one hand, and the
journalists, of whom the most remarkable were mentioned at the close of
the last chapter, on the other, had been bearing down nearr and nearer
to this particular point. The actual starting is usually assigned to
the <span style="font-style: italic;">Review </span>of
a greater than any of these journalists, Daniel Defoe, who will,
however, find a more suitable place later in this chapter. And it is
noteworthy that Swift, whose fertility in ideas was no less remarkable
than the nonchalance with which he abandoned them or suggested them to
his friends, was most intimate with Steele and Addison just at the time
of the appearance of the <span style="font-style: italic;">Tatler,</span>
lent it a <span style="font-style: italic;">nom de guerre,</span>
wrote for it, and may in different metaphors be said to have given it
inspiration, atmosphere, motive power, launch. But it was undoubtedly
set agoing under the management of another person, Steele, and he need
not be deprived of the honour.<br />
<br />
Richard Steele was born in Dublin in March 1672, but he had little to
do with Ireland afterwards. His school was the Charterhouse, and from
it he went to Merton College at Oxford, where he was postmaster. But
though he made some stay at the University he took no degree, and left
it for the army, beginning as a cadet or gentlemen volunteer in the
second Life Guards, whence he passed as an ensign to the Coldstreams
and as a captain to Lucas's foot. He became Gazetteer in 1707, and a
little later engaged, with more zeal than discretion, in Whig politics,
being expelled from the House of Commons in the turbulent last years of
Anne. The success of the Hanoverians restored him to fortune, or the
chance of it, and he was knighted and made patentee of Drury Lane. But
he was always a spendthrift and a speculator, and in his later years he
had to retire to an estate which his second wife (an heiress in Wales
as the first had been in the West Indies) had brougth him near
Caermarthen. He died there in 1729. His letters and even his regular
works tell us a great deal about his personality, which, especially as
contrasted with that of Addison, has occasioned much writing.<br />
<br />
Steele's desertion of the University for the army might not seem to
argue a devotion to the Muses. But he began<small><sup>3</sup></small>
while still a soldier by a book of devotion, <span style="font-style: italic;">The Christian Hero</span> (1701), and it
was not in him, whatever it might have been in another, at all
inconsistent to turn to play-writing, in which occupation he observed,
though not excessively, the warnings of Jeremy Collier. The <span style="font-style: italic;">Tatler</span> (1709) opened his true vein,
and in it, in the <span style="font-style: italic;">Spectator,</span>
in the <span style="font-style: italic;">Guardian,</span> in the <span style="font-style: italic;">Englishman, Lover,</span> and other
periodicals, he displayed a faculty for miscellany more engaging,
though much less accomplished, than Addison's own. In the political
articles of this series, and still more in his political pamphlets, he
is at his worst, for he had no argumentative faculty, and was utterly
at the mercy of such an opponent as Swift. <span style="font-style: italic;">The Conscious Lovers,</span> his most
famous play, was late (1722) and is distinguished, amid the poor plays
between Farquhar and Sheridan, for its mixture of briskness and
amiability. There was a third ingredient, sentimentality, which is
indeed sufficiently prominent in Steele's earlier comedies, <span style="font-style: italic;">The Funeral</span> (1701), <span style="font-style: italic;">The Lying Lover</span> (1703), and <span style="font-style: italic;">The Tender Husband</span> (1705), and by
no means absent from his essays. But, with a little allowance, it adds
to these latter a charm which, though it may be less perceptible to
later generations than it was to those who had sickened at the
ineffable brutality of the time immediately preceding, can still be
felt.<br />
<br />
<span style="font-style: italic;">His plays<br />
<br />
</span>Of the plays, though all endeavor to carry out Collier's
principles, <span style="font-style: italic;">The Conscious Lovers</span>
is the only one which deserves Fielding's raillery, through Parson
Adams, as to its being "as good as a sermon," which Hazlitt has rather
unfairly extended to all. Even <span style="font-style: italic;">The
Conscious Lovers</span>
contains, in the scenes between Tom and Phyllis, pictures of flirtation
below stairs which, with all Steele's tenderness and good feeling, have
nearly as much vivacity as any between the most brazen varlets and
baggages of the Restoration dramatists. <span style="font-style: italic;">The Lying Lover,</span> an adaptation of <span style="font-style: italic;">Le Menteur,</span> is of no great merit,
perhaps because it also has a slight tendency to sermonising. But <span style="font-style: italic;">The Funeral,</span>
though very unnatural in plot and decidedly unequal in character,
contains a famous passage of farcical comedy between an undertaker and
his mates, and a good though rascally lawyer. The most uniformly
amusing of the four is <span style="font-style: italic;">The Tender
Husband,</span>
though the appropriateness of the title is open to question. The pair
of innocents, the romantic heiress Biddy Tipkin and the clumsy heir
Humphry Gubbin, are really diverting, and in the first case to no small
extent original; while they have furnished hints to no less successors
than Fielding, Goldsmith, Sheridan, and Miss Austen. The lawyer and the
gallant are also distinctly good, and the aunt has again furnished
hints for Mrs. Malaprop, as Biddy has for Lydia. Steele, who always
confessed, and probably as a rule exaggerated, his debts to Addison,
acknowledges them here; and there is a certain Addisonian tone about
some of the humours, though Steele was quite able to have supplied
them. Fond as he was of the theatre, however, and familiar with it, he
had little notion of constructing a play, and his morals constantly
tripped up his art. The essay, not the drama, was his real field.<br />
<br />
The almost inextricable entanglement of the work of Steele with
Addison's, and the close connection of the two in life, have always
occasioned a set of comparison, not to the advantage of one, now to
that of the other, in literary history; and there is probably more loss
than gain in the endeavour to separate them sternly. We may therefore
best give Addison's life, and such short sketch of his books as is
possible now, and then consider together the work, still in parts not
very clearly attributable to one more than to the other, which gives
them, and must always give them, an exalted place in English literature.<br />
<br />
<span style="font-style: italic;">Addison's life</span><br />
<br />
Joseph Addison<small><sup>4</sup></small> was born, like Steele, in
1672, but in May instead of March. His father, Lancelot Addison, was a
divine of parts and position, who became Dean of Lichfield. His
mother's name was Jane Gulston. After experience of some country
schools, at one of which he is said to have shared in a "barring-out,"
he, like Steele, went to the Charterhouse and then to Oxford, where he
was first at Queen's then at Magdalen, holding a demyship, taking his
Master's degree in 1693, and being elected to a Fellowship in 1697, at
the latter college, where "Addison's Walk" preserves his name. He made
early acquaintance with Dryden, but adopted Whig politics; and, by the
influence of Montague, obtained in 1699 a travelling pension of <span style="font-style: italic;">£</span>300
a year. He discharged the obligation loyally, remaining four years
abroad, visiting most parts of the Continent, and preparing, if not
finishing, his only prose works of bulk, the <span style="font-style: italic;">Remarks on Italy</span> (1704) and the <span style="font-style: italic;">Dialogues on Medals,</span>
not published till later. But when he came back in 1703, Halifax was
out of favour, his pension was stopped, and, having broken off his
University career by his failure to take orders, he was for some time
in doubtful prospects. But his poem of <span style="font-style: italic;">The Campaign,</span>
in which he celebrated Blenheim (1704), with one fine passage and a
good deal of platitude, gained high reputation in the dearth of
poetical accomplishment, and the short summer of favour for men of
letters, which followed Dryden's death; and he was made a Commissioner
of Excise. <br />
<br />
This was the first of a long series of appointments, official and
diplomatic, which was not, thanks to Swift, entirely interrupted even
during the Tory triumph, and which enabled Addison, who had been in
1703 nearly penniless, to lay out, in 1711, </small></big></big></small></big><big><big><small><big><big><small><big><big><small><span style="font-style: italic;">£</span>10,000
on an estate in Warwickshire. It culminated in 1717, after the
Hanoverian triumph, by his being appointed Secretary of State, which
office he held but a short time, resigning it for a large pension. He
had a year before married the Countess Dowager of Warwick, and he died
of dropsy at Holland House in 1719, aged only forty-seven. His
character has been discussed, not with acrimony, for no one can dislike
Addison, but with some heat. He had none of the numerous foibles of
which Steele was guilty, except a rather too great devotion to wine.
But the famous and magnificent "Character of Atticus," by Pope, is
generally supposed by all but partisans to be at best a poisoned dart,
which hit true. His correct morality —the Bohemian philosopher
Mandeville called him "a parson in a tie-wig"—has been set down to
cold-bloodedness, and there has even been noticeable dissension about
the relative amount of literary genius in him and in Steele.<br />
<br />
<span style="font-style: italic;">His miscellaneous work<br />
</span><br />
As noticed already, Addison's literary work outside periodicals is by
no means small. His early Latin poems are very clever, and very happy
in their artificial way. Of his English verse nothing has survived,
except his really beautiful hymns, where the combination of sincere
religious feelings (of the sincerity of Addison's religion there is
absolutely no doubt, though it was of a kind now out of fashion) and of
critical restraint produced things of real, though modest and quiet,
excellence. "The Lord my pasture shall prepare," "The spacious
firmament on high," and "How are thy servants blest! O Lord," may lack
the mystical inspiration of the greatest hymns, but their cheerful
piety, their graceful use of images, which, though common, are never
mean, their finish and even, for the time, their fervour make them
singularly pleasant. The man who wrote them may have had foibles and
shortcomings, but he can have had no very grave faults, as the authors
of more hysterical and glowing compositions easily might.<br />
<br />
The two principal prose works are little read now, but they are worth
reading. They show respectable learning (with limitations admitted by
such a well-qualified and well-affected critic as Macaulay), they are
excellent examples (though not so excellent as the Essays) of Addison's
justly famous prose, and they exhibit, in the opening of the <span style="font-style: italic;">Medals</span> and in all the descriptive
passages of the <span style="font-style: italic;">Italy,</span>
the curious insensibility of the time to natural beauty, or else its
almost more curious inability to express what it felt, save in the
merest generalities and commonplaces. <br />
<br />
The three plays at least indicate Addison's possession, though in a
much less degree, of his master Dryden's general faculty of literary
craftsmanship. The opera of <span style="font-style: italic;">Rosamond</span>
is, indeed, clearly modelled on Dryden in its serious parts, but is no
great success there. The lighter and more whimsical quality of
Addison's humour enabled him to do better in the farcical passages,
which, especially in the speeches of Sir Trusty, sometimes have a
singularly modern and almost Gilbertian quality to them. The comedy of <span style="font-style: italic;">The Drummer,</span> where a Wiltshire
tradition is used to make a play on a theme not entirely different from
Steele's <span style="font-style: italic;">Funeral</span>
(in each a husband is thought to be dead when he is not), contains,
like Steele's own pieces, some smart "words," but no very good dramatic
situation or handling. It is, also like Steele's, an attempt to write
Restoration drama in the fear of Jeremy Collier. <span style="font-style: italic;">Cato, </span>the
most famous, is at this time of day by far the least interesting. Its
universally known stock-pieces give almost all that it has of merit in
versification and style; as a drama it has an uninteresting plot,
wooden characters, and a great absence of life and idiosyncrasy. <br />
<br />
<span style="font-style: italic;">His and Steele's Essays<br />
<br />
</span>It is very different when we turn to the Essays. The so-called
Essay which Steele launched in the <span style="font-style: italic;">Tatler,</span>
which was taken up and perfected in the <span style="font-style: italic;">Spectator,</span>
which had numerous immediate followers, and a succession of the
greatest importance at intervals throughout the century, and which at
once expressed and influenced the tone and thought of that century
after a fashion rarely paralleled, was not originally started in quite
the form which it soon assumed, and never, for the greater part of a
hundred years, wholly lost. Naturally enough, Steele at first
endeavoured to make it a newspaper, as well as a miscellany and review.
But by degrees, and before very long, news was dropped, and comment, in
the form of special essays, of "letters to the editor," sometimes real,
oftener manufactured, of tales and articles of all the various kinds
which have subsisted with no such great change till the present day,
reigned alone. As Addison's hand prevailed—though literature, religion,
and even politics now and then, the theatre very often, and other
things were not neglected—the main feature of the two papers, and
especially of the <span style="font-style: italic;">Spectator,</span>
became a kind of light but distinctly firm censorship of manners,
especially the part of them nearest to morals, and of morals,
especially the part of them nearest to manners. Steele, always zealous
and always generous, but a little wanting in criticism, not
infrequently diverged into sentimentality. Addison's tendency, though he, too, was unflinchingly on virtue's side, was
rather towards a very mellow and not unindulgent but still quite
distinctly cynical cynicism—a smile too demure ever to be a grin, but
sometimes, except on religious subjects, faintly and distantly
approaching a sneer. This appears even in the most elaborate and kindly
of the imaginative creations of the double series, Sir Roger de
Coverley, whom Steele indeed seems to have invented, but whom Addison
adopted, perfected, and (some, perhaps without reason, say) even killed
out of kindness, lest a less delicate touch should take the bloom out
of him. This great creation, which comes nearer than anything out of
prose fiction or drama to the masterpieces of the novelists and
dramatists, is accompanied by others hardly less masterly; while
Addison is constantly, and Steele not seldom, has sketches or touches
as perfect in their way, though less elaborate. It is scarcely too much
to say that these papers, and especially the<span style="font-style: italic;"> Spectator, </span>taught
the eighteenth century how it should, and especially how it should not,
behave in public places, from churches to theatres; what books it
should like, and how it should like them; how it should treat its
lovers, mistresses, husbands, wives, parents, and friends; that it
might politely sneer at operas, and must not take any art except
literature too seriously; that a moderate and refined devotion to the
Protestant religion and the Hanoverian succession was the duty, though
not the whole duty, of a gentleman. It is still a little astonishing to
find with what docility the century obeyed and learnt its lesson.
Addison died a little before, Steele not much after, its first quarter
closed; yet in the lighter work of sixty or seventy years later we shall
find, with the slightest differences of external fashion, the laws of
the <span style="font-style: italic;">Spectator </span>held still by
"the town" with hardly a murmur, by the country without the slightest
hesitation. In particular, those papers taught the century how to
write; and the lesson was accepted on this point with almost more
unhesitating obedience than on any other. The magnificent eulogy of
Johnson, who had himself deviated not a little, though perhaps
unconsciously, from Addisonian practice, would have been disputed by
hardly any one who reached manhood in England between the Peace of
Utrecht and the French Revolution; and, abating its exclusiveness a
little, it remains true still.<br />
<br />
Steele, though he has some rarer flights than his friend, is much less
correct, and much less polished; while, though he had started with
equal chances, his rambling life had stored him with far less learning
than Addison possessed. The latter, while he never reached the massive
strength and fiery force of Swift, did even more than Swift himself to
lift English prose out of the rut, or rather quagmire, of colloquialism
and slovenliness in which, as we have seen, it was sinking. He could
even though he rarely did, rise to a certain solemnity—caught, it may
be, from Temple, who must have had much influence on him. But, like
Temple's, though with a more modern, as well as a more varied and
completely polished, touch, his style was chiefly devoted to the
"middle" subjects and manners. He very rarely attempts sheer whimsical
fooling. But he can treat all the subjects that come within the purview
and interests of a well-bred man of this world, who by no means forgets
the next, in a style quite inimitable in its golden
mediocrity—well-informed, without being in the least pedantic; moral,
without direct preaching (unless he gives forewarning); slightly
superior, but with no provoking condescension in it; polite, without
being frivolous or finicking; neat, but not overdressed; easy, but, as
Johnson justly states, never familiar in any offensive degree. It is
easier to feel enthusiasm about Steele, who had so much, than about
Addison, who at any rate shows so little; and on the character, the
genius, the originality, of the two there may always be room for
dispute. But it seems incredible that any one should deny to Addison
the credit of being by far the greater artist, and of having brought
his own rather special, rather limited, but peculiar and admirable
division of art to a perfection seldom elsewhere attained in letters.
These three greatest writers were surrounded by others hardly less than
great. Arbuthnot, Atterbury, Bentley, Bolingbroke, Mandeville, the
younger Shaftesbury, Berkeley, Butler, Middleton, were all either
actual contributors to the great periodical series, or intimately
connected with those who wrote these, or (which is of equal importance
to us) at any rate exponents of the extremely plain prose style, which
required the exquisite concinnity of Addison, the volcanic and Titanic
force and fire of Swift, or the more than Attic stateliness and grace
of Berkeley, to sabe it from being too plain. The order in which they
are to be mentioned is unimportant, and few can have more than very
brief space, but none must pass unnoticed.<br />
<br />
<span style="font-style: italic;">Bentley</span><br />
<br />
Richard Bentley, a very great classical scholar, and no mean writer of
English, was a Yorkshire man, born in 1662, and educated at Wakefield.
He went early to St. John's College, Cambridge, was taken as a private
tutor into the household of Stillingfleet, took orders not very early,
was made King's Librarian in 1694, engaged, and was completely
victorious, in the Ancient and Modern Controversy, especially in
reference to the <span style="font-style: italic;">Epistles of Phalaris</span>;
was made Master of Trinity in 1699, and passed nearly the whole of his
more than forty years of mastership, till his death in 1742, in a
desperate struggle with his college, wherein, if his adversaries were
unscrupulous, he was no less so, while the right was on the whole
rather against him, though his bull-dog tenacity has won most
commentators on the matter to his side. There is at any rate no doubt
of his learning, his logical power, and his very real, though gruff and
horseplayful, humour. To merely English literature he stands<sup>6</sup>
in two very different relations. His almost incredibly absurd
emendations on Milton would, if the thing were not totally alien from
the spirit of the man, seem like a designed parody on classical
scholarship itself. But his writing, especially in the famous <span style="font-style: italic;">Phalaris</span>
dissertation, and in the remarks of the Deist Collins, is
extraordinarily vigorous and vivid. His birth-date, probably even more
than a design to avoid the reproach of pedantry, made him colloquial,
homely, and familiar down to the very level from which Swift and
Addison tried to lift, and to a great extent succeeded in lifting
prose; but his native force and his wide learning save him, though
sometimes with difficulty, from the merely vulgar.<br />
<br />
<span style="font-style: italic;">Middleton</span><br />
<br />
Conyers Middleton, Bentley's most deadly enemy, was, like Bentley, a
Yorkshireman, but was much younger, having been born at Richmond in
1683. He went to Trinity young, and was not only a Fellow thereof, but
connected throughout his life with Cambridge, by his tenure of the
offices of University Librarian from 1722 onwards, and Woodwardian
Professor of Geology for a time. He was a man of property, was thrice
married, and held several livings till his death in 1750, though his
orthodoxy was, in his own times and afterwards, seriously impugned. <br />
<br />
This does not concern us here, though it may be observed that Middleton
may be cleared from anything but a rather advanced stage of the
latitudinarianism and dislike of "enthusiasm" which was generally felt
by the men of his time, and which invited—indeed necessitated—the
Evangelical and Methodist revolt. So, too, we need not busy ourselves
much with the question whether he directly plagiarised, or only rather
breely borrowed from the Scotch Latinist, Bellenden, in his longest and
most famous prose work, the <span style="font-style: italic;">Life of Cicero</span>
(1741). Besides this, he wrote two controversial works of
length—ostensibly directed against Popery, certainly against extreme
supernaturalism, and, as his enemies will have it, covertly against
Christianity—entitled <span style="font-style: italic;">A Letter from Rome, showing an exact Conformity between Popery and Paganism</span> (1729), and <span style="font-style: italic;">A Free Inquiry into the Miraculous Powers which are supposed to have existed in the Christian Church</span>
(1748); with a large number of small pamphlets on a variety of
subjects, in treating which he showed wide culture and intelligence.
His place here, however, is that of the most distinguished
representative of the absolutely plain style—not colloquial and
vernacular like Bentley's, but on the other hand attempting none of the
graces which Addison and Berkeley in their different ways achieved—a
style more like the plainer Latin or French styles than like anything
else in English.<br />
<br />
<span style="font-style: italic;">Arbuthnot</span><br />
<br />
John Arbuthnot,<sup>8</sup> the "moon" of Swift, born 1667, came of the noble
family of that name in Kincardineshire, but went to Oxford, and spent
all the latter part of his life in London, where he was physician to
Queen Anne, a strong Tory, and an intimate friend of Swift and Pope. He
died in 1735, much respected and beloved. Arbuthnot's literary fate, or
rather the position which he deliberately chose, was peculiar. It is
very difficult to identify much of his work, and what seems certainly
his (especially the famous <span style="font-style: italic;">History of John Bull</span> and <span style="font-style: italic;">The Memoirs of Scriblerus)</span>
is exceedingly like Swift, and was pretty certainly produced in concert
with that strange genius, who, unlike some animals, never took colour
from his surroundings, but always gave them his own. It is, however,
high enough praise that Arbuthnot, at the best of his variable work, is
not inferior to anything but the very best of Swift. There is the same
fertility and the same unerringness of irony; and, if we can
distinguish, it is only that a half or wholly good-natured amusement
takes the place of Swift's indignation.<br />
<br />
<span style="font-style: italic;">Atterbury</span><br />
<br />
Francis Atterbury,<sup>9</sup> born in Buckinghamshire in 1672, a
distinguished Christ Church man, who, after being head of his house,
obtained the bishopric of Rochester and the Deanery of Westminster in
succession to Sprat, was the divine and scholar of the extreme Tory
party, as Arbuthnot was their man of science. He has been accused not
merely of conspiring after the Hanoverian succession, but of denying
it, and sailing too near perjury in this denial. Of this there is no
sufficient proof, and we must remember that the political ethics of the
age were extremely accomodating. He was at any rate attained, and
banished (in 1723) to France, where he died nine years later. A
brilliant and popular preacher, a pleasant letter-writer, a most
dangerous controversialist and debater, and a good critic (though he
made the usual mistakes of his age about poetry before Waller),
Atterbury wrote in a style not very unlike Addison's, though inferior
to it. <br />
<br />
<span style="font-style: italic;">Bolingbroke</span><br />
<br />
The huge contemporary fame of Henry St. John, Viscount Bolingbroke,<sup>10</sup>
and its rapid and lasting decline after his death, are among the
commonplaces of literary history. He was born in 1678, passed through
Eton and Christ Church, entered Parliament very early, was Secretary
for War at six-and-twenty, climbed with Harley to power, and contrived
to edge his companion "out," but remained "in" himself only a few days,
fled to the Continent, returned to England and recovered his estates,
but not his seat in Parliament, in 1723, organised and carried out the
English <span style="font-style: italic;">Fronde </span> against
Walpole, and died in 1751. His career—for he was as famous for
"wildness" as for success—was one of those which specially appeal to
the vulgar, and are not uninteresting even to unvulgar tastes. He was
beyond question one of the greatest orators of his day, and he was
extravagantly praised by his friends, who happened to include the chief
poet and the greatest prose writer of the time. Yet hardly any one who
for generations has opened the not few volumes of his works has closed
them without more or less than profound disappointment. Bolinbroke,
more than any other English writer, is a rhetorician pure and simple;
and it was his misfortune, first, that the subjects of his rhetoric
were not the great and perennial subjects, but puny ephemeral forms of
them—the partisan and personal politics of his day, the singularly
shallow form of infidelity called Deism, and the like—and, secondly,
that his time deprived him of many, if not most, of the rhetorician's
most telling weapons. The <span style="font-style: italic;">Letter to Windham</span> (1716), a sort of apologia, and the <span style="font-style: italic;">Ideal of a Patriot King</span> (1749) exhibit him at his best. <br />
<br />
<span style="font-style: italic;">Butler and Other Divines</span><br />
<br />
Benjamin Hoadly (1676-1761), a pluralist courtier, and more than
doubtfully orthodox divine on the Whig side, held four sees in
succession, in one at least of which he was the cause of much
literature, or at least many books, by provoking the famous "Bangorian"
controversy. He himself wroter clearly and well. Nor can the same
praise be denied to Samuel Clarke (1675-1729) philosopher, physicist,
and divine. There is more diversity of opinion about the purely
literary merites, as distinguished from the unquestioned claims in
religious philosophy, of Bishop Joseph Butler, who was born at Wantage
in 1692, left Nonconformity for the Church, went to Oriel, became
preacher at the Rolls Chapel, Rector of Stanhope, Bishop of Bristol,
Dean of St. Paul's, and, lastly, Bishop of Durham, owing these
appointments to no cringing or intrigue, but to his own great learning,
piety, wisdom, and churchmanship, fortunately backed by Queen
Caroline's fancy for philosophy. Butler's <span style="font-style: italic;">Sermons,</span> published in 1726, and his <span style="font-style: italic;">Analogy of Natural and Revealed Religion</span>
ten years later, occasionally contain aphorisms of beauty equal to
their depth; but it is too much to claim "crispness and clearness" for
his general style,<sup>11</sup> which is, on the contrary, too often obscure and tough.<br />
<br />
<span style="font-style: italic;">Shaftesbury</span><br />
<br />
Anthony Ashley Cooper, Earl of Shaftesbury, the third of his names and
title, the grandson of "Achitophel," and the son of the "shapeless
lump" (a phrase for which he never forgave Dryden), was born in 1671.
His mother was Lady Dorothy Manners. He was brought up partly by a
learned lady, and partly by Locke. He was for three years at
Winchester, went to no University , and travelled a good deal abroad.
He sat for a short time in the House of Commons, but made no figure
there or in the House of Lords, where, during nearly the whole time of
his tenure of the earldom (1699-1713), politics, whether Whig or Tory,
were of too rough a cast for his dilettantism. He died, after more
foreign travel, in 1713. His writings, scattered and not extensive, had
been collected two years before as <span style="font-style: italic;">Characteristics of Men, Manners, Opinions, Times.</span><sup>12</sup>
Shaftesbury was an original and almost powerful thinker and writer,
spoilt by an irregular education, a sort of morbid aversion from
English thought generally, an early attack of Deism, and a strong touch
of affectation. Much harm has been done to him by Lamb's description of
his style as "genteel," a word in Lamb's time and later not connoting
the snobbishness which has for half a century been associated with it.
"Superfine," the usual epithet, is truer; though Dr. George Cambpell,
an excellent critic, was somewhat too severe<sup>13</sup> on
Shaftesbury's Gallicisms, and his imprudent and rather amateurish
engagement in the Deist controversy of the time caused him to be broken
a little too ruthlessly on the wheel, adamantine in polish as in
strength, of Berkeley in <span style="font-style: italic;">Alciphron.</span>
His central doctrine, that ridicule is the test of truth, as well as
his style, are in reality caricatures of Addison, though the dates
preclude any notion of plagiarism. He is full of suggestion, and might
have been a great thinker and writer.<br />
<br />
</small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small><br />
<span style="font-style: italic;">Mandeville<br />
<br />
</span></small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small>Shaftesbury's
superfineness and his optimism seem to have had at least a considerable
share in provoking the cynical pessimism of another remarkable thinker
of this time, Bernard Mandeville, or de Mandeville,<sup>14</sup> a
Dutchman, born at Dordrecht about 1670, who came early to London,
attained a singular mastery in English, practised physic, and died in
1733. There is some mystery, and probably some mystification, about the
origin of <span style="font-style: italic;">The Grumbling Hive,</span> better known by its later title of <span style="font-style: italic;">The Fable of the Bees. </span>No
edition earlier than 1705 is known, but Mandeville claimed a much
earlier date for it. About nine years later a reprint, in 1714, drew
attention, and after yet another nine years another was "presented" by
the Grand Jury of Middlesex, and fiercely denounced by men of such
importance as law and Berkeley. The book, which was constantly
enlarged, is in its final form a cluster of prose tractates, with a
verse nucleus (the original piece) showing how vice made some bees
happy, and virtue made them miserable. A good deal of other work, some
certainly and some probably spurious, is attributed to Mandeville, who
is the Diogenes of English philosophy. An exceedingly charitable
judgment may impute to deliberate paradox, and to irritation at
Shaftesbury's airy gentility, his doctrine that private vices are
public benefits; but the gusto with which he caricatures and debases
everything pure and noble and of good report is, unluckily, too
genuine. He thought, however, with great force and acuteness, despite
his moral twist; he had a strong, fertile, and whimsical humour; and
his style, plebeian as it is, may challenge comparison with the most
famous literary vernaculars in English for racy individuality. <br />
<br />
<span style="font-style: italic;">Berkeley</span><br />
<br />
If, however, Shaftesbury has rather too much of the peacock, and
Mandeville a great deal too much of the polecat, about him, no
depreciatory animal comparison need be sought or feared for George
Berkeley, the best-praised man of his time, and among the most
deserving of praise. He was born in 1685 near Kilkenny, and was
educated first, like swift and Congreve earlier, at its famous grammar
school, and then at Trinity College, Dublin, where he made a long
residence, and wrote his chief purely philosophical works. In 1713 he
went to London , and was introduced to the wits by Swift, after which
he travelled on the Continent for several years. He was made Dean of
Derry in 1724, went with missionary schemes, which were defeated, to
North America, but returned, in 1731, and published the admirable
dialogues of <span style="font-style: italic;">Alciphron.</span> He
was made Bishop of Cloyne in 1714, and for eighteen years resided in
his diocese. A few months before his death, in 1753, he had gone, in
bad health, to Oxford, and he died there. <br />
<br />
Berkeley's principal works,<sup>15</sup> or groups of works, are first—<span style="font-style: italic;">The Theory of Vision</span> (1709), <span style="font-style: italic;">The Principles of Human Knowledge</span> (1710), and the <span style="font-style: italic;">Dialogues of Hylas</span> [Materialist]<span style="font-style: italic;"> and Philonous</span>
[partisan of mind], in which, continuing the Lockian process of
argument against innate ideas, he practically re-established them by a
further process of destruction, and brought down on himself a great
deal of very ignorant attack or banter for his supposed denial of
matter. The above-mentioned <span style="font-style: italic;">Alciphron; or, the Minute Philosopher,</span>
is a series of dialogues, in which the popular infidelity of the day,
whether optimist like Shaftesbury's, pessimistical like Mandeville's,
or one-sidedly critical like that of the Deists proper, is
attacked in a fashion which those who sympathise with the victims
accuse of occasional unfairness, but which has extraordinay cogency as
polemic, and extraordinary brilliance as literature. His last important
work was <span style="font-style: italic;">Siris,</span> and odd
miscellany, advocating tar-water for the body, and administering much
excellent mysticism to the soul; but he wrote some minor things, and a
good many letters, diaries, etc., which were not fully published till
the later years of the present century [19th].<br />
<br />
<span style="font-style: italic;">Excellence of his style</span><br />
<br />
Unusually good as a man, and unusually great as a philosopher, Berkeley
would have stood in the first rank as a mere writer had his character
been bad or unknown, and the matter of his writings unimportant. The
charm of his style is at once so subtle and so pervading that it is
extremely difficult to separate and define it. He has no mannerisms;
although he is a most accomplished ironist, he does not depend upon
irony for the seasoning of his style, as, in different ways, do Addison
and Swift; he can give the plainest and most unadorned exposition of an
abstruse, philosophical doctrine with perfect literary grace. And (as,
for instance, in Lysicles' version of Mandeville's vices-and-benefits
argument) he can saturate a long passage with satiric innuendo, never
once breaking out into direct tirade or direct burlesque. He can
illustrate admirably, but he is never the dupe of his illustrations. He
is clearer even than Hobbes and infinitely more elegant, while his
dialect and arrangement, though originally arrived at for argumentative
purposes, or at least in argumentative works, are equally suited for
narrative, for dialogue, for description, for almost every literary
end. Were it not for the intangibleness, and therefore the
inimitableness, of his style, he would be an even better general model
than Addison; and, as it is, he is unquestionably the best model in
English, if not in any language, for philsoophical, and indeed
for argumentative, writing generally.<br />
<br />
<span style="font-style: italic;">Defoe</span> <br />
<br />
Daniel Defoe,<sup>16</sup> the link between the great essayists of the
earlier and the great novelists of the middle years of the eighteenth
century—one of the most voluminous and problematical of English
writers, as well as one of all but the greatest—a man, too, of very
questionable life and character—could not be fully discussed in any
compendious history of English literature. But luckily it is by no
means necessary that he should be so discussed, the strictly literary
lines of his work being broad and clear, and the problems both of it
and of his life being such as may, without any loss, be left to the
specialist. He was born, it would seem, in 1659 (not , as used to be
though, 1661) in the heart of London, St. Giles's, Cripplegate, where
his father (whose name was certainly Foe) was a butcher. It is not
known for what reason or cause Daniel, when more than fifty, assumed
the "de," sometimes as separate particle, sometimes in composition. He
was well educated, but instead of becoming a Nonconformist minister,
took to trade, which at intervals and in various forms
(stocking-selling, tile-making, etc.) he pursued with no great luck. He
seems to have been a partaker in Monmouth's rebellion, and was
certainly a good deal abroad in the later years of the seventeenth
century, but he early took to the vocation of pamphleteering, which,
with journalism and novel-writing, gave his three great literary
courses. The chief among the many results of this was the famous <span style="font-style: italic;">Shortest Way with the Dissenters </span>(1702),
a statement of the views of the extreme "Highflying" or High Church
party, in which some have seen irony, but which really is the exact
analogue in argument of his future fictions, that is to say, an
imitation of what he wanted to represent so close that it looks exactly
like fact. He was prosecuted, fined, pilloried, and imprisoned, but in
the growing Whig temper of the nation, the piece was undoubtedly very
effective. <br />
<br />
For the greater part of the reign of Queen Anne, and at first in prison, Defoe carried on, from 1704 to 1713, his famous <span style="font-style: italic;">Review,</span>
the prototype to some extent of the great later periodicals, but
written entirely by himself. Before he had been long in prison he was
liberated by Harley, of whose statesmanship, shifting in method, and
strangely compounded of Toryism and Whiggery in principle, Defoe became
a zealous secret agent. He had a great deal to do with negotiating the
Union with Scotland. Nor did Harley's fall put an end to his engagement
in subterranean branches of the public service; for it has long been
known that under the House of Hanover he discharged the delicate, or
indelicate, part ofa Tory journalist, secretly paid by the Whig
Government to tone down and take the sting out of <span style="font-style: italic;">Mist's Journal</span>
and other opposition papers. He lived for a good many years longer, and
did his best literary work in his latest period; but at the last he
experienced some unexplained revolution of fortune, and died at
Moorfields, in concealment and distress, in 1731. <br />
<br />
Of Defoe's, in the strictest sense, innumerable works the following catalogue of the most importan may serve: —</small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small><span style="font-style: italic;">Essay on Projects</span></small></big></big></small></big></big></small></big></big><big><big><small><big><big><small><big><big><small>
(1698), an instance of the restless tendency of the time towards
commercial and social improvements, and of Defoe's own fertility; <span style="font-style: italic;">The True-Born Englishman </span>(1701), an argument in vigorous though most unpoetical verse to clear William from the disability of his foreign origin; the <span style="font-style: italic;">Hymn to the Pillory</span>
(1703), composed on the occasion of his exhibition in that implement,
still more vigorous and a little less unpoetical; the curious political
satire of the <span style="font-style: italic;">Consolidator</span> (1705); the masterly <span style="font-style: italic;">Relation of Mrs. Veal,</span> the first instance of his wonderful "lies like truth"; <span style="font-style: italic;">Jure Divino </span>(1706), worse verse and also worse sense than <span style="font-style: italic;">The True-Born Englishman.</span> But the best of these is poor compared with the great group of fiction of his later years — <span style="font-style: italic;">Robinson Crusoe</span> (1719), <span style="font-style: italic;">Duncan Campbell, Memoirs of a Cavalier,</span> and <span style="font-style: italic;">Captain Singleton </span>(all produced in 1720), <span style="font-style: italic;">Moll Flanders,</span> the <span style="font-style: italic;">History of the Plague, </span>and <span style="font-style: italic;">Colonel Jack</span> (all in 1722), <span style="font-style: italic;">Roxana</span> (1724), and <span style="font-style: italic;">A New Voyage Round the World</span>
(1725). Besides these, he published in his later years, as he had in
his earlier, a crowd of works, small and great, political,
topographical, historical, moral, and miscellaneous.<br />
<br />
It is not of much use to discuss Defoe's moral character, and it is
sincerely to be hoped that no more revelations concerning it will turn
up, inasmuch as each is more damaging than the last, except to those,
who have succeeded in taking his true measure once for all. It is that
of a man who, with no high, fine, or poetical sentiment to save him,
shared to the full the partisan enthusiasm of his time, and its belief
that all was fair in politics. His literary idiosyncrasy is more
comfortable to handle. He was a man of extraordinary industry and
versatility, who took an interest, subject to the limitations of his
temperament, in almost everything, whose brain was wonderfully fertile,
and who had a style, if not of the finest or most exquisite, singularly
well suited to the multifarious duties to which he put it. Also, he
could give, as hardly even Bunyan had given before him, and as nobody
has since, absolute verisimilitude to fictitious presentations. He
seems to have done this mainly by a certain chameleon-like faculty of
assuming the atmosphere and colour of his subject, and by a cunning
profusion of exactly suited and selected detail. It is enough that in <span style="font-style: italic;">Robinson Crusoe</span>
he has produced, by help of this gift, a book which is, throughout its
first two parts, one of the great books of the world in its particular
kind; and that parts of <span style="font-style: italic;">Moll Flanders, Captain Singleton,</span> and <span style="font-style: italic;">Colonel Jack, </span>at
least, are not inferior. Further, the "lift" which Defoe gave to the
novel was enormous. He was still dependent on adventure; he did not
advance mucho, if at all, beyond the more prosaic romantic scheme. But
the extraordinary verisimilitude of his action could not but show the
way to the last step that remained to be taken, the final projection of
character. <br />
<br />
</small></big></big></small></big></big></small></big></big><p></p><p style="text-align: right;"><a href="https://litinglesa.blogspot.com/2022/04/prose-in-age-of-reason.html" target="_blank"><big><big><small><big><big><small><big><big><small>Prose in the Age of Reason</small></big></big></small></big></big></small></big></big></a></p><p><big><big><small><big><big><small><big><big><small><br /></small></big></big></small></big></big></small></big></big></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-38112175498809309492022-04-07T19:38:00.006+02:002022-04-07T19:51:54.789+02:00Prose in the Age of Reason<div style="text-align: right;">
(From Anthony Burgess, <i>English Literature, </i>Longman, 1974)</div>
<br />
<i><b>16. Prose in the Age of Reason</b></i><br />
<br />
Despite the interesting body of verse that the eighteenth century produced, the works that have worn best and that still hold the general reader most are in prose. Defoe and Swift and Fielding hardly seem to have dated, while Pope and his followers seem artificial to modern readers, and require to be looked at through the glass of 'historical perspective'.<br />
<br />
<i>Beginnings of Newspapers</i> <br />
<br />
Daniel Defoe (1660-1731) was a journalist, and that fact itself draws him to our own time. The development of the newspaper and the periodical is an interesting literary sideline of the seventeenth century. The Civil War undoubtedly stimulated a public appetite for up-to-the minute news (such news then was vital) and the Restoration period, with its interest in men and affairs, its information services in the coffee-houses, was developing that wider interest in news—home and foreign—which is so alive today. Defoe is, in many ways, the father of the modern periodical, purveying opinion more than news, and <i>The Review,</i> which he founded in 1704, is the progenitor of a long line of 'well-informed' magazines. Defoe did not see himself primarily as a literary artist: he had things to say to the public, and he said them as clearly as he could, without troubling to polish and revise. There are no stylistic tricks in his writings, no airs and graces, but there is the flavour of colloquial speech, a 'no-nonsense', down-to-earth simplicity. He was—like Swift—capable of irony, however, and his <i>Shortest Way with the Dissenters</i> states gravely that those who do not belong to the Church of England should be hanged. (Defoe himself was a Dissenter, of course). This pamphlet was taken seriously by many, but, when the authorities discovered they had been having their legs pulled, they put Defoe into prison.<br />
<br />
<br />
<i>Defoe novels</i><br />
<br />
The most interesting of Defoe's 'documentary' works is the <i>Journal of the Plague Year</i> (one gets the impression that Defoe was actually present in London during that disastrous time, seriously taking notes, but a glance at his dates shows that this was impossible). But his memory is revered still primarily for his novels, written late in life: <i>Robinson Crusoe,</i> <i>Moll Flanders, Roxana, </i>and others. The intention of these works is that the reader should regard them as true, not as fictions, and so Defoe deliberately avoids all art, all fine writing, so that the reader should concentrate only on a series of plausible events, thinking: 'This isn't a story-book, this is autobiography.' Defoe keeps up the straight-faced pretence admirably. In <i>Moll Flanders</i> we seem to be reading the real life-story of a 'bad woman', written in the style appropriate to her, In <i>Robinson Crusoe,</i> whose appeal to the young can never die, the fascination lies in the bald statement of facts which are quite convincing—even though Defoe never had the experience of being cast away on a desert island and having to fend for himself. The magic of this novel never palls: frequently in England a musical comedy version of it holds the stage during the after-Christmas 'pantomime season'.<br />
<br />
<br />
<i>Other journalists</i> <br />
<br />
Other journalists were Richard Steele (1672-1729) and Joseph Addison (1672-1719). Steele started <i>The Tatler,</i> and Addison later joined him, and their writings in this periodical had a moral purpose—they attempted to improve manners, encourage tolerance in religion and politics, condemn fanaticism, and preach a kind of moderation in all things, including the literary art. Addison comes into his own in <i>The Spectator,</i> started in 1711, and the most valuable articles of that paper are his. His big achievement is the creation of an imaginary club, its members representing contemporary social types, and one member has become immortal—Sir Roger de Coverley. Sir Roger is the old-type Tory, rather simple-minded, throroughly good-hearted, never for long away from his country estate, full of prejudices and superstitions which are meant to make us smile, but smile sympathetically. (Addison himself, by the way, was a Whig). Against Sir Roger is set the Whig merchant, Sir Andrew Freeport, a man of less charm than Sir Roger but of far more intelligence. Addison seems to point to a middle way in politics—there is much good in the old, and one should not scoff at the outmoded ideas of the Tories, but the Whigs stand with progress and with the lies the England of the future.Sir Roger is a fine creation, worthy to rank with any of the eccentrics of eighteenth-century fiction (such as Squire Western in <i>Tom Jones</i>). Addison's prose-style is an admirable compromise: it has the grace and polish of the artist, the ease and flow and simplicity of the journalist. If Addison has a fault, it lies in a certain sentimentality: he likes to provoke tears, and his humour has sometimes an over-gentle whimsicality that makes us long for stronger meat.<br />
<br />
<br />
<i>Swift </i><br />
<br />
The greatest prose-writer of the first part—perhaps the whole—of the century is Jonathan Swift (1667-1745). A great humorist and a savage satirist, his meat is sometimes too powerful even for a healthy stomach. He is capable of pure fun—as in some of his poems—and even schoolboy jokes, but there is a core of bitterness in him which revealed itself finally as mad hatred of mankind. On his own admission, he loved Tom, Dick, and Harry, but hated the animal, Man. Yet he strove to do good for his fellow-men, especially the poor of Dublin, where he was Dean of St. Patrick's. The <i>Drapier's Letters</i> were a series of attacks on abuses of the currency, and the Government heeded his sharp shafts. The monopoly of minting copper money, which had been given to a man called Wood, was withdrawn, and Swift became a hero. In his <i>Modest Proposal</i> he ironically suggested that famine in Ireland could be eased by cannibalism, and that the starving children should be used as food. Some fools took this seriously. His greatest books are <i>A Tale of a Tub </i>and <i>Gulliver's Travels.</i><br />
<br />
The first of these is a satire on the two main non-conformist religions—Catholicism and Presbyterianism. Swift tells the story of three brothers their inheritance (the Chistian religion). The story is farcical and at times wildly funny, but people of his day could perhaps be forgiven if they found blasphemy in it. It certainly shocked Queen Anne so much that she would not allow Swift to be made a bishop, and this contributed to Swift's inner frustration and bitterness. <i> </i><br />
<br />
<br />
<i>Gulliver </i><br />
<br />
<i>Gulliver's Travels</i> hides much of its satire so cleverly that children still read it as a fairy story. It starts off by making fun of mankind (and especially England and English politics) in a quite gentle way: Gulliver sees in Lilliput a shrunken human race, and its concerns—so important to Lilliput—become shrunken accordingly. But in the second part, in the land of the giants, where tiny Gulliver sees human deformities magnified to a feverous pitch, we have something of this mad horror of the human body which obsesses Swift. (According to Dr. Johnson, Swift washed himself excessively—'with Oriental scrupulosity'—but his terror of dirt and shame at the body's functions never disappeared.) In the fourth part of the book, where the Houyhnhnms—horses with rational souls and the highest moral instincs—are contrasted with the filthy, depraved Yahoos, who are really human beings, Swift's hatred of man reaches its climax. Nothing is more powerful or horrible than the moment when Gulliver reaches home and cannot bear the touch of his wife—her smell is the smell of a Yahoo and makes him want to vomit.<br />
<br />
Swift is a very great literary artist, and perhaps only in the present century is his full stature being revealed. He is skilful in verse, as well as in prose, and his experience continues: James Joyce—in his <i>The Holy Office—</i>has written Swiftian verse; Aldous Huxley (in <i>Ape and Essence</i>) and George Orwell (in <i>Animal Farm</i>) have produced satires which are really an act of homage to Swift's genius. Yet <i>Gulliver's Travels</i> stands supreme: a fairy story for children, a serious work for men, it has never lost either its allure or its topicality.<br />
<br />
<br />
<i>Religious writing</i><br />
<br />
The first part of the century is also notable for a number of philosophical and religious works which reflect the new 'rational' spirit. The Deists (powerful in France as well as in England) try to strip Christianity of its mysteries and to establish an almost Islamic conception of God—a god in whom the persons of the Christian Trinity shall have no part—and to maintain that this conception is the product of reason, not of faith. On the other hand, there were Christian writers like William Law (1686-1761) and Isaac Watts (1674-1748) who, the first in prose, the second in simple pious verse, tried successfully to stress the importance of pure faith, even of mysticism, in religion. The religious revival which was to be initiated by John Wesley (1703-91) owes a good deal to this spirit, which kept itself alive despite the temptations of 'rationalism'. Joseph Butler (1692-1752) used reason, not to advance the doctrine of Deism, but to affirm the truths of established Christianity. His <i>Analogy of Religion</i> is a powerfully argued book. The most important philosopher of the early part of the century is Bishop Berkely (1685-1753), whose conclusions may be stated briefly: he did not believe that matter had any real existence apart from mind. A tree exists because we see it, and if we are not there to see it, God is always there. Things ultimately exist in the mind of God, not of themselves. He was answered later by David Hume (1711-76), the Scots philosopher, who could not accept the notion of a divine system enclosing everything. He ould see little systems in the universe: he begins and ends with human nature, which links together a series of impressions, gained by the senses, by means of 'association'. We make systems according to our needs, but there is no system that <i>really exists</i> in an absolute sense. There is no ultimate truth, and even God is an idea that man has developed for his own needs. This is a closely argued kind of sceptical philosophy, very different from Berkeley's somewhat mystical acceptance of reality's being the content of the 'Mind of a God'.<br />
<br />
<br />
<i>Richardson</i> <br />
<br />
The novel develops, after the death of Defoe, with Samuel Richardson (1689-1761), a professional printer who took to novel-writing when he was fifty. Richardson liked to help young women with the composition of their love letters, and was asked by a publisher to write a volume of model letters for use on various occasions. He was inspired to write a novel in the form of a series of letters, a novel which should implant a moral lesson in the minds of its readers (he thought of these readers primarily as women). This novel was <i>Pamela, or Virtue Rewarded,</i> which describes the assaults made on the honour of a virtuous housemaid by an unscrupulous young man. Pamela resists, clinging tightly to her code of honour, and her reward is, ultimately, marriage to her would-be seducer, a man who, despite his brutishness, has always secretly attracted her. It is a strange sort of reward, and a strange basis for marriage, according to our modern view, but this moral persists in cheap novelettes and magazines even today—a girl makes herself inaccessible before marriage, and the man who has tried to seduce her, weary of the lack of success, at last accepts her terms. Richardson's <i>Clarissa</i> is about a young lady of wealth and beauty, virtue and innocence, who, in order to avoid a marriage which her parents are trying to arrange, seeks help from Lovelace, a handsome but, again, unscrupulous young man. Lovelace seduces her. [<i>Actually he <b>rapes</b> her—JAGL.</i>] Repentant, he asks her to marry him, but she will not: instead, worn out by shame, she dies, leaving Lovelace to her remorse. This is a more remarkable novel thatn it sounds: close analysis of character, perhaps for the first time in the history of the novel, looks forward to the great French novelists, Flaubert and Stendhal, and Lovelace has a complexity of make-up hardly to be expected in the literature of the age. <i>Sir Charles Grandison</i> is Richardson's third novel: its hero, full of the highest virtues, wondering which woman duty should compel him to marry, is anaemic and priggish. (A hero should have something of the devil in him.) This novel is far inferior to the other two.<br />
<br />
<br />
<i>Fielding</i><br />
<br />
The greatest novelist of the century is Henry Fielding (1707-54). He started his novel-writing career, like Richardson, almost by accident. Moved to write a parody of <i>Pamela,</i> he found his <i>Joseph Andrews</i> developing into something far bigger than a mere skit. Joseph, dismissed from service because he will not allow his employer, Lady Booby, to make love to him, takes the road to the village where his sweetheart lives, meets the tremendous Parson Adams—who then becomes virtually the hero of the book—and has many strange adventures on the road, meeting rogues, vagabonds, tricksters of all kinds, but eventually reaching his goal and happiness ever after. With Fielding one is inclined to use the term <i>picaresque</i> (from the Spanish <i>pícaro,</i> meaning 'rogue'), a term originally applicable only to novels in which the leading character is a rogue (such as the popular <i>Gil Blas</i> by Le Sage, published between 1715 and 1735). It is a term which lends itself to description of all novels in which the bulk of the action takes place on the road, on a journey, and in which eccentric and low-life characters appear. <i>Don Quixote</i> is, in some ways, picaresque; so is Priestley's <i>The Good Companions.</i> Fielding's <i>Jonathan Wild</i> is truly picaresque, with its boastful, vicious hero who extols the 'greatness' of his every act of villainy (his standards of comparison are, cynically, provided by the so-called virtuous actions of great men) until he mees his end on the gallows or 'tree of glory'. <i>Tom Jones</i> is Fielding's masterpiece. It has its picaresque elements—the theme of the journey occupies the greater part of the book—but it would be more accurate to describe it as a mock-epic. It has the bulk and largeness of conception we expect from an epic, and its style sometimes parodies Homer:<br />
<blockquote class="tr_bq">
Hushed be every ruder breath. May the heathen ruler of the winds confine in iron chains the boisterous limbs of noisy Boreas, and the sharp-pointed nose of bitter-biting Eurus. Do thou, sweet Zephyrus, rising from thy fragant bed, mount the western sky, and lead on those delicious gales, the charms of which call forth the lovely Flora from her chamber, perfumed with pearly dews...</blockquote>
And so on for several hundred words, until eventually we are introduced to the charming, but not quite Homeric, Sophia Western, heroine of the novel and beloved of the quite ordinary but quite likable hero, Jones himself. The novel introduces a rich variety of characters, contains certain shrewd moral observations, and has an acceptable philosophy—liberal and tolerant, distrustful of too great enthusiasm, recognising the social conventions, but much concerned with reform of the law. (It was Fielding's liberalism which helped along the reform movements of the end of the century.) But we appreciate <i>Tom Jones </i>most for its boisterous humour, its good sense, and its vivid characterisation.<br />
<br />
<br />
<i>Smollett</i><br />
<br />
Tobias Smollett (1721-71) is responsible for <i>Roderick Random, Peregrine Pickle, </i>and <i>Humphrey Clinker.</i> The first gives us an insight into the life of the British Navy, which Smollett knew at first hand, having served as a ship's surgeon. The vice and brutality are vividly portrayed, but the satirical tone of the whole book seems to rob it somehow of the force of an indictment—exaggeration is Smollett's technique, not the direct 'reportage' of Defoe. But we are intrended to take the novel as entertainment, not as propaganda, nad as entertainment it is superb, though strong meat. It is the first of a long line of novels about life at sea, a line which can boast distinguished names like Conrad and Herman Melville. <i>Peregrine Pickle</i> is a gentler tale of sailors living on land, and <i>Humphry Clinker,</i> which reverts to Richardson's technique of presenting the story in the form of a series of letters, is less a novel than a travel-book—an account of a journey thorugh England and Scotland made by a framily from Wales, the letters presenting strongly the distinctive personalities of the writers. What little plot there is centres on a couple of love-affairs and the discovery that Humphry Clinker—servant of the family making the tour—is really the son of Mr. Bramble, the grumpy but golden-hearted head of the family.<br />
<br />
<br />
<i>Sterne</i><br />
<br />
Laurence Sterne (1713-68) produced a remarkable and eccentric novel in his <i>Tristram Shandy,</i> which breaks all the rules, even of language and punctuation, and deliberately excludes all suggestions of a plot, so that—despite the considerable length of the book—nobody gets anywhere, nothing really happens, and the hero does not succeed even in getting born until half-way through! The author deliberately hinders all movement: just when we think a story is about to develop, Sterne introduces an incredible digression—a long piece of Latin (with translation on the opposite page), a blank sheet, a page with a marbled design on it, a collection of asterisks—anything to obstruct or mystify. Yet characters emerge: the learned Mr. Shandy, the gentle old soldier Uncle toby and Trim, his corporal (these last two spend much time reconstructing the battle of Namur on a bowling-green). There are lewd jokes, patches of sentimentality—often saved, just in time, from becoming mawkish by an ironical stroke—and grotesque Rabelaisian episodes. (Sterne looks back to Rabelais and forward to James Joyce.) Sterne's <i>Sentimental Journ</i>ey<i> </i>is an account of travels through France and Italy, and here tears are shed freely—especially over animals, Sterne being perhaps the first of the English 'poor-dumb-beast' sentimentalists. It was through the copious shedding of tears of pity and sympathy, in writers like Sterne, the the humanitarianism which is now said to be a great characteristic of the English was able to develop. Sentimentality may injure art, but it can improve life.<br />
<br />
<br />
<i>Goldsmith</i><br />
<br />
Oliver Goldsmith, whom we have already met as poet and playwright, contributed to the development of the English novel a country ideyll called <i>The Vicar of Wakefield.</i> There is sentimentality here, too, in the portrait of the good Dr. Primrose, so good-hearted, so simple-minded, brave in adversity and tolerant and forgiving, but there is characteristic humour also, as well as the lyric gift:<br />
<blockquote class="tr_bq">
When lovely woman stoops to folly<br />
And finds too late that men betray,<br />
What charm can soothe her melancholy?<br />
What art can wash her tears away?</blockquote>
<br />
<i>Late C18 Background</i> <br />
<br />
We are trying to trace the course of eighteenth-century prose in fairly strict chronological order. The novels we have just glanced at—from <i>Pamela </i>to <i>Humphry Clinker—</i>eover thirty years, from 1741 to 1771. other prose of the time includes attempts at History (Hume produced a <i>History of Great Britain</i> and William Robertson a <i>History of Scotland</i>,<i> </i>and even Smollett and Goldsmith tried their hands), many interesting collections of letters—including those of Lord Chesterfield to his son, and the vast correspondence of Horace Walpole—and the first book on Economics. This last, <i>The Wealth of Nations</i> by Adam Smith (1723-90), lies outside our scope, but we, whose study is literature, can praise it for its brilliance of style, even if we are not concerned with its content. Economics was later to become a 'dismal science', but Smith is not only elegant in the exposition of his revolutionary theory, but even prophetic: his book appeared in 1776, on the very day of the American Declaration of Independence, and it says of the Americans: 'They will become one of the foremost nations of the world.'<br />
<br />
The last decades of the eighteenth century were shaken by great political changes. America broke away from England, and, in 1789, the French Revolution took place. English thinkers and politicians were much agitated, taking sides, preaching for and agianst the new violent movements, and a good deal of the prose of this last period is concerned with such watchwords as Liberty, Anarchy, Justice, William Godwin (1756-1836) wrote a book about Political Justice, preaching a kind of anarchy, extolling the light of pure reason as it comes to the individual soul, denouncing law and marriage and property because these interfere with individual freedom. HIs book had a great influence on Romantic poets like Shelley. Tom Paine (1737-1800) had previously defended the revolt of America, and he now defended, in his <i>Rights of Man,</i> the Revolution in France. Edmund Burke (1729-97), despite his Liberalism, attacked this same Revolution, and stated that tradition was more important than rational political theories—society was like a plant or a human body, growing, working out its salvation according to laws of its own, and it was dangerous to interfere with that process.<br />
<br />
<br />
<i>Gibbon</i><br />
<br />
This period produced the great historian, Edward Gibbon (1737-94), whose <i>The Decline and Fall of the Roman Empire</i> reached completion in 1788, a year before the fall of the Bastille. This is a great achievement, written in the most polished prose of the age, and it surveys about thirteen centuries of European history—from the reign of the Emperor Trajan to the fall of Constantinople, covering the rise of Christianity and Islam, the great migrations of the Teutonic peoples, and analysing the forces which turned the old world into the modern world. It is not a compassionate work: it chastises man for his follies much more than it extols his discoveries and virtues, and exhibits more of the author's personality than is perhaps proper in a history; but for literary skill and width of scope it is perhaps still unsurpassed among the larger historical studies.<br />
<i> </i><br />
<i></i><br />
<i>Fanny Burney</i><br />
<br />
The later days of the eighteenth-century novel produced names like Fanny Burney (1752-1840), whose <i>Evelina</i> and <i>Cecilia</i> are realistic, humorous, and full of credible characters. But much more typical of the age are those novels of terror which Horace Walpole ushered in, and novels which showed the influence of the Frenchman Jean-Jacques Rousseau.<br />
<br />
<br />
<i>Rousseau</i><br />
<br />
Rousseau (1712-78) was one of the forerunners of the Romantic movement, and also one of the prophets of the French Revolution. He was by nature a rebel—against existing conceptions of religion, art, education, marriage, government, and in book after book he propounded his own theories on these subjects. Rousseau advocated a return to nature. In the natural state, he held, man is happy and good, and it is only society that, by making life artificial, produces evil. His <i>Émile, </i>a treatise on education, advocated that children should be brought up in an atmosphere of truth, and it condemned the elaborate lies that society imposed on the average child—including myths and fairy-stories. The result, in England, was a whole series of instructive books for children (including the incredibly priggish <i>Sandford and Merton</i> of Thomas Day) which was only broken by the thoroughly fanciful, and much healthier, children's book of men like Thackeray and Lewis Carroll in the nineteenth century. It was Rousseau's doctrine of the noble 'natural men', and his attack on the corrupting power of civilisation, that produced novels by minor writers like Bage, Holcroft, and the <i>Caleb Williams</i> of William Godwin, in which the spirit of revolt is expressed through central characters who have no religion or morality (like the hero of Bage's <i>Hermsprong</i>) or, like Godwin's hero, are a living witness to the corruption of a society in which the evil flourish and the good are victimised.<br />
<br />
<br />
<i>Gothic novels</i> <br />
<br />
There were novels of 'mystery and imagination' by writers like Mrs. Ann Radcliffe (1764-1822) and Matthew Gregory Lewis (1775-1818), who followed the example set in 1764 by <i>The Castle of Otranto—</i>a 'Gothic' story by Horace Walpole (1717-97). (This term 'Gothic' is primarily an architectural one, denoting that kind of European building which flourished in the Middle Ages and showed the influence of neither the Greeks nor the Romans. Gothic architecture, with its pointed arches, began to come back to England in the middle of the eighteenth century—Walpole himself built a 'little Gothic castle' at Strawberry Hill, near Twickenham, London. This kind of building suggested mystery, romance, revolt against classical order, wildness, through its association with medeaeval ruins—ivy-covered, haunted by owls, washed by moonlight, shadowy, mysterious, and so on.) <i>The Castle of Otranto </i>is a melodeamatic curiosity; Mrs. Radcliffe's <i>The Romance of the Forest,</i> <i>The Mysteries of Udolpho,</i> and <i>The Italian</i> are skilfully written hermysteries always have a rational explanation at the end, and she never offends conventional morality. Lewis's <i>The Monk</i>—with its devils, horror, torture, perversions, magic, and murder—is very different: its lack of taste does not compensate its undoubted power, and its popularity was understandably short-lived. We ought to mention in this context a work produced a good deal later—<i>Frankenstein</i> by Mary Shelley (1797-1851). This was written during a wet summer in Switzerland, when her husband (the poet) and Lord Byron were amusing themselves by writing ghost-stories and she herself was asked to compose one. She could never have guessed that her story of the scientist who makes an artificial man—by which he is eventually destroyed [<i>persecuted, rather</i>—JAGL]—would give a new word to the language, and become so well known among even the near-illiterate (thanks chiefly to Hollywood) that its subject would rise from humble fiction to universal myth.<br />
<br />
<br />
<i>Johnson</i> <br />
<br />
I have reserved to the end of this chapter mention of the man whose personality seems to dominate the whole of the Augustan Age—Dr. Samuel Johnson (1709-84). Boswell's biography—perhaps the finest biography ever written—gives so vivid and detailed a portrait of the 'Grand Cham of Literature' and his times, that Johnson the person has, from the end of the eighteenth century to the present day, tended to overshadow Johnson the writer. There are a thousand people who can uote one of Johnson's conversational sallies to one who can give a sentence from <i>The Rambler</i> or a line from <i>London.</i> When Johnson the writer is quoted, it is usually something to his disparagement that we hear, like the tautological opening of <i>The Vanity of Human Wishes:</i> <br />
<i> </i><br />
<i> </i><br />
<i> </i><br />
<i> </i><br />
<blockquote class="tr_bq">
<br />
Let observation with extensive view<br />
Survey mankind from China to Peru,</blockquote>
<br />
or some extreme example of his highly Latinised style. Yet Johnson is worth reading. He attempted most of the literary forms of the day—drama, poetry (lyrical and didactic), the novel (his <i>Rasselas</i> is in the Oriental tradition, like Beckford's <i>Vathek,</i> and has the same sort of theme as Voltaire's <i>Candide</i>), and the moral essay, as in <i>The Rambler</i> and <i>The Idler. </i>He wrote sermons, prayers and meditations, admirable biography (<i>The Lives of the Poets</i>), dedications, prologues, speeches, political pamphlets—he leaves few branches of literature, journalism, and 'current affairs' untouched. But his name as a scholar will live chiefly because of his <i>Dictionary of the English Language</i> and his critical writings. The <i>Dictionary</i> is a great achievement—a work that can still be consulted, and, for the light it throws on Johsnon's personality, even read. Johnson the critic is best met in <i>The Lives of the Poets</i> (especially in the Life of Cowley, where he has wise things to say about the Metaphysical Poets, and the long essay on Milton)and the preface to his edition of Shakespeare. The following may seem cruel, but there is truth in it:<br />
<br />
<blockquote class="tr_bq">
A quibble is, to Shakespeare, what luminous vapours are to the traveller; he follows it at all adventures; it is sure to lead him out of his way, and sure to engulf him in the mire. It has some malignant power over his mind, and its fascinations are irresistible. . . . A quibble is the golden apple for which he will always turn aside from his career, or stoop from his elevation. . . . A quibble was to him the fatal Cleopatra for which he lost the world, and was content to lose it.</blockquote>
<br />
Johnson was incapable of giving veneration to any writer just because of that writer's reputation. As a critic he was honest, and honesty and independence shine throughout all his writings, as they shine throughout the record of his personal career. To an understanding of the whole of the eighteenth-century literary world, Boswell's <i>Life of Johnson</i> is indispensable. In it we meet all the writers we have been hearing about—Goldsmith, Sheridan, Burke, and the rest—and, more than that, we get the 'feel', the very smell, of the Augustan Age. It is a remarkable record of a remarkable era.<br />
<br />
<div style="text-align: right;">
<a href="https://litinglesa.blogspot.com/2022/04/queen-anne-prose.html" target="_blank">Queen Anne Prose</a></div>
<br />
<div style="text-align: center;">
—oOo—</div>
<br />
<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-79544353158372620522022-02-05T18:01:00.004+01:002022-03-03T18:25:58.340+01:00Biografía de MARY WOLLSTONECRAFT<p><iframe frameborder="0" height="270" src="https://youtube.com/embed/OWrut3jh0EU" style="background-image: url(https://i.ytimg.com/vi/OWrut3jh0EU/hqdefault.jpg);" width="480"></iframe><br /></p><p><br /></p><p>No es que sea realmente "la primera feminista de la historia", pero se
puede oír la biografía. Algunos nombres: Fanny BLOOD, Gilbert IMLAY,
Fanny IMLAY, William GODWIN.</p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-33606647320290291272022-01-08T23:00:00.005+01:002022-01-21T18:11:15.865+01:005. Literatura norteamericana del siglo XIX<p><span style="font-size: large;"><i>Con esta unidad 5 terminamos las clases presenciales, y el curso. Recordad que también tenéis disponibles los materiales en red de las unidades 6-7-8.</i></span></p><p><span style="font-size: large;"><i>_____________ </i></span><br /></p><p class="MsoNormal"><span style="font-size: large;">Ya tenemos FECHA
DE EXAMEN de la primera convocatoria:</span></p>
<p class="MsoNormal">
<span style="font-family: "Times New Roman",serif; font-size: large; mso-ansi-language: ES; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Introducción a la literatura inglesa, examen 3 Feb. 2022, 10-13h, aula 1 edificio central de Filosofía y Letras.</span>
</p>
<span style="font-size: large;">
</span>
<p><span style="font-size: large;"> Recordad que el examen teórico
tiene una sección de preguntas de tipo test, y además un tema a elegir entre dos
(siendo uno de los temas uno de los principales autores del programa, y
otro una época o género, donde puedan entrar varios autores)</span></p>
<p><span style="font-size: large;">Y la segunda parte, el examen práctico, que también
tiene que hacer todo el mundo, es un texto para traducir al español o comentar
en inglés. Sin diccionarios, etc. (—se da por hecho que habrá palabras que falten—<i>no matter</i>). Se valoran la precisión, la capacidad
de comprensión, y el conocimiento de la materia y del idioma inglés.</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">_________________ <br /></span></p><p>
</p><p></p><p></p><p></p><p><span style="font-size: large;"></span></p><p><span style="font-size: x-large;">Feliz año nuevo. El 10 y 11 de enero haremos una introducción somera a los principales autores norteamericanos de mediados y finales del XIX, empezando por Melville, Dickinson y Whitman, y siguiendo por Mark Twain, Stephen Crane y Henry James.<br /></span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> ________________________</span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span><br />
</p><p><span style="font-size: large;"> </span></p>
<p><b><span style="font-size: large;">5. LITERATURA NORTEAMERICANA DEL
SIGLO XIX</span></b></p>
<p><span style="font-size: large;">Nuestro último tema presencial (sección A), y que enlaza con el primero de la sección B: <a href="https://litinglesa.blogspot.com/search/label/6.%20SECCI%C3%93N%20B" target="_blank">Literatura inglesa y norteamericana 1900-1960</a>
</span>
</p><p><span style="font-size: large;"></span><br />
<br />
<span style="font-size: large;">Os comunico que está abierto el periodo para
hacer las encuestas sobre esta asignatura, y sobre las demás, en <a href="https://janovas.unizar.es/atenea/ate100bienvenida.xhtml">https://janovas.unizar.es/atenea/ate100bienvenida.xhtml</a></span><br />
<br />
<br />
<span style="font-size: large;">Iremos acabando el curso con unos pocos autores norteamericanos:
Whitman, Mark Twain, Henry James... De todos los
demás
autores del siglo XIX voy dejando apuntes por la web, pero en su
defecto acudid
a los manuales para tener al menos una noción general de su figura y
estilo. Recordad que la literatura del siglo XX (SECCIÓN B) no
entrará para
tema, pero sí para preguntas cortas y opcionalmente para comprensión de texto.</span><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-size: x-large;">HENRY JAMES
(1843-1916)<br />
</span><br />
<span style="font-size: x-large;"><span style="font-size: x-large;"><br />
Henry James, US/British novelist and essayist; b. New York, son
of Henry James,
Sr.; brother of William and Alice James; irregular international
education, st. law at Harvard; writer for US periodicals, friend of W.
D. Howells; l. Britain 1875-, 1st London, 1898 moved to Rye; unmarried,
repressed homosexual, no sentimental attachments, inveterate socialite;
author of psychological novels, theorist of narrative point of view and
the art of fiction.</span></span></p>
<p><span style="font-size: x-large;">_____. <span style="font-style: italic;">Roderick Hudson.</span>
Novel. 1876.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The American.</span> </span>Novel. 1877.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Europeans: A Sketch. </span>1878. <br />
_____. <span style="font-style: italic; font-weight: bold;">Daisy
Miller</span>. Novella. 1879.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Portrait of a Lady.</span> Novel. 1881.<br />
_____. <span style="font-style: italic; font-weight: bold;">Washington
Square.</span> Novel. 1881.<br />
_____.<span style="font-style: italic;"> The Aspern Papers. </span>Novel.
Atlantic (March-May 1888).<br />
_____. <span style="font-style: italic;">The Bostonians. </span>1886.
<br />
_____. <span style="font-style: italic;">The Princess Cassamassima.</span>Novel.
1886. _____. "The Real Thing." Story. <br />
<a href="http://www.gutenberg.org/cache/epub/2715/pg2715.html">http://www.gutenberg.org/cache/epub/2715/pg2715.html</a><br />
<span style="font-weight: bold;">_____. <a href="https://storyoftheweek.loa.org/2014/07/the-middle-years.html" target="_blank">"The Middle Years."</a></span>
Story. 1893.<br />
_____. <span style="font-style: italic;">Guy Domville.</span> Play.
1895.<br />
_____. "The Figure in the Carpet." Story. <br />
<a href="http://www.gutenberg.org/ebooks/645">http://www.gutenberg.org/ebooks/645<br />
</a>_____. <span style="font-style: italic;">The Spoils of Poynton.</span>
Novel. 1897.<br />
_____. <span style="font-style: italic; font-weight: bold;">What
Maisie Knew. </span>Novel. 1897. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Turn
of the Screw. </span>Novel. Collier's (January-April 1898).<br />
_____. <span style="font-style: italic;">The Awkward Age.</span>
Novel. 1899.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Wings
of the Dove.</span> Novel. 1902. <br />
_____. <span style="font-style: italic; font-weight: bold;">The
Ambassadors.</span> Novel. 1903. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Golden
Bowl.</span> Novel. 1904. <br />
_____. "The Jolly Corner." Story. In James, <span style="font-style: italic;">The Ghostly Tales.</span><br />
_____. <span style="font-style: italic;">Notes on Novelists. </span>1914.
<br />
_____. A Small Boy and Others. Memoir.<br />
_____. <i>The Middle Years.</i> Memoir. Online at Project Gutenberg.*<br />
<a href="http://www.gutenberg.org/files/32649/32649-h/32649-h.htm">http://www.gutenberg.org/files/32649/32649-h/32649-h.htm</a><br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">The Art of the Novel: Critical Essays</span>.
1934.<br />
<br />
<br />
<br />
<br />
<br />
Richard Gray, a chapter on American 19th-c. realism and Henry James: <a href="http://vanityfea.blogspot.com.es/2012/12/capturing-real-thing.html">Capturing
the Real Thing</a>.<br />
</span><br />
<br />
_______________________<br />
<br />
<br />
<br />
<span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2020/01/henry-james-nivel-avanzado.html">Henry
James: NIVEL AVANZADO </a></span><br />
<br />
<span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2020/01/henry-james-bostonians-james-ivory.html">Una
película de James Ivory sobre una novela de Henry James: </a><i><a href="https://litinglesa.blogspot.com/2020/01/henry-james-bostonians-james-ivory.html">The
Bostonians</a> </i>(con subtítulos en español).<br />
</span><br />
<br />
<br />
<br />
_______________________ <br />
<br />
<br />
<br />
<span style="font-size: x-large;"> </span><big><span style="font-size: x-large;">STEPHEN CRANE (1871-1900)<br />
<br />
US journalist and man of letters, b. New Jersey, youth in upstate New
York, st. Lafayette College and Syracuse U, no degree, reporter in NY
City for the Herald and Tribune; sucess with <span style="font-style: italic;">Red Badge,</span>
war reporter in Cuba and shipwreck; back to NY, common-law
wife Cora, bohemian atmosphere, notorious; </span></big><big><span style="font-size: x-large;"><big><span style="font-size: x-large;">reporter
in the
Greco-Turkish war with Cora, </span></big>travelled to England,
decreased power as
writer, d. of tuberculosis while on cure in Germany.<br />
<br />
<br />
_____. <span style="font-style: italic; font-weight: bold;">Maggie: A
Girl of the
Streets.</span> Novel. 1893. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Red
Badge of Courage: An
Episode of the American Civil War.</span> Novel. 1895. <br />
_____. <a href="http://public.wsu.edu/%7Ecampbelld/crane/black.htm" target="_blank"><span style="font-style: italic; font-weight: bold;">The
Black Riders and Other Lines.</span></a> Poems. 1895.<br />
_____. <span style="font-style: italic;">The Little Regiment and Other
Stories of the American Civil War.</span>
Stories. 1896.<br />
_____. <span style="font-style: italic;">George's Mother.</span>
Novel. 1896.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Open
Boat, and Other Tales
of Adventure.</span> 1898.<br />
_____. <span style="font-style: italic;">"The Monster" and Other
Stories.</span> 1899.<br />
_____. <span style="font-style: italic;">War is Kind.</span> Poems.
1899.<br />
_____. <span style="font-style: italic;">Whilomville Stories.</span>
1900.<br />
_____. <span style="font-style: italic;">Wounds in the Rain.</span>
Stories and sketches. 1900.</span><br />
</big><br />
<br />
<span style="font-weight: bold;"><br />
</span><a href="http://vanityfea.blogspot.com.es/2012/12/stephen-crane.html">Notes
on Stephen Crane</a> from <span style="font-style: italic;">The Oxford
Companion to American Literature. </span><span style="font-weight: bold;"> <br />
</span><br />
Stephen Crane. In <span style="font-style: italic;">The Literature
Network</span><span style="font-weight: bold;"><br />
</span><a href="http://www.online-literature.com/crane/">http://www.online-literature.com/crane/</a><span style="font-weight: bold;"><br />
<br />
</span>_____. <span style="font-style: italic;">The Red Badge of
Courage.</span> Online at Project Gutenberg.<span style="font-weight: bold;"><br />
</span> <a href="http://www.gutenberg.org/files/73/73-h/73-h.htm">http://www.gutenberg.org/files/73/73-h/73-h.htm</a><span style="font-weight: bold;"><br />
<br />
<br />
</span>A poem from Stephen Crane's <span style="font-style: italic;">The
Black Riders</span> (1895)<span style="font-weight: bold;">:<br />
<br />
</span>
<br />
</p>
<div style="margin-left: 40px;">
<div style="margin-left: 80px;"><br />
<big><big><big>I STOOD UPON A HIGH PLACE,<br />
<br />
AND SAW, BELOW, MANY DEVILS<br />
<br />
RUNNING, LEAPING,<br />
<br />
AND CAROUSING IN SIN.<br />
<br />
ONE LOOKED UP, GRINNING,<br />
<br />
AND SAID: "COMRADE! BROTHER!<span style="font-weight: bold;">"</span></big>
</big></big></div>
<span style="font-weight: bold;"></span></div>
<span style="font-weight: bold;"></span><span style="font-weight: bold;"><br />
</span><br />
<br />
<br />
<br />
<br />
<br />
___________________________<br />
<br />
<br />
<a href="https://litinglesa.blogspot.com/2020/01/later-19th-century-american-literature.html"><span style="font-size: large;">Late 19th-c. American Literature</span></a><br />
<br />
<br />
___________________________<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUQkYbjfT1njRI4KSlmxQi6MogX71b7KM5sOeer7psDwLwOKuU6FNu4o2KZzNDOaIzAcC0Mxh73uAzCBFs_iYsiPsqT78sTTDXcrV1gi8i-QgWiPIYUvlgueJLeIWmbuGxXwJyrPoA-hp/s1600/huckleberryfinn.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNUQkYbjfT1njRI4KSlmxQi6MogX71b7KM5sOeer7psDwLwOKuU6FNu4o2KZzNDOaIzAcC0Mxh73uAzCBFs_iYsiPsqT78sTTDXcrV1gi8i-QgWiPIYUvlgueJLeIWmbuGxXwJyrPoA-hp/s1600/huckleberryfinn.jpg" /></a></div>
<span style="font-weight: bold;"><br />
</span><span style="font-weight: bold;"></span><br />
<big><big><big><small><br />
<span style="font-size: x-large;">MARK TWAIN
(1835-1910)<br />
</span></small><span style="font-size: x-large;">
<br />
_____. <span style="font-style: italic;">The Celebrated Jumping Frog
of Calaveras County and Other Sketches. </span>1867.<br />
_____. <span style="font-style: italic;">The Innocents Abroad. </span>Satirical
travel narrative. 1869.<br />
_____. <span style="font-style: italic; font-weight: bold;">Roughing
It. </span>Frontier sketches. 1872.<br />
</span></big><span style="font-size: x-large;">_____. <span style="font-style: italic;">The
Gilded Age.</span> Novel. 1873. (With C. D. Warner).</span></big><span style="font-size: x-large;"><br />
</span></big><span style="font-size: x-large;">_____. <span style="font-style: italic; font-weight: bold;">The
Adventures of Tom Sawyer.</span> Children's novel. 1876.<br />
_____. <span style="font-style: italic;">A Tramp Abroad.</span> 1880.<br />
_____. <span style="font-style: italic;">The Prince and the Pauper.</span>
Historical novel. 1882.<br />
_____.<span style="font-style: italic; font-weight: bold;"> Life on the
Mississippi.</span> 1883. <br />
_____. <span style="font-style: italic; font-weight: bold;">Adventures
of Huckleberry Finn.</span> Novel. 1884. <br />
<a href="http://www.gutenberg.org/files/76/76-h/76-h.htm">http://www.gutenberg.org/files/76/76-h/76-h.htm</a><br />
<br />
_____. <span style="font-style: italic;">A Connecticut Yankee in King
Arthur's Court.</span> Fantasy novel. 1889.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Tragedy of Pudd'nhead Wilson. </span>Detective story. 1894.<br />
_____. <span style="font-style: italic;">Following the Equator.</span>
Travel sketches. 1897.<br />
_____. <span style="font-style: italic;">What Is Man? </span>Philosophical
dialogue. 1906.<br />
_____. <span style="font-style: italic;">The Mysterious Stranger. </span>1916.<br />
_____. <span style="font-style: italic;">Letters from the Earth.</span>
Ed. Bernard De Voto. 1963. (Satan as foreign visitor).<br />
_____. <span style="font-style: italic;">Autobiography.</span>
Uncensored ed. Pub. 2010, 2013.
<br />
<a href="http://www.marktwainproject.org/landing_writings.shtml">http://www.marktwainproject.org/landing_writings.shtml</a><br />
2013<br />
<br />
<br />
<br />
<br />
</span><span style="font-size: large;"><span style="font-size: x-large;">Mark Twain, pseudonym of Samuel
Langhorne Clemens, US novelist,
journalist and humourist; b. Florida, Missouri; childhood in Hannibal;
l. Philadelphia, St. Louis, Hartford, etc.; printer and popular writer,
affluent; friend of William Dean Howells; bankrupt 1894 though
bad printing investments; travelled round the world as successful
lecturer; frontier humorist, evolves from American optimism to
disillusioned pessimism, critic of imperialism and religious beliefs,
d. Hartford, CT.</span><br />
<span style="font-weight: bold;"><br />
</span>Hart and Leininger. "Mark Twain." (From the <span style="font-style: italic;">Oxford Companion to American Literature</span>):<br />
<a href="http://vanityfea.blogspot.com.es/2012/12/mark-twain.html">http://vanityfea.blogspot.com.es/2012/12/mark-twain.html</a><span style="font-weight: bold;"></span><br />
<br />
<a href="http://www.marktwainproject.org/landing_writings.shtml">La
autobiografía de Mark Twain,</a> obra póstuma recientemente publicada,
en el sitio del Mark Twain. Una presentación: <a href="http://vanityfea.blogspot.com.es/2012/12/el-blog-de-mark-twain.html">El
blog de Mark Twain</a>.<br />
<br />
Y pensamientos anticristianos de Mark Twain<a href="http://www.youtube.com/watch?v=bvMF38st-PQ"> sobre Dios y la
religión</a>.<span style="font-weight: bold;"></span></span><big><big><big><br />
<br />
Un texto en red de <a href="http://contentserver.adobe.com/store/books/HuckFinn.pdf"><span style="font-style: italic;">The Adventures of Huckleberry Finn</span></a><br />
</big></big></big><br />
<span style="font-weight: bold;">
<br />
<br />
<br />
<br />
_____________________________<br />
<br />
<br />
</span>NIVEL AVANZADO<br />
<br />
A lecture on <a href="http://vanityfea.blogspot.com.es/2018/01/robert-jenner-wit-and-wisdom-of-mark.html">The
Wit and Wisdom of Mark Twain</a><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><big><big><br />
_____________________<br />
</big></big></span>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">Una canción de la Guerra Civil
norteamericana: <i>The Battle Hymn of the Republic,</i> de Julia Ward
Howe:</span><br />
<br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Jy6AOGRsR80" title="YouTube video player" width="560"></iframe>
</p>
<p><span style="font-size: x-large;"><span></span></span></p>
<p><span style="font-size: x-large;"><span></span></span></p>
<p><span style="font-size: x-large;"><span><big><big><big><small><br />
</small></big></big></big></span></span></p>
<p><span style="font-size: x-large;"><span><big><big><big><small> </small></big></big></big></span></span><br />
<big><big><big><br />
<small><a href="https://litinglesa.blogspot.com/2020/12/emily-dickinson-la-recluse.html" target="_blank">Un documental sobre EMILY DICKINSON</a><br />
</small></big></big></big></p>
<p><big><big><big><small> </small></big></big></big></p>
<p><big><big><big><small> </small></big></big></big></p>
<p><big><big><big><small><big><big><br />
</big></big>
<br />
<big><big><big><big><small><small>EMILY DICKINSON
(1830-1886)</small></small></big></big></big></big></small></big></big></big></p>
<p><br />
<span style="font-size: x-large;"><br />
<span>Emily Dickinson, US poet, spinster, recluse. Daughter of Edward
Dickinson, lawyer in
Amherst, MA; st. Amherst Academy, and Mount Holyoke Female Seminary;
skeptic and unworldly disposition; l.
secluded at home from 1862, intense friendships and epistolary
relationships with Benjamin F. Newton, Rev. Charles Wadsworth, T. W.
Higginson and others; did not publish in her lifetime, wrote for
herself experimenting with the expression of complex everyday feelings
and metaphysical symbolism.</span></span></p><span style="font-size: x-large;">
</span><p><big><big><big><small><big><big><big><big><span style="font-size: x-large;">_____. "After Great Pain, a Formal
Feeling Comes." Poem.<br />
_____. <a href="https://www.poetryfoundation.org/poems/47652/because-i-could-not-stop-for-death-479" target="_blank">"Because I Could Not Stop for Death."</a> <br />
_____. "There's been a Death, in the Opposite House." <br />
_____. <a href="https://poets.org/poem/soul-selects-her-own-society-303" target="_blank">"The Soul Selects Her Own Society."</a><br />
_____. <a href="https://www.poetryfoundation.org/poems/52199/there-is-no-frigate-like-a-book-1286" target="_blank">"There is no Frigate like a Book."</a> <br />
_____. "I felt a Funeral, in my Brain." <br />
_____. <a href="https://www.poetryfoundation.org/poems/50976/i-started-early-took-my-dog-656" target="_blank">"I started Early—Took my Dog."</a> <br />
_____. <a href="https://www.poetryfoundation.org/poems/51612/much-madness-is-divinest-sense-620" target="_blank">"Much Madness is Divinest Sense."</a> <br />
_____. "A Light exists in Spring." <br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Poems by Emily Dickinson.</span> </span>
1890-96, etc. (1955).</span><br />
</big></big></big></big><br />
<small><small><br />
</small></small>
Una conferencia de Laura Freixas: <a href="https://canal.march.es/es/coleccion/emily-dickinson-genia-con-habitacion-propia-1268" target="_blank">Emily Dickinson:una genia con habitación propia.</a><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
________________________________<br />
<br />
NIVEL AVANZADO<br />
<br />
<a href="https://litinglesa.blogspot.com/2020/01/emily-dickinson-nivel-avanzado.html">-
EMILY DICKINSON (NIVEL AVANZADO)</a><br />
<br />
<a href="https://litinglesa.blogspot.com/2020/01/women-writers-of-america.html">-
SOME AMERICAN WOMEN WRITERS</a><br />
<br />
<br />
- Un audio histórico sobre <a href="https://litinglesa.blogspot.com/2020/01/la-guerra-de-secesion-estadounidense.html">LA
GUERRA DE SECESIÓN AMERICANA</a> (nivel avanzado)<br />
<br />
_______________________________ <br />
</small></big></big></big></p>
<p><big><big><big><small> </small></big></big></big></p>
<p><span style="font-size: x-large;">WALT WHITMAN
(1819-1892)<br />
<span><span><br />
Walt Whitman, US poet, influenced by Transcendentalism, writer of
celebratory pantheistic free verse;
egotistic democrat, patriot and homosexual.</span></span></span></p>
<p><span style="font-size: x-large;"> </span><span style="font-size: x-large;">
_____. <a href="http://www.daypoems.net/plainpoems/1900.html" target="_blank"><span style="font-weight: bold;">"Song of Myself."</span></a>
In Whitman, Leaves of Grass. 1855.<br />
_____. <span style="font-style: italic; font-weight: bold;">Leaves of
Grass</span><span style="font-style: italic;">.</span> 1855-1892.<br />
_____. "Song of the Broad-Axe." Poem from <i>Leaves of Grass.</i><br />
_____. <a href="http://www.bartleby.com/142/10.html" target="_blank">"Starting
from Paumanok."</a> </span><span style="font-size: x-large;"><span style="font-size: x-large;">Poem from <i>Leaves of Grass.</i></span></span></p>
<p><span style="font-size: x-large;">_____. <a href="http://www.bartleby.com/142/26.html" target="_blank">"Once I
Passed through a Populous City."</a> </span><span style="font-size: x-large;"><span style="font-size: x-large;">Poem
from <i>Leaves of Grass.</i></span></span></p>
<p><span style="font-size: x-large;">_____. <a href="https://www.poetryfoundation.org/poems/45474/o-captain-my-captain" target="_blank">"O Captain! My Captain!"</a> Elegy on Lincoln. From <span style="font-style: italic;">Drum Taps</span> & sequel 1867.<br />
_____. <a href="https://whitmanarchive.org/published/LG/1891/poems/99" target="_blank">"Pioneers! O Pioneeers."</a> From <i>Leaves of Grass.</i><br />
_____. <span style="font-style: italic;">Democratic Vistas.</span>
Prose. 1871. (American literature; Transcendentalism; Politics;
Commerce; Nature; Nature of literature) <br />
_____. <span style="font-style: italic;">Memoranda during the War.</span>
Prose. 1875.<br />
_____. <a href="https://litinglesa.blogspot.com/2021/01/walt-whitman-whoever-your-are-holding.html" target="_blank">"Whoever You Are Holding Me Now in Hand."</a> Poem. </span><span style="font-size: x-large;">From <span style="font-style: italic;">Leaves of Grass. </span></span></p>
<p><span style="font-size: x-large;">_____. <a href="http://www.bartleby.com/142/177.html" target="_blank">"Years of
the Modern."</a> Poem. From <span style="font-style: italic;">Leaves
of Grass. </span><br />
<br />
<br />
<span><br />
<br />
<br />
Notes on WALT WHITMAN: <a href="http://vanityfea.blogspot.com.es/2012/12/walt-whitman.html">http://vanityfea.blogspot.com.es/2012/12/walt-whitman.html</a><br />
<br />
__________</span><br />
<br />
<a href="https://litinglesa.blogspot.com/2020/01/walt-whitman-nivel-avanzado.html"><span>Walt
Whitman: NIVEL AVANZADO</span></a></span><br />
<span style="font-size: large;">__________</span><br />
<span style="font-size: large;"><br />
</span><br />
<br />
<br />
<span style="font-weight: bold;"><br />
</span><span style="font-size: x-large;"><b>HERMAN MELVILLE</b>
(1819-1891)<br />
</span><br />
<span style="font-size: x-large;"><span style="font-size: x-large;">Herman
Melville, US
novelist, b. New York, sailor in the Atlantic and the Pacific
1839-44, l. Boston, schoolteacher and customs officer, friend of
Nathaniel Hawthorne, traveled to Holy
Land, commercially unsuccessful after early best-sellers, frustrated
man of letters, neglected in the late 19th, rediscovered in the 20th c.<br />
</span></span></p>
<p><span style="font-size: x-large;">_____. <span style="font-style: italic;">Typee.</span> Novel. 1846.<br />
_____. <span style="font-style: italic;">Omoo: A Narrative of
Adventures in the South Seas.</span> Novel. 1847.<br />
_____. <span style="font-style: italic;">Redburn: His First Voyage.</span>
Novel. 1848.<br />
_____. <span style="font-style: italic;">Mardi: And a Voyage Thither.</span>
Novel. 1849.<br />
_____. <span style="font-style: italic;">White-Jacket; or, The World
in a Man-of-War.</span> Novel. 1850.<br />
_____. <span style="font-style: italic; font-weight: bold;">Moby-Dick:
or, The Whale. </span>Novel. 1851.<br />
<a href="http://www.gutenberg.org/ebooks/2701">http://www.gutenberg.org/ebooks/2701</a><br />
_____. <span style="font-style: italic;">Pierre, or the Ambiguities.</span>
Novel. 1852.<br />
_____. "Benito Cereno." Story. In Melville, <span style="font-style: italic;">The Piazza Tales.</span> 1856.<br />
_____. <span style="font-weight: bold;">"Bartleby the Scrivener."</span>
Story. In <span style="font-style: italic;">The Piazza Tales.</span>
1856.<br />
<a href="http://www.gutenberg.org/cache/epub/11231/pg11231.html">http://www.gutenberg.org/cache/epub/11231/pg11231.html</a><br />
_____. <span style="font-style: italic;">The Confidence-Man: His
Masquerade.</span> Satirical narrative. 1857.<br />
_____. <span style="font-style: italic;">Clarel: A Poem and Pilgrimage
to the Holy Land.</span> Long poem. 1876.<br />
_____. <span style="font-style: italic; font-weight: bold;">Billy
Budd, Sailor. </span>Novel.
Posth. 1924.
<br />
<br />
<br />
</span><br />
<span style="font-size: large;"></span><br />
</p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM6araNEancBmJflvfeVC4iQvy8ZNjmBYuG8Of57-R2R3D0UvLMzZqCtWanWet17iBsp8ZnioGOk3TyxLCu9ZcAOFmDDnPlrK_r8fpEoh4tNOMH_TyjNHy33r2YiaKQf3ALCDq02_q5EW2/s1600/mobydick2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="624" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM6araNEancBmJflvfeVC4iQvy8ZNjmBYuG8Of57-R2R3D0UvLMzZqCtWanWet17iBsp8ZnioGOk3TyxLCu9ZcAOFmDDnPlrK_r8fpEoh4tNOMH_TyjNHy33r2YiaKQf3ALCDq02_q5EW2/s640/mobydick2.jpg" width="638" /></a></div>
<span style="font-size: large;"><br />
<br />
Some notes on <a href="https://litinglesa.blogspot.com/2020/01/herman-melville-life-and-work.html">HermanMelville
and his works</a>.<span style="font-weight: bold;"><br />
<br />
</span><a href="http://en.wikipedia.org/wiki/Herman_Melville">Herman
Melville on Wikipedia</a><span style="font-weight: bold;"><br />
<br />
</span><span style="font-style: italic;">Moby Dick, or, The Whale.</span>
Online at Project Gutenberg.*<br />
<a href="http://www.gutenberg.org/ebooks/2701">http://www.gutenberg.org/ebooks/2701</a><span style="font-weight: bold;"><br />
<br />
</span>White whales are rare. <a href="http://www.fogonazos.es/2013/09/otra-aparicion-estelar-de-migaloo-la.html">But
they do exist</a>.<span style="font-weight: bold;"><br />
</span><br />
</span><big><big><big><br />
</big></big></big><br />
<div class="separator" style="clear: both; text-align: center;">
<br />
</div>
<br />
<span style="font-size: large;"><big><big><big><span style="font-size: large;"><br />
<br />
_________<br />
<br />
<a href="http://vanityfea.blogspot.com.es/2012/12/hawthorne-and-melville.html">Hawthorne
and Melville</a>, from Richard Gray's <span style="font-style: italic;">History
of American literature.</span></span></big></big></big></span><br />
<br />
<span style="font-size: large;"><big><big><big><span style="font-size: large;"><span style="font-style: italic;">_________ </span></span></big></big></big></span><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;">Martes 21 de diciembre: pasaremos rápidamente por encima de cuatro autores: Poe, Emerson & Thoreau, apenas mencionados, y Hawthorne.</span></p><p><span style="font-size: x-large;"><span style="font-size: large;">E</span></span><span style="font-size: large;"><span><span><span>n la única semana de enero, veremos los autores norteamericanos de mediados del siglo XIX.
Durante las vacaciones se completarán en la web los temas de los
autores por si acaso no nos da tiempo a verlos en clase.</span></span></span></span>
</p><p><span style="font-size: x-large;"><span><span style="font-size: large;"><span style="font-size: large;">Los
temas de la sección B (literatura del siglo XX, no presencial) ya están
también disponibles al completo en la columna de la derecha.</span><br />
</span></span></span></p>
<p><span style="font-size: x-large;"><span><br />
</span></span></p>
<p><span style="font-size: x-large;"><span><br />
</span></span></p>
<p><br /><br /></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: large;"><big><big><big><small>NATHANIEL HAWTHORNE (1804-1864)<br />
</small></big></big></big></span><br />
<span style="font-size: large;"><big><big><big><small><span style="font-size: large;"><big><big><big><small>Nathaniel Hawthorne,
New England romance and short story writer, b.
Salem, of an old
Puritan family—orig. Hathorne, wife Sophia, 3 children, customs
officer,
and diplomat in England; Transcendentalist affinities, friend of
Melville and Emerson; d. Plymouth.</small></big></big></big></span></small></big></big></big></span>
</p><p><span style="font-size: large;"><big><big><big><small>_____. <span style="font-style: italic;">Fanshawe: A Tale.</span>
1828.<br />
_____. "Young Goodman Brown." Story. 1835<br />
_____. "The Minister's Black Veil." Story. 1837.<br />
</small>
</big></big><big>_____. "Wakefield." Story. 1837.<br />
_____. "Endicott and the Red Cross." Story. 1837.<br />
</big><big>_____.<span style="font-weight: bold;">
</span><span style="font-style: italic;"><span style="font-weight: bold;">Twice-Told
Tales.</span> </span>1837, enlarged 1842.<span style="font-style: italic;"><br />
_____. "</span>Rappacini's Daughter." </big><big>Story.
In <span style="font-style: italic;">Mosses from an Old Manse.<br />
</span>_____. "Roger Malvin's Burial."<span style="font-style: italic;">
</span></big><big>Story. In <span style="font-style: italic;">Mosses
from an Old Manse.</span></big><small><small><br />
</small></small>
<big>_____. <span style="font-style: italic;">Mosses from an Old Manse.</span>
Stories. 1846.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Scarlet Letter.</span> </span>Romance.
1850.<br />
<a href="http://www.gutenberg.org/cache/epub/33/pg33.html">http://www.gutenberg.org/cache/epub/33/pg33.html</a><br />
_____. "Ethan Brand." Story. 1851.<br />
_____. <span style="font-style: italic;">The House of the Seven
Gables. </span>Romance. 1851.<br />
_____. <span style="font-style: italic;">The Blithedale Romance.</span>
1852.<br />
_____. <span style="font-style: italic;">A Wonder Book.</span>
Children's stories. 1852.</big><small><small><br />
</small></small>
</big><big><big><big><small>_____. <span style="font-style: italic;">Tanglewood
Tales. </span>Children's
stories. 1853.<br />
_____. <span style="font-style: italic;">The Marble Faun, or the
Romance of Monte Beni. </span>1860.<br />
_____. <span style="font-style: italic;">Our Old Home.</span> Essays
on England. 1853.<br />
_____. <span style="font-style: italic;">Dr. Grimshawe's Secret. </span>Romance.
1882.</small><br />
</big></big></big><span style="font-weight: bold;"><br />
<br />
</span><span style="font-weight: bold;"><br />
</span><br />
<br />
<br />
<a href="http://vanityfea.blogspot.com.es/2017/01/nathaniel-hawthorne.html">Some
notes on Hawthorne</a><br />
</span><br />
<span style="font-size: large;"><br />
<span style="font-weight: bold;"></span></span><br />
<br />
<span style="font-size: large;"><big><big><big><br />
</big></big></big>
________<br />
<br />
<span style="font-style: italic;"><a href="http://vanityfea.blogspot.com.es/2012/12/the-scarlet-letter-1934.html"><big><big>The
Scarlet Letter</big></big></a>.</span> Una película de 1934 sobre la
novela de Hawthorne.<br />
<span style="font-style: italic;"></span><br />
</span><br />
<br />
<span style="font-size: large;"><span style="font-weight: bold;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzt12Z6qOrGIKOBPXKhV5C3Kmch2FSz_kwXcT9YgOhGr7nTMW6ZyN-dpdjp7r2vqdH0Dp-4UqAvcLhb2ZpgldK1JMyl0kKhv9aUVlPG0a8pwV-RFQ4naZEs5agvgJb2RhlknTOnUFxLyKy/s1600/scarletletter2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="403" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzt12Z6qOrGIKOBPXKhV5C3Kmch2FSz_kwXcT9YgOhGr7nTMW6ZyN-dpdjp7r2vqdH0Dp-4UqAvcLhb2ZpgldK1JMyl0kKhv9aUVlPG0a8pwV-RFQ4naZEs5agvgJb2RhlknTOnUFxLyKy/s640/scarletletter2.jpg" width="514" /></a> </span></span><br />
<br />
<span style="font-size: large;"><span style="font-weight: bold;">_____________<br />
</span><br />
NIVEL AVANZADO: </span><br />
<span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2019/12/the-scarlet-letter-hawthornes-masterwork.html">Una
lección sobre The Scarlet Letter de Hawthorne—de la Universidad de
Houston.</a><span style="font-weight: bold;"><br />
_____________</span>
</span></p>
<p><span style="font-size: large;"><span><span>_______________</span></span></span></p>
<p><span style="font-size: large;">Two narratives on slavery:</span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span lang="ES-TRAD">Harriet Beecher Stowe. <i>Uncle Tom's Cabin.</i>
Novel. 1852.</span></span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span lang="ES-TRAD">
</span></span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span lang="EN-US">Douglass,
Frederick. <i>Narrative of the Life of Frederick Douglass,
an American Slave, Written by Himself.</i> 1845.</span></span></p>
<span style="font-size: medium;"></span>
<p class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify; text-indent: -35.45pt;"><span style="font-size: medium;"><span lang="EN-US">"Frederick
Douglass." <i>Wikipedia: The Free
Encyclopedia.*</i></span></span></p>
<span style="font-size: medium;">
</span>
<p class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify; text-indent: -35.45pt;"><span style="font-size: medium;"><span lang="EN-US"><span>
</span></span><span lang="ES-TRAD"><a href="http://en.wikipedia.org/wiki/Frederick_Douglass"><span lang="EN-US">http://en.wikipedia.org/wiki/Frederick_Douglass</span></a></span><span lang="EN-US"></span></span></p>
<span style="font-size: medium;">
</span>
<p class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify; text-indent: -35.45pt;"><span style="font-size: medium;"><span lang="EN-US"><span>
</span>2014</span></span></p>
<p><span style="font-size: x-large;"><span><big><big><span style="font-size: x-large;">_______________ <br />
</span></big></big></span></span></p>
<p><span style="font-size: x-large;"><span><big><big><span style="font-size: x-large;"> </span></big></big></span></span></p>
<p><span style="font-size: x-large;"><span><big><big><span style="font-size: x-large;"> </span></big></big></span></span></p>
<p><span style="font-size: x-large;"><span><big><big><span style="font-size: x-large;"><br />
<br />
<big><big><big><span style="font-weight: bold;"><br />
</span><span style="font-size: large;"><b>HENRY DAVID
THOREAU </b>
(1817-1862)<br />
<br />
US writer, naturalist,
Transcendentalist-anarchist-primitivist-pacifist; b. Concord, MA; grad.
Harvard 1817, influenced by E. T. Channing, Jones Very and Bronson
Alcott; friend, employee and disciple of Emerson, l. lived in a hut in
the woods in Walden 1845-47; teacher and anti-slavery activist,
unmarried without sex life, probably repressed homosexual, met John
Brown and Whitman,
travelled to the Great Lakes and Mississippi 1861, d. of tuberculosis.<br />
<br />
_____. "Resistance to Civil Government." 1849. Retitled
"Civil Disobedience."<br />
<a href="http://www.gutenberg.org/files/71/71-h/71-h.htm">http://www.gutenberg.org/files/71/71-h/71-h.htm</a><br />
_____. A Week on the Concord and Merrimack Rivers. 1849. New York:
Modern Library, 1946.<br />
_____. "Slavery in Massachusetts." 1854.<br />
_____. Walden or Life in the Woods. 1854. <br />
<a href="http://www.gutenberg.org/files/205/205-h/205-h.htm">http://www.gutenberg.org/files/205/205-h/205-h.htm</a><br />
Walden, Audiobook. <br />
<a href="http://youtu.be/VcNccA9gu2g">http://youtu.be/VcNccA9gu2g</a><br />
_____. "A Plea for Captain John Brown." Lecture. 1859.<br />
_____. <i>Excursions. </i>1863.<br />
_____. <i>Journal.</i> 14 vols. 1906.
<br />
</span></big></big></big><span style="font-size: large;"><br />
<br />
<br />
<br />
<br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-LrVdc0eZNM" title="YouTube video player" width="560"></iframe>
<br />
<br />
<br />
<span style="font-weight: bold;">_________________</span></span><br />
<br />
</span></big></big></span></span></p>
<div style="text-align: left;">
<big><big><big><a href="https://litinglesa.blogspot.com/2019/12/thoreau-nivel-avanzado.html">Thoreau:
NIVEL AVANZADO</a><span style="font-weight: bold;"><br />
</span></big></big></big></div>
<big><big><big><span style="font-weight: bold;">_________________</span></big></big></big>
<p><span style="font-size: x-large;"><span><big><big><span style="font-size: x-large;"> </span></big></big></span></span></p>
<p><span style="font-size: large;"><span><span>RALPH WALDO
EMERSON
(1803-1882)<br />
<br />
New England Transcendentalist thinker, poet and essayist, came from a
Unitarian family; soon widowed, abandoned the Church, influential and
prolific lecturer and diarist, emphasizes first-hand apprehension of
religion and experience.<br />
<br />
_____. <span style="font-style: italic;">Journals.</span> 1820-<br />
_____. <a href="https://www.poetryfoundation.org/poems/45868/brahma-56d225936127b">"Brahma."</a>
Poem.<br />
_____. <span style="font-weight: bold;">"<a href="http://digitalemerson.wsulibs.wsu.edu/exhibits/show/text/the-american-scholar">The
American Scholar: An Oration."</a></span> 1837. <br />
_____. <span style="font-weight: bold;">"Divinity School Address".</span>
1838.<br />
_____. "The Transcendentalist." In <span style="font-style: italic;">Essays.</span><br />
_____. <a href="http://digitalemerson.wsulibs.wsu.edu/exhibits/show/text/first-series">"History."</a>
In <span style="font-style: italic;">Essays.</span> </span><span><br />
_____. <a href="http://digitalemerson.wsulibs.wsu.edu/exhibits/show/text/first-series/self-reliance">"Self-Reliance."</a>
In <span style="font-style: italic;">Essays.</span>h<br />
_____. "The Over-Soul." In <span style="font-style: italic;">Essays.</span><br />
_____. "Character." In <span style="font-style: italic;">Essays.</span><br />
_____. <a href="http://digitalemerson.wsulibs.wsu.edu/exhibits/show/text/second-series/the-poet"><span style="font-weight: bold;">"The Poet."</span></a> In
<span style="font-style: italic;">Essays.</span><br />
_____. <span style="font-style: italic;">Essays:</span>
First and Second series. 1841, 1844. <br />
_____. "Emancipation in the West Indies." 1844.<br />
_____. "John Brown." 1859. <br />
_____. "Thoreau." 1862. <br />
<br />
<a href="http://vanityfea.blogspot.com.es/2017/12/ralph-waldo-emerson.html"><br />
Some notes on Emerson</a> (Oxford Companion to American Literature)<br />
<br />
"Ralph Waldo Emerson." Wikipedia: The Free Encyclopedia<br />
<a href="http://en.wikipedia.org/wiki/Ralph_Waldo_Emerson">http://en.wikipedia.org/wiki/Ralph_Waldo_Emerson</a></span><br />
<br />
</span></span><span style="font-size: large;"><br />
<span><span><span><span>_______________</span></span></span></span></span></p>
<p><span style="font-size: large;"><span><span><a href="https://litinglesa.blogspot.com/2019/12/ralph-waldo-emerson-nivel-avanzado.html">Emerson:
NIVEL AVANZADO</a> </span><br />
_______________</span></span></p>
<p><span style="font-size: x-large;"><span> </span></span></p><p><span style="font-size: large;"><br />
</span><br />
<span style="font-size: x-large;"><span><br />
<br />
</span></span></p>
<div class="separator" style="clear: both; text-align: center;">
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<p>
<span style="font-size: x-large;"> </span><span style="font-size: x-large;"><span style="font-weight: bold;"><br />
</span><span>EDGAR
ALLAN POE
(1809-1849)</span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"><br />
<span><span>Edgar Allan Poe, US short story
writer,
poet and critic; born in Boston, son
of British actress Elizabeth Arnold Poe and American actor David Poe,
father left, mother died 1811; lived with tobacco exporter John Allan
and wife, renamed Edgar Allan Poe, not adopted; travel to Britain with
the
Allans, school in England 1815-20, attends U of Virginia 1826; gambler,
leaves U; quarrels with Allan over debts, enlists in the Army,
reconciled with
Allan after wife's death, expelled from West Point military academy for
gambling, disobedience and drink; lives with aunt Maria Clemm,
Baltimore, 1831-35, miserable life, journalist, poverty; Allan dies
1834 leaving him nothing; journalist at <i>Southern Literary Messenger,</i>
marries 13-year old cousin Virginia Clemm 1835/6; l. New York 1837-38,
then Philadelphia, and back to NY; editorial jobs at <i>Burton's
Gentleman's Magazine, Graham's Magazine, New York Evening Mirror,
Broadway Journal; </i>distressed by young wife's ill health, widowed
1847;
alcoholic, deep-seated emotional conflicts, 1848-49, in love with poet
Sarah Helen Whitman and Mrs. Charles Richmond, engaged to his former
teenage
love Sara Royster Shelton; d. Baltimore after a fit of drunkenness.</span> </span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">Works: Poems</span><span style="font-size: x-large;">
<span> </span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;">_____. <span style="font-style: italic;">Al Aaraaf, Tamerlane, and Minor Poems.</span>
1829.<br />
_____. <span style="font-style: italic;">Poems by Edgar A. Poe </span>1831.
("Israfel," "To Helen," "The City in
the Sea," etc.).<br />
_____. <span style="font-style: italic;"><a href="https://www.poetryfoundation.org/poems/48860/the-raven">The Raven</a>
and Other Poems. </span>1845. <br />
_____. <a href="http://www.poetryloverspage.com/poets/poe/poe_ind.html" target="_blank"><span style="font-style: italic;">A Complete
Collection of Poems by Edgar Allan Poe.</span></a> (<a href="https://www.poetryfoundation.org/poems/48631/dream-land-56d22a06bce76">"Dream-land"</a>)<br />
</span><span style="font-size: x-large;">
<span><br />
</span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">Works: Individual tales </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;">_____. "Morella."
Short story. 1835.<br />
_____. "Berenice." Short story. 1835. <br />
_____. "Ligeia." Short story. 1838.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Narrative of Arthur Gordon
Pym of Nantucket.</span> Novel. 1838.<br />
_____. <a href="http://www.gutenberg.org/files/932/932-h/932-h.htm"><span style="font-weight: bold;">"The Fall of the House of
Usher."</span></a> Short story. 1839.</span><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;">_____. "William Wilson." Short
story. (1839).</span><span style="font-size: x-large;">
<span> </span><br />
</span><span style="font-size: x-large;">_____. <span style="font-style: italic; font-weight: bold;">Tales of the Grotesque
and the Arabesque.</span> 1840.<br />
</span><span style="font-size: x-large;"><span>_____. <span style="font-weight: bold;">"The Murders in the Rue
Morgue." </span>Short story. 1841. <br />
_____. "The Masque of the Red Death." Short story. <i>Graham's Magazine</i>
(1842)</span>.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">_____. "Eleonora." Story. In Poe, <i>The
Gift.</i> 1842.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">_____. "The Pit and the Pendulum."
Short story. <i>The Gift. </i>1843.<br />
_____. "The Gold-Bug." Story. 1843.<br />
_____. <span style="font-weight: bold;">"The Tell-Tale Heart."</span>
Short story. 1843.<br />
_____. "The Balloon-Hoax." 1844.<br />
_____. <span style="font-weight: bold;"><a href="http://xroads.virginia.edu/%7EHYPER/POE/purloine.html" target="_blank">"The Purloined Letter."</a> </span>Short
story. 1845. <br />
_____. "The Black Cat." Short story. 1843. <br />
_____. "The Facts in the Case of M. Valdemar." Short story. 1845.<br />
_____. "The Premature Burial." 1850.<br />
_____. <span style="font-style: italic; font-weight: bold;">Tales.</span>
1845.</span></p><span style="font-size: x-large;">
<span>
</span>
</span><p><span style="font-size: x-large;"><span><br />
Essays:<br />
_____. <span style="font-weight: bold;">"The Philosophy of
Composition."</span> 1846. <br />
_____. "The Poetic Principle." 1848. <br />
_____. <a href="http://www.gutenberg.org/files/32037/32037-h/32037-h.htm" target="_blank"><span style="font-style: italic;">Eureka: A Prose Poem.</span></a>
1848.</span>
</span><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;"><br />
</span><span style="font-size: x-large;"><br />
<br />
<a href="https://litinglesa.blogspot.com/2020/12/edgar-allan-poe-poeta-irremediable.html" target="_blank"><span>Edgar Allan Poe: poeta
irremediable</span></a></span><br />
</p>
<p><br />
</p>
<p><br />
<span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">__________________________</span></p>
<p><span style="font-size: large;">NIVEL AVANZADO:</span><br />
</p>
<p><span style="font-size: large;"> </span><br />
<br />
<a href="https://litinglesa.blogspot.com/2019/12/edgar-allan-poe-nivel-avanzado.html"><span style="font-size: large;">- Edgar Allan Poe: Nivel avanzado</span></a><br />
<br />
<span style="font-size: large;">__________________________ </span><br />
<br />
<br />
<br />
<br />
<span style="font-size: large;"></span><br />
<br />
</p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;">Lunes 20 hablaremos de los primeros autores norteamericanos: Irving y Cooper.<br /></span></p><p><br /></p><p class="MsoNormal"><span style="font-size: large;">Ya tenemos FECHA
DE EXAMEN de la primera convocatoria:</span></p>
<p class="MsoNormal">
<span style="font-family: "Times New Roman",serif; font-size: large; mso-ansi-language: ES; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;">Introducción a la Literatura inglesa - 3 Feb. 2022, 10-13h, aula 1 Central
FYL</span>
</p>
<span style="font-size: large;">
</span>
<p><span style="font-size: large;"> Recordad que el examen teórico
tiene una sección de preguntas de tipo test, y además un tema a elegir entre dos
(siendo uno de los temas uno de los principales autores del programa, y
otro una época o género, donde puedan entrar varios autores)</span></p>
<p><span style="font-size: large;">Y la segunda parte, el examen práctico, que también
tiene que hacer todo el mundo, es un texto para traducir al español o comentar
en inglés. Sin diccionarios, etc. (—se da por hecho que habrá palabras que falten—<i>no matter</i>). Se valoran la precisión, la capacidad
de comprensión, y el conocimiento de la materia y del idioma inglés.</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">___________________</span><br />
<br />
<span style="font-size: x-large;"><span><br />
<span style="font-size: large;"><b>JAMES FENIMORE COOPER
</b> (1789-1851)</span></span><span style="font-size: large;"><br />
<span><span><br />
James Fenimore Cooper,
US novelist, born in Burlington, NJ, son of William Cooper,
founder of Cooperstown; dismissed from Yale; seaman for several years,
married, gentleman farmer, successful novelist, moved to New York City,
US consul at Lyon, travelled in Europe 1826-33, defender of
republicanism in Europe, and conservative aristocratic Federalist back
in USA; moved back to Cooperstown, disillusioned with American democracy; father of Susan Fenimore Cooper.</span></span></span><span style="font-size: large;">
</span></span></p><p><span style="font-size: x-large;"><span style="font-size: large;"><span> </span><span>
_____. <span style="font-style: italic;">Precaution.</span>
Novel. 1820.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Spy: A
Tale of the Neutral Ground. </span>Historical romance. 1821.<br />
_____. <span style="font-style: italic;">The Pioneers; Or, The Sources
of the Susquehanna.</span> Romance. 1923. (Leatherstocking Series, part
4).<br />
_____. <span style="font-style: italic;">The Pilot.</span> Romance.
1823.<br />
_____. <a href="http://www.pagebypagebooks.com/James_Fenimore_Cooper/The_Last_of_the_Mohicans/index.html" target="_blank"><span style="font-style: italic; font-weight: bold;">The
Last
of the Mohicans.</span></a> Novel. 1826. (Leatherstocking series, <a href="http://www.gutenberg.org/files/940/940-h/940-h.htm" target="_blank">part 2</a>).<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Prairie: A Tale. </span>1827. (Leather-Stocking series, part 5).<br />
_____. <span style="font-style: italic;">The Red Rover.</span>
Romance. 1827. <br />
_____. <span style="font-style: italic;">Notions of the Americans. </span>Essay.
1828.<br />
_____. <span style="font-style: italic;">The Wept of Wish-ton-Wish.</span>
Romance. 1829.<br />
_____. <span style="font-style: italic;">The Water-Witch.</span>
Romance. 1830.<br />
_____. <span style="font-style: italic;">A Letter to General Lafayette.</span>
Discourse. 1831.<br />
_____. <span style="font-style: italic;">The Bravo. </span>Historical
romance. 1831.<br />
_____. <span style="font-style: italic;">The Heidenmauer, or, The
Benedictines.</span> Historical romance. 1832.<br />
_____. <span style="font-style: italic;">The Headsman, or, The Abbaye
des Vignerons.</span> Romance. 1833.<br />
_____. <span style="font-style: italic;">A Letter to His Countrymen.</span>
Discourse. 1834.<br />
_____. <span style="font-style: italic;">The Monikins.</span>
Satirical allegory. 1835.<br />
_____. <span style="font-style: italic;">The American Democrat, or
Hints on the Social and Civil
Relations of the United States of America.</span> Political theory.
1838.<br />
_____. <span style="font-style: italic;">Homeward Bound; or, The Chase.</span>
Novel. 1838.<br />
_____. <span style="font-style: italic;">Home as Found.</span> Novel.
1838. (Sequel to <span style="font-style: italic;">Homeward Bound</span>).<br />
_____. <span style="font-style: italic;">History of the Navy.</span>
History. 1839.<br />
_____. <span style="font-style: italic;">The Pathfinder, or The Inland
Sea. </span>Romance. 1840.
(Leather-stocking series, part 3)<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Deerslayer.</span> Novel. 1841. (Leatherstocking series, Part 1).<br />
_____. <span style="font-style: italic;">Wing-and-Wing.</span>
Romance. 1842.<br />
_____. <span style="font-style: italic;">Le Mouchoir. </span>1843.
Retitled <span style="font-style: italic;">The Autobiography of a
Pocket-Handkerchief. </span><br />
_____. <span style="font-style: italic;">Wyandotté, or the Hutted
Knoll.</span> A Tale. 1843.<br />
_____. <span style="font-style: italic;">Afloat and Ashore. </span>Romance.
1844.<br />
_____. <span style="font-style: italic;">Miles Wallingford.</span>
Romance. 1844. (Sequel to <span style="font-style: italic;">Afloat and
Ashore</span>).<br />
_____. <span style="font-style: italic;">Satanstoe.</span> Novel.
1845. (Littlepage Manuscripts, 1).<br />
_____. <span style="font-style: italic;">The Chainbearer. </span>Novel.
1845. (Littlepage Manuscripts, 2).<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Redskins, or, Indian and Injin.</span> Novel. 1846. (Littlepage
Manuscripts, 3).<br />
_____. <span style="font-style: italic;">The Crater.</span> 1848.
(Social utopia).<br />
_____. <span style="font-style: italic;">The Oak Openings, or, The
Bee-Hunter. </span>Romance. 1848.<br />
_____. <span style="font-style: italic;">The Ways of the Hour. </span>Novel.
1850.</span></span><br />
<br />
<br />
</span></p>
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<br />
<span style="font-size: large;"><a href="https://vanityfea.blogspot.com/2021/12/la-marcha-hacia-el-oeste-james-fenimore.html">La marcha hacia el oeste - James Fenimore Cooper</a></span><br />
<span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><span>_________________</span></span>
</p><p><span style="font-size: large;"><span>NIVEL AVANZADO<br />
<span style="font-weight: bold;"><br />
</span><br />
<span>Más sobre Fenimore Cooper en la
Wikipedia: </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span>"James
Fenimore Cooper." <i>Wikipedia: The Free Encyclopedia.</i><br />
<a href="http://en.wikipedia.org/wiki/James_Fenimore_Cooper">http://en.wikipedia.org/wiki/James_Fenimore_Cooper</a><br />
<br />
<br />
–o en esta introducción del <span style="font-style: italic;">Oxford
Companion to American Literature</span> sobre su vida y obras:<a href="http://vanityfea.blogspot.com.es/2012/11/james-fenimore-cooper.html">
James Fenimore Cooper</a><a href="https://litinglesa.blogspot.com/2019/12/james-fenimore-cooper.html">.</a><br />
</span></span></span><span style="font-size: large;"><span style="font-size: large;"><br />
<br />
<a href="https://litinglesa.blogspot.com/2019/12/irving-cooper-nivel-avanzado.html">Irving
& Cooper - NIVEL AVANZADO</a><br />
<br />
____________________________</span><br />
</span><br />
<br />
<br />
<br />
<br />
<br />
</p>
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<p>
<br />
<br />
<span style="font-size: x-large;"><br />
</span><span style="font-size: large;"><span><span><a href="https://en.wikipedia.org/wiki/Washington_Irving">WASHINGTON
IRVING </a> (1783-1859)</span>
<span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><br />
<span><span>Washington Irving, US man of letters, b. New York city,
wealthy middle
class,
Revolutionary family background; youngest of 11 children; wrote after
brothers William and Peter; law career; traveller in upper NY and
Canada; journalist at <span style="font-style: italic;">Peter's
Morning Chronicle</span> and <span style="font-style: italic;">Corrector;</span>
satirical sketches of NY society, left legal profession, travelled in
Europe 1804-6, pursued lit. career in NY, Federalist ideology,
celebrated author; fiancée Matilda Hoffman died (and Irving never
married); political involvement during the War, then took charge of
Liverpool family business, went bankrupt; wrote for a living, met
Scott, Byron, Moore, travelled in Paris, in Germany, loved Emily Foster
in Paris, lived in England, France, courted Mary Shelley; diplomat in
Madrid, travels in Spain; diplomat again in London, and back to
Sunnyside, NY, after 17 years; tour on the Western frontier; political
connections, returned as ambassador to Spain, retired to Sunnyside,
turned historian, celebrated as classic.</span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span><span> </span></span>
<span>_____. "Letters
of Jonathan Oldstyle, Gent."<span style="font-style: italic;"> Morning
Chronicle</span> (1802-3). (Satires on New York society).<br />
_____. <span style="font-style: italic;">Salmagundi; or, The
Whim-Whams and Opinions of Launcelot Langstaff, Esq., and Others.</span>
Satirical sketches. Periodical pamphlets, 1807-8. Book, 1808.
(Pseudonymous writings, in collaboration with William and Peter Irving,
and with brother-in-law J. K. Paulding).<br />
_____. <span style="font-style: italic; font-weight: bold;">A History
of New York,</span><span style="font-style: italic;"> from the
Beginning of the World to the End of the Dutch Dynasty, by Diedrich
Knickerbocker. </span>1809. Rev. 1812, 1819, 1848. (Ps. "Diedrich
Knickerbocker"). <a href="http://www.gutenberg.org/ebooks/13042">http://www.gutenberg.org/ebooks/13042</a><br />
_____. "Westminster Abbey." In Irving, <span style="font-style: italic;">The Sketch Book of Geoffrey Crayon.</span><br />
_____. "The Christmas Dinner." In Irving, <span style="font-style: italic;">The Sketch Book of Geoffrey Crayon.</span><br />
_____. "Stratford-on-Avon." In Irving, <span style="font-style: italic;">The Sketch Book of Geoffrey Crayon.</span><br />
_____. "John Bull." In Irving, <span style="font-style: italic;">The
Sketch Book of Geoffrey Crayon.</span> 1819-20.<br />
_____. "The Stage-Coach." In Irving, <span style="font-style: italic;">The
Sketch Book of Geoffrey Crayon.</span> 1819-20.<br />
_____.<span style="font-weight: bold;"> <a href="https://etc.usf.edu/lit2go/171/american-short-fiction/3461/rip-van-winkle/" target="_blank">"Rip van Winkle."</a> </span>In
Irving, <span style="font-style: italic;">The Sketch Book of Geoffrey
Crayon.</span> 1819-20.<br />
_____.<span style="font-weight: bold;"> "The Legend of Sleepy Hollow."</span>
In Irving, <span style="font-style: italic;">The Sketch Book of
Geoffrey Crayon.</span> 1820.<br />
_____. "English Writers of America." In Irving, <span style="font-style: italic;">The Sketch Book of Geoffrey Crayon. </span>1819-20.<br />
_____. "Traits of Indian Character." In Irving, <span style="font-style: italic;">The Sketch Book of Geoffrey Crayon. </span>1819-20.<br />
_____. </span><span>(Ps. "Geoffrey Crayon, Gent.") <span style="font-style: italic;"></span></span><span><span style="font-style: italic;"><a href="http://www.gutenberg.org/files/2048/2048-h/2048-h.htm" target="_blank"><b>The Sketch Book of Geoffrey Crayon.</b></a> </span>Miscellany
of tales and essays. Serialized in USA,
1819-20. <br />
_____. (Ps. "Geoffrey Crayon, Gent.") <span style="font-style: italic;">Bracegirdle
Hall; or, The Humorists: A Medley.</span> Tales and sketches.
1822. </span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span>_____.
<span style="font-style: italic;">Tales
of a
Traveller. </span>1824. <br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">History of the Life and Voyages of
Christopher Columbus.</span> </span>1828. (Based on Navarrete).<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Alhambra: A Series of Tales and Sketches of the Moors and Spaniards.</span>
1832. 1852.<br />
_____. <b><span style="font-style: italic;">A Tour of the Prairies.</span></b>
Travel book. Vol. 1 of The Crayon Miscellany. 1835.<br />
_____. <span style="font-style: italic;">Legends of
the Conquest of Spain.</span><span style="font-weight: bold;"> </span>Vol.
2 of The Crayon Miscellany. 1835.<br />
_____. <span style="font-style: italic;">The Crayon Miscellany.</span>
3 vols. 1835.<br />
_____. <span style="font-style: italic;">Astoria.</span> 1836. Rev.
1849. (History of John Jacob Astor; written with Pierre Irving).<br />
_____. <span style="font-style: italic;">The Adventures of Captain
Bonneville, U.S.A.</span> 1837. (Sequel to Astoria).<br />
_____.<span style="font-style: italic;"> The Life of Oliver Goldsmith.</span>
1840. <br />
_____. <span style="font-style: italic;">A Book of the Hudson. </span>Sketches.
1849.</span><span><br />
<span>_____. <span style="font-style: italic;">Mahomet
and
His Successors.</span> Biographies. 2 vols. 1849-50.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Life of Washington.</span> </span>5 vols.
1855-59.</span>
<br />
</span><span><br />
</span><span><br />
</span><span><br />
</span><span></span><br />
<br />
<br />
<span><a href="http://vanityfea.blogspot.com.es/2012/11/washington-irving.html">Washington
Irving: Vida y obras.</a></span></span></span><br />
<br />
<br />
</p>
<p>__________________________________ <br />
</p>
<span style="font-size: x-large;"><span><br /><br /></span></span><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><span><span><span style="font-weight: bold;">American literature before 1800</span><br />
<br />
Alvar Núñez Cabeza de Vaca. <span style="font-style: italic;">Naufragios
y Comentarios.</span><span style="font-weight: bold;"><span style="font-weight: bold;"> </span></span>1542.<br />
<br />
Richard Hakluyt (the younger, 1552-1616). <span style="font-style: italic;">Discourse Concerning
Western Planting. </span>c. 1600.<br />
<br />
Alexander Whitaker (fl. 1617). <span style="font-style: italic;">Good
Newes from Virginia.</span> 1617.<br />
<br />
John Smith (1580-1631). <span style="font-style: italic;">A True
Relation of Virginia. </span>1608.<br />
_____. <span style="font-style: italic;">A Description of New England.</span>
1616.<br />
_____. <span style="font-style: italic;">The Generall Historie of
Virginia, New England, and the Summer Isles.</span> 1624.<br />
_____. <span style="font-style: italic;">The True Travels, Adventures,
and Observations of Captaine John Smith.</span> 1630.<br />
<br />
William Bradford (1590-1657). <span style="font-style: italic;">Of
Plymouth Plantation.</span> 1630.<br />
<br />
John Winthrop (1588-1649). <span style="font-style: italic;">A
Modell of Christian Charity.</span> 1630.<br />
<br />
John Cotton et al. <span style="font-style: italic;">The Bay Psalm
Book.</span> 1640.<br />
<br />
Anne Bradstreet. (1612?-1672). <span style="font-style: italic;">The
Tenth Muse Lately Sprung Up in America.</span> London, 1650.<br />
<br />
John Eliot, <span style="font-style: italic;">The Christian
Commonwealth.</span> 1659.<br />
_____. <span style="font-style: italic;">Eliot Indian Bible.</span>
1663.<br />
<br />
Edward Taylor, <span style="font-style: italic;">The Poetical Works
of Edward Taylor.</span> c. 1680, pub. 1939.<br />
<br />
Cotton Mather, <span style="font-style: italic;">Magnalia Christi
Americana, or the Ecclesiastical History of New England. </span>1702.<br />
<br />
Ebenezer Cook, <span style="font-style: italic;">The Sot-Weed Factor.</span>
1708.<br />
<br />
Jonathan Edwards (1703-1758). <span style="font-style: italic;">A
Faithful Narrative of the Surprising Work of God</span>. 1737.</span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span><br />
Benjamin Franklin, (1706-1790). <span style="font-style: italic;">Autobiography.
</span>(Posth.). 1818.<br />
<br />
Philip Freneau, (1752-1832). <span style="font-style: italic;">The
Rising Glory of America. </span>1771. Rev. 1786.<br />
<br />
Thomas Paine, <span style="font-style: italic;">Common
Sense. </span>1776.<br />
_____. <span style="font-style: italic;">The Rights of Man.</span>
1791.<br />
_____. <span style="font-style: italic;">The Age of Reason.</span>
1794.<br />
<br />
Thomas Jefferson, <span style="font-style: italic;">Notes on the
State of Virginia</span>.
1787.<br />
</span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><a href="https://en.wikipedia.org/wiki/Judith_Sargent_Murray" target="_blank"><br />
</a><span><span><span><span><a href="https://en.wikipedia.org/wiki/Judith_Sargent_Murray" target="_blank">Judith Sargent Murray</a> (1751-1820). "Of the
Equality of the Sexes." 1779-1790.</span></span></span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span><span><span><br />
</span></span>
Phillis Wheatley, <span style="font-style: italic;">Poems. </span>London,
1773.<br />
<br />
Sansom Occom (1723-1792). <span style="font-style: italic;">Collection
of Hymns and Spiritual Songs.</span> 1774.<br />
<br />
<a href="https://en.wikipedia.org/wiki/Olaudah_Equiano">Olaudah Equiano,</a>
<span style="font-style: italic;">The Interesting Narrative of the Life
of
Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself.</span>
1787.<br />
<br />
Jupiter Hammon (1711-1806?). <span style="font-style: italic;">Address
to the Negroe: In the State of New
York.</span> 1787.<br />
<br />
Royall Tyler, <span style="font-style: italic;">The Contrast.</span>
Drama. 1787.<br />
<br />
Hugh Henry Brackenridge (1746-1816). <span style="font-style: italic;">Modern
Chivalry.</span> Sketches.
1792-1815.<br />
<br />
Charles Brockden Brown, <span style="font-style: italic;">Wieland:
or, The Transformation.</span> Novel. 1798.
</span><br />
</span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><br />
<span><span><span><span><span>Joel Barlow, <span style="font-style: italic;">The Columbiad.</span>
Epic. 1807.</span></span></span></span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span><span><span><span><span> </span></span></span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"><span style="font-size: x-large;"><span><span><span><span><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/12/united-states-of-americas-national.html" target="_blank">Francis Scott Key, "The Star Spangled Banner"</a>, the
national anthem of the United States of America.</span> </span></span></span></span></span>
<br />
<br />
____________________</span></p>
<p><span style="font-size: large;">NIVEL AVANZADO:<br />
<br />
<a href="https://litinglesa.blogspot.com/2019/12/literatura-norteamericana-nivel-avanzado.html">-
AMERICAN LITERATURE (NIVEL AVANZADO)</a></span></p>
<p><span style="font-size: large;">- A documentary on <a href="https://litinglesa.blogspot.com/2020/12/history-of-american-revolution-nivel.html" target="_blank">THE REVOLUTIONARY WAR OF AMERICAN INDEPENDENCE </a><br />
</span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"><a href="https://vanityfea.blogspot.com/2013/02/tradiciones-orales-nativas-americanas.html" target="_blank"><span>- Tradiciones orales nativas americanas (Richard
Gray)<br />
</span></a></span></span></p>
<span style="font-size: x-large;"><span style="font-size: large;"><span><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/12/todays-fight-for-us-independence.html" target="_blank">- The Perpetual Civil War for American Independence</a></span>
</span></span><br />
____________________ </span><p><br /></p><p style="text-align: right;"><a href="https://litinglesa.blogspot.com/search/label/4.%20Literatura%20inglesa%20del%20siglo%20XIX" target="_blank">4. Literatura inglesa del siglo XIX</a><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-58643239884482243312022-01-08T22:57:00.007+01:002022-04-28T19:53:31.505+02:008. Literatura norteamericana 1960-<span style="font-size: large;"></span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"><i>La sección B ya está completa en el sentido de que tenéis en la red todos los materiales necesarios para el estudio. Ánimo con ellos. </i></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"><i>En clase presencial seguimos con la unidad 5 de la sección A, </i></span><span style="font-size: large;"><i><span style="font-size: large;"><i>Literatura norteamericana del siglo XIX,</i></span> la última unidad que veremos presencialmente: </i></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"><i> </i> <br /></span></p><br /><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> ____________________</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;">Y
despedimos el curso con una Sección B (NIVEL AVANZADO, y fuera de
programa) sobre algunos autores norteamericanos recientes:</span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2021/01/literatura-norteamericana-contemporanea.html" target="_blank">Literatura norteamericana contemporánea.</a><br />
</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2022/04/prose-after-postmodernism-nivel-avanzado.html" target="_blank">Prose After Postmodernism</a></span><br /></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;">______________________</span></p><p> </p>
<p><br /><br /><br /></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span></p>
<span style="font-size: large;">____________________ </span><p class="MsoNormal" style="margin-bottom: 0cm;">
<br /><span style="font-size: large;">
</span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"><span><b>SECCIÓN B, tema 8 </b>(Literatura
norteamericana 1960-)</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span> </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span><span style="font-size: medium;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm;">
</p><span style="font-size: medium;">
</span><h1 style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US" style="font-family: Times; font-variant: small-caps;">Philip
Roth <span> </span><span> </span></span><span lang="EN-US" style="font-family: Times; font-weight: normal;">(1933-2018)</span><span lang="EN-US" style="font-family: Times; font-variant: small-caps;"></span></span></span></h1><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">Jewish-American
postmodernist novelist; l. Connecticut 1972-; Gold Medal of the Arts
1986,
White House, 1998; Gold Medal for Narrative of the American Academy of
Arts and
Letters 2001; Booker International 2011, Premio Príncipe de Asturias de
las
Letras 2012; National Book Award, PEN/Faulkner Award, National Book
Critics
Circle Award; complete works published by the Library of America.</span></span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US"> </span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span style="font-weight: bold;">
</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">Roth,
Philip. <b><i>Portnoy's Complaint. </i></b>Novel. 1967, 1968,
1969.</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>The Breast.</i>
Novel. 1972. (Kepesh books).</span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>My Life as a
Man.</i> 1974.</span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>Reading
Myself and Others.</i> Essays. 1975. </span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>The Professor
of Desire.</i> 1977. (Kepesh
books).</span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>The Ghost
Writer.</i> Novel. 1979. (Zuckerman series) (Holocaust).</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>The Anatomy
Lesson.</i> Novel. 1983. (Zuckerman series).</span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <b><i>The
Counterlife.</i></b> Novel. 1986..
(Zuckerman series).</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>The Facts: A
Novelist's Autobiography.</i> 1988. (Roth books).</span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>Deception.</i>
1990. (Roth books). (Adultery).</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <b><i>Sabbath's
Theater.</i> </b>Novel. 1995. (1995
National Book Award)</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <b><i>American
Pastoral.</i> </b>Novel. 1997.
(Zuckerman series).<span> </span>(1998 Pulitzer
Prize).</span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <b><i>I Married
a Communist.</i></b> Novel. 1998.
(Zuckerman series). </span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <b><i>The Human
Stain.</i></b> Novel. 2000.* (Zuckerman
series). </span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoBodyTextIndent2" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>_____. <i>The
Dying Animal.</i> Novel. 2001.</span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>The Plot
against America.</i> Novel. 2004.
(Alternative history novel on Charles Lindbergh and Nazism).</span></span></span></p><span style="font-size: medium;">
</span><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
</span></span></div><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <b><i>Everyman.</i></b>
2006. </span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span lang="EN-US">_____. <i>Nemesis.</i>
Novel. 2010.</span></span></span></p><span style="font-size: medium;">
</span><p style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span style="font-family: Times;"></span></span></span></p><span style="font-size: medium;">
</span><p style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span style="font-family: Times;"><a href="http://www.theparisreview.org/interviews/2957/the-art-of-fiction-no-84-philip-roth"><span lang="EN-US"></span></a></span></span></span>
</p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><span style="font-weight: bold;"> </span><br /></span>
<span style="font-size: medium;"><br /></span>
<span style="font-size: medium;"><br /></span>
<span style="font-size: medium;">
<span>Del manual de Bertens y D'haen, unas notas sobre Philip Roth</span><span>, novelista judío norteamericano,
perpetuo
candidato al Nobel que, recientemente fallecido, se quedó sin él. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><a href="https://litinglesa.blogspot.com/2022/04/philip-roth-1933-2018.html"><span style="font-size: medium;">https://litinglesa.blogspot.com/2022/04/philip-roth-1933-2018.html</span></a><br /></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><br /></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><span>Y aquí
una entrevista con Philip Roth:<br />
<br />
<a href="http://www.nytimes.com/2014/03/16/books/review/my-life-as-a-writer.html">http://www.nytimes.com/2014/03/16/books/review/my-life-as-a-writer.html</a></span>
<span style="font-weight: bold;"><br />
</span><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span>
<span style="font-size: medium;"><span><br />
</span><span><br />
<span lang="EN-US">De Roth tenemos como lectura en las fotocopias el
primer capítulo de</span><span lang="EN-US"> su novela <i>The Human
Stain</i> (1, Everyone
Knows, 1-75). También hay <a href="https://litinglesa.blogspot.com/2020/12/the-human-stain.html" target="_blank">una buena película sobre esta novela.</a></span></span></span></p><span style="font-size: medium;">
<span></span><span><span lang="EN-US"> </span></span>
</span><p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: medium;"><span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: medium;"><br /></span>
</p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><span style="font-weight: bold;">__________________________________</span></span><br /></span>
<span style="font-size: medium;"><span></span><br /></span>
<span style="font-size: medium;"><span></span><br /></span>
<span style="font-size: medium;"><span><a href="https://litinglesa.blogspot.com/2020/01/philip-roth-unleashed-nivel-avanzado.html">NIVEL
AVANZADO: Philip Roth Unleashed.</a></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>and <br />
</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span><a href="https://litinglesa.blogspot.com/2020/12/the-human-stain-nivel-avanzado.html" target="_blank">3 Yale lectures on <i>The Human Stain.</i></a></span>
<br /></span>
</p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"> <br /></span>
</p><span style="font-size: medium;">
</span><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: medium;"><span>
___________________________________</span></span><br />
</p>
<p class="MsoNormal" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /><br /></span></p><p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;">
<br />
Vamos terminando la sección B incluida en el programa (literatura del
siglo XX) con unas palabras
sobre literatura
norteamericana desde 1960-, mencionando a:<br />
<br />
John
Barth, novelista experimental y postmoderno,</span></p><p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2022/04/john-barth-1930.html">https://litinglesa.blogspot.com/2022/04/john-barth-1930.html</a> <br /></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: right;"><span style="font-size: large;"> (<a href="https://litinglesa.blogspot.com/2020/12/john-barth.html" target="_blank">más notas sobre JOHN BARTH aquí</a>)<br />
</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;"></span></p>
<blockquote>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;">y a <br />
<br />
Anne
Sexton,</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;">poeta existencialista y suicida. (<a href="https://www.nytimes.com/1974/10/06/archives/wnne-sexton-dies-pulitzer-poet-45-bad-case-of-melancholy.html" target="_blank">Obituario de Anne Sexton en el </a><i><a href="https://www.nytimes.com/1974/10/06/archives/wnne-sexton-dies-pulitzer-poet-45-bad-case-of-melancholy.html" target="_blank">New York Times</a>).</i><span style="font-weight: bold;"><br />
</span><br />
De todos estos autores tenéis alguna lectura en el bloque de
fotocopias. De <span lang="EN-US">Barth,</span></span><span style="font-size: large;"><span lang="EN-US"> el relato metaficcional
"Life-Story"; de </span></span><span style="font-size: large;"><span lang="EN-US">Sexton, los poemas "</span><span lang="EN-US">The Abortion</span><span lang="EN-US">" y "Cripples and Other Stories". </span></span></p></blockquote><p>- <a href="https://litinglesa.blogspot.com/2022/04/anne-sexton.html" target="_blank">SOME NOTES ON ANNE SEXTON. </a><br /></p><p> </p><p>________________________ <br /></p><p><a href="https://litinglesa.blogspot.com/2022/04/la-poesia-intimista-y-confesional-nivel.html" target="_blank">NIVEL AVANZADO: LA POESÍA INTIMISTA Y CONFESIONAL</a> <br /></p>
<p> </p>
<p>________________________ <br />
</p>
<blockquote>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;"><span lang="EN-US"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;"><span lang="EN-US">De Joyce Carol</span><span lang="EN-US"> </span><span lang="EN-US">Oates,</span><span lang="EN-US"> tenemos entre las lecturas el relato "Secret Observations on the
Goat-Girl".</span></span></p></blockquote><p class="MsoNormal" style="margin-bottom: 0cm;">- <span style="font-size: large;"><span lang="EN-US"> <a href="https://en.wikipedia.org/wiki/Joyce_Carol_Oates" target="_blank">Wikipedia
on JCO</a>.</span></span></p><br /><p> </p><p> </p>
<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi8iq4grnjwFYlvDKURZtwIBPzaIjRMBmC-KEXUIS82OQdNUcTH5Tj9Hp9HKG739ClhmdA-ZBHgV_JT6nduJ8_4SNzDyuGnXBp0YlMBnpXCqop8uuaxoYGm7xNd5Qjb_zm_Tq7bczSPeK3EOxx2cFx9uVLTeAFQJSmtEziXSfShRANhT8eBV-U-T8dfwQ=s450" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="450" height="249" src="https://blogger.googleusercontent.com/img/a/AVvXsEi8iq4grnjwFYlvDKURZtwIBPzaIjRMBmC-KEXUIS82OQdNUcTH5Tj9Hp9HKG739ClhmdA-ZBHgV_JT6nduJ8_4SNzDyuGnXBp0YlMBnpXCqop8uuaxoYGm7xNd5Qjb_zm_Tq7bczSPeK3EOxx2cFx9uVLTeAFQJSmtEziXSfShRANhT8eBV-U-T8dfwQ=s320" width="320" /></a></div><br /><br />
<p></p>
<blockquote>
<p><span style="font-size: large;">De<span lang="ES-TRAD"> Toni
Morrison, novelista del realismo mágico y último premio Nobel de la literatura norteamericana
incluido en el programa, podéis leer en las fotocopias un capítulo de
su novela </span><span lang="ES-TRAD"><i>Beloved </i>(cap. 3, 239-75).</span></span></p></blockquote>
<p><span style="font-size: large;"><span lang="ES-TRAD"></span></span></p>
<p style="text-align: right;"><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/12/morrison-toni.html" target="_blank"><span lang="ES-TRAD">Más notas sobre Toni
Morrison. </span></a>
</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span style="font-size: large;"><span lang="ES-TRAD"> El contexto para leer el texto de <a href="https://en.wikipedia.org/wiki/Beloved_%28novel%29" target="_blank"><i>Beloved</i> (Wikipedia)</a><br /></span></span></p>
<p><big> </big></p><p><big> </big></p><p><big>_______________ </big></p><p><big> </big></p><p><big> </big></p>
<p><big>NIVEL AVANZADO:</big></p><p><br /></p><p>- <a href="https://litinglesa.blogspot.com/2022/04/flannery-oconnor-carson-mccullers-joyce.html" target="_blank">FLANNERY O'CONNOR, CARSON McCULLERS & JOYCE CAROL OATES</a><br /><big>
</big></p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">- Una entrevista con Joyce Carol Oates:</span></p><p class="MsoNormal"><span lang="EN-US" style="mso-ansi-language: EN-US;">Lopate,
Leonard. "The Deaths that Changed Joyce Carol Oates' Life." Interview
with Joyce Carol Oates. Audio. (The Leonard Lopate Show). <i style="mso-bidi-font-style: normal;">WNYC</i> 13 Oct. 2015.*</span></p>
<span lang="EN-US" style="font-family: Times; font-size: 14pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><span style="mso-tab-count: 1;"> </span></span><span lang="ES-TRAD" style="font-family: Times; font-size: 14pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES-TRAD;"><a href="https://www.wnyc.org/story/joyce-carol-oates-lost-landscape/"><span lang="EN-US" style="mso-ansi-language: EN-US;">https://www.wnyc.org/story/joyce-carol-oates-lost-landscape/</span></a></span>
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</big></p>
<p><big>- Recordad que tenemos <a href="https://litinglesa.blogspot.com/search/label/7.%20SECCI%C3%93N%20B" target="_blank">otros novelistas premios Nobel</a> en lengua inglesa,
varios todavía en activo. Y en poesía norteamericana también tenemos dos Premios Nobel
recientes:</big></p>
<p><big>En 2016, el cantautor Bob Dylan. Aquí
algunas de sus canciones en un concierto de mediados de los años
setenta:</big><br />
<big><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/q0o_0b5abwA" width="560"></iframe></big><br />
</p>
<p><big> </big></p>
<p><big> </big></p>
<p><big>Y en 2020, la poetisa Louise Glück. <a href="https://poets.org/poems/louise-gluck" target="_blank">Aquí
pueden leerse u oírse algunos de sus poemas.</a><br />
</big></p>
<p><big>Aquí lee Glück algunos poemas de su libro <i>Faithful and
Virtuous Night:</i><br />
</big><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x3G0SlQsqfI?start=1394" width="560"></iframe><big><br />
</big><br />
<big><br />
</big></p><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span></p><p> </p><br /><p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 40px; text-align: left;"><span style="font-size: large;"> </span></p><br /><p style="text-align: right;"><big><a href="https://litinglesa.blogspot.com/search/label/7.%20SECCI%C3%93N%20B" target="_blank">Sección B, unidad 7: Literatura inglesa 1960-2000</a><br />
</big></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-61626795956338215212021-12-26T11:41:00.004+01:002021-12-26T11:41:29.242+01:00El Imperio británico (I) | Julio Crespo MacLennan<iframe width="480" height="270" src="https://youtube.com/embed/2SEgrr0czPs" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-73223627418498899642021-12-21T14:09:00.005+01:002021-12-21T15:55:52.063+01:00Discover the Real Henry David Thoreau<p><iframe frameborder="0" height="270" src="https://youtube.com/embed/Hg1mltw3Rhc" width="480"></iframe><br /><br /></p><p> </p><p> </p><p> </p><p>"John Brown's Body", sung by Pete Seeger:</p><p><br /></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/jso1YRQnpCI" title="YouTube video player" width="560"></iframe><br /><br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-90077541759643023412021-12-15T11:06:00.001+01:002022-02-05T12:59:40.252+01:004. Literatura inglesa del siglo XIX<p></p><p><span style="font-size: large;">
</span></p><p><big><i><span style="font-size: large;"><big>Terminamos,
con la unidad 4, nuestras lecciones presenciales sobre literatura
inglesa. Sigue la literatura inglesa en la Sección B (no presencial), <a href="https://litinglesa.blogspot.com/search/label/6.%20SECCI%C3%93N%20B" target="_blank">unidad 6: literatura inglesa del siglo XX.</a><br />
</big><big><br />
</big></span></i></big></p>
<p><span style="color: black; font-size: large;">Algunos de los
manuales recomendados, pueden encontrarse en la web en PDF. Aquí hay
dos de ellos:<br />
<span style="color: #2b00fe;"><a href="https://www.academia.edu/6056249/" target="_blank"><br />
</a></span></span><span style="color: black; font-size: large;"><span style="color: #2b00fe;"><a href="https://www.academia.edu/6056249/T" target="_blank"><span><span></span></span></a><span><span><a href="http://lanquiz.org/assets/pdf-books/lanquiz.org__the_short_oxford_history_of_english_literature.pdf">PDF
(</a><a href="https://librarykvmsmd.files.wordpress.com/2015/09/lanquiz-org__the_short_oxford_history_of_english_literature.pdf"><span style="font-style: italic;">The Short Oxford History of English
Literature)</span></a></span></span></span><br />
</span><span style="color: black; font-size: large;">
<br />
<a href="https://drive.google.com/file/d/0B9a3FSxKl6ZlV0dkUkJSWHR0dEU/view?usp=drivesdk">https://drive.google.com/file/d/0B9a3FSxKl6ZlV0dkUkJSWHR0dEU/view?usp=drivesdk</a>
(M Alexander, <i>A History of English Literature</i>)<br />
</span><big><i><span style="font-size: large;"><br />
—pero es más que recomendable que <span style="font-style: italic;">compréis
manuales</span>
y los tengáis para uso vuestro. La literatura norteamericana no está
incluida en estos manuales; se estudia en otros manuales, que
tenéis recomendados en el programa.</span><br />
<br />
<span style="font-size: large;"><span style="font-size: large;">En el
blog iré poniendo materiales
adicionales, pero <span style="font-style: italic;">como pregunta de
tema para examen</span>
entrarán únicamente los principales autores que aprarecen destacados en
el
programa, en negrita. Alguna pregunta corta sí que puede caer
sobre
autores del siglo XX, así como
traducción/comentario.</span>
<br />
<br />
<span style="font-style: italic;">
<br />
</span><span style="font-weight: bold;"><br />
</span><br />
<br />
<br />
<big><big><big><small><small><small><small><big><big>H. G. WELLS
(1866-1946)<br />
<br />
_____. <span style="font-style: italic; font-weight: bold;">The Time
Machine.</span><span style="font-weight: bold;">
</span>Novel. 1895.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Island
of Doctor Moreau.</span>
Novel. 1896.<br />
_____. <span style="font-style: italic;">The Invisible Man. </span>Novel.
1897.<br />
_____. <span style="font-style: italic; font-weight: bold;">The War of
the Worlds.</span>
SF novel. Serialized 1897.<br />
_____. <span style="font-style: italic;">The First Men in the Moon.</span>
Novel. 1901.<br />
_____. <span style="font-style: italic;">The Food of the Gods.</span>
Novel. 1904.<br />
_____. <span style="font-style: italic;">Kipps.</span> Novel. 1905.<br />
_____. <span style="font-style: italic;">The War in the Air.</span>
Novel. 1908.<br />
_____. <span style="font-style: italic; font-weight: bold;">Ann
Veronica.</span> Novel.
1909.<br />
_____. <span style="font-style: italic; font-weight: bold;">Tono-Bungay.</span>
Novel.
1909.<br />
_____. <span style="font-style: italic;">A Short History of the World.</span>
1922. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Shape
of Things to Come. </span>New
York: Macmillan, 1935.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Mind
at the End of Its
Tether.</span> 1945.</big></big>
</small></small></small></small><br />
</big></big></big><br />
<br />
</span><span style="font-size: large;"><big><big><big><small><small>
<span style="font-size: x-large;"><span lang="EN-US" style="font-family: "times";">Herbert George Wells, b. lower middle class, Bromley;
British
man of letters, science fiction and realist fiction writer, reviewer
and man of
letters, and leading socialist intellectual; began as working class
teacher, married
cousin Isabel, divorce, married pupil Amy Catherine a.k.a. "Jane", a
wife tolerant of his sexual freedom, mother of 2 sons, Gip and Frank;
lover of novelist
Dorothy Richardson, of young Rosamund Bland; of novelist Violet Hunt;
had 1 illegitimate daughter, Anna Jane, with young
lover and 'New Woman' Amber Reeves, later Amber Blanco White; lover of young writer Rebecca West, had a
son by
her, Anthony West; lover of 'New Women' like countess Elizabeth von
Arnim,
Odette Keun, and Russian spy Baroness Moura Budberg; </span></span></small></small></big></big></big></span></i></big><big><i><span style="font-size: large;"><big><big><big><small><small><span style="font-size: x-large;"><span lang="EN-US" style="font-family: "times";"><big><i><span style="font-size: large;"><big><big><big><small><small><span style="font-size: x-large;"><span lang="EN-US" style="font-family: "times";">had very
many
other minor sexual affairs; </span></span></small></small></big></big></big></span></i></big> public scandal
with
suicidal lover Hedwig Verena; apostle of free love and cult of
progress; Leninist
apologist, internationalist, linked early on to Fabian Socialism and later to League of
Nations
committees, travelled in Russia, France, Switzerland, Spain and the
USA, world-famous
man of letters and progressive international intellectual; Ph.D. U of
London 1943.</span></span>
</small></small></big></big></big><br />
<br />
</span><br />
<span style="font-size: large;"></span><br />
<span style="font-size: x-large;"><span><i>Profetas de la Ciencia Ficción: H.
G. Wells</i><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/7Z2DAxxfuPU" title="YouTube video player" width="560"></iframe>
<br />
<br />
<span style="font-weight: bold;"><br />
</span>
<a href="https://litinglesa.blogspot.com/2019/12/some-notes-on-hg-wells.html">Unos
apuntes sobre la obra</a> de H.G.
Wells<br />
<span style="font-weight: bold;"><br />
<br />
</span><a href="http://vanityfea.blogspot.com.es/2012/11/hg-wells-en-guerra-con-el-mundo.html">H.G.
Wells: Una película sobre su vida.</a><span style="font-weight: bold;"><span style="font-style: italic;"> </span></span>También <a href="https://litinglesa.blogspot.com/2019/12/biografia-de-h-g-wells.html">un
documental biográfico.</a></span><br />
<br />
<br />
</span><span style="font-size: large;"><span style="font-size: x-large;">Y aquí una
película "retrofuturista" basada en su novela <a href="http://vanityfea.blogspot.com.es/2012/09/things-to-come.html">Things
to Come</a>.<span style="font-style: italic;"></span><span style="font-weight: bold;"><span style="font-style: italic;"><br />
</span></span><span style="font-style: italic;"><br />
En <a href="http://vanityfea.blogspot.com.es/2012/11/mind-at-end-of-its-tether.html">Mind
at the End of its Tether,</a></span>
H. G. Wells reflexiona, al final de su vida, sobre la naturaleza y
límites de las ilusiones humanas como guías para la acción, y concluye
con un escepticismo desolador ante la muerte de las ilusiones que
sustentan el mundo en que vivimos—que tiene de ilusión colectiva más de
lo que solemos sospechar.</span><br />
<br />
<span style="font-weight: bold;"></span><br />
<span style="font-weight: bold;">
</span><br />
<br />
<big><br />
___________________</big></span></i></big></p><p><span style="font-size: large;">El 13 de diciembre seguiremos viendo escritores británicos del XIX: Tennyson, Hopkins y Wilde. A continuación, con H.G. Wells terminamos el tema 4 y volvemos atrás en el tiempo para tratar los comienzos de la literatura norteamericana.</span></p><p><br /></p><p><br /></p>__________________________________<br /><p><big><span style="font-size: large;"> </span></big></p>
<p><big><span style="font-size: large;">Otros autores significativos de
la época victoriana:</span></big></p>
<p><big><span style="font-size: large;"> </span></big></p>
<p><big><span style="font-size: large;">Thomas Carlyle - <i>Past and
Present, The French Revolution<br />
</i></span></big></p>
<p><big><span style="font-size: large;">Matthew Arnold - <i>Culture
and Anarchy<br />
</i></span></big></p>
<p><big><span style="font-size: large;">William Makepeace Thackeray<i>
- Vanity Fair, Esmond,</i> <br />
</span></big></p>
<p><big><span style="font-size: large;">Charlotte Brontë - <i>Jane Eyre</i></span></big></p>
<p><big><span style="font-size: large;">Emily Brontë - <i>Wuthering
Heights</i></span></big></p>
<p><big><span style="font-size: large;">Robert Browning - <i>Dramatic
Lyrics.</i><br />
</span></big></p>
<p><big><span style="font-size: large;">Elizabeth Barrett Browning- <i>Sonnets
from the Portuguese</i></span></big></p>
<p><big><span style="font-size: large;"><big><span style="font-size: large;">Christina Rossetti -</span></big><i><big><span style="font-size: large;"> <i>"</i>Goblin Market"</span></big> </i>
</span></big></p>
<p><big><span style="font-size: large;">Algernon Charles Swinburne - <i>Poems
and Ballads, Chastelard<br />
</i></span></big></p>
<p><big><span style="font-size: large;">Thomas Hardy - <i>Far from the
Madding Crowd, Jude the Obscure,<br />
</i></span></big></p>
<p><big><span style="font-size: large;">Lewis Carroll - <i>Alice in
Wonderland </i></span></big></p>
<p><big><span style="font-size: large;">Robert Louis Stevenson, <i>Treasure
Island, Dr Jekyll and Mr Hyde,<br />
</i></span></big></p>
<p><big><span style="font-size: large;"><big><span style="font-size: large;">Rudyard Kipling </span></big><i><big><span style="font-size: large;">- <i>Kim</i></span></big>, The Jungle Book</i>
</span><br />
<br />
</big></p>
<p><big><br />
<br />
<big>_____________________________<br />
<br />
<small><small><br />
<br />
</small></small>
<big><big><big><big><span style="font-size: x-large;">OSCAR
WILDE
(1854-1900)<br />
Anglo-Irish writer and dandy, b. Dublin, st.
Trinity College, Dublin, and Magdalen College, Oxford; l. London;
journalist, poet, prose writer and dramatist, brilliant
conversationalist and socialite, m. Constance Lloyd 1884 (d. 1898);
loved Lord Alfred Douglas; imprisoned for homosexuality 1895-97; d.
Paris.<br />
_____. <span style="font-style: italic;">Poems. </span>1881.<br />
_____. <span style="font-style: italic;">The Duchess of Padua.</span>
Tragedy. 1883.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Happy
Prince and Other
Tales.</span> 1888.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Picture of Dorian Gray.</span>
Novel. 1890.<br />
_____. <a href="http://Intentions."><span style="font-style: italic; font-weight: bold;">Intentions.</span></a>
Essays.
1891.<br />
_____. <span style="font-style: italic;">Lord Arthur Savile's Crime
and Other Stories.</span><br />
_____. <span style="font-style: italic;">A House of Pomegranates.</span>
Stories. 1891.<br />
_____. <span style="font-style: italic;">Lady Windermere's Fan.</span>
Drama. 1892.<br />
_____. <span style="font-style: italic;">Salomé.</span> Drama. 1892. <br />
_____. <span style="font-style: italic;">A Woman of No Importance. </span>Drama.
1893. <br />
_____. <a href="http://www.victorianweb.org/authors/wilde/sphinx.html"><span style="font-style: italic;">The Sphinx.</span> </a>Poem. 1894.<br />
_____. <span style="font-style: italic;">Poems in Prose. </span>1894.
<br />
_____. <span style="font-style: italic;">An Ideal Husband.</span>
Drama. 1895. <br />
____<span style="font-weight: bold;">_. </span><span style="font-style: italic; font-weight: bold;">The Importance of Being
Earnest.</span> Comedy. 1895. <br />
_____. <span style="font-style: italic;"><a target="_blank">The Ballad of Reading Gaol.</a> </span>1898.<br />
_____. <span style="font-style: italic; font-weight: bold;">Epistola:
In carcere et
vinculis / De Profundis.</span> 1891. Memoir/letter to Lord
Alfred Douglas.
1896.</span> <small><br />
</small>
</big><br />
</big></big></big>
<br />
<br />
___________<br />
<br />
<br />
<br />
- Una
introducción a Oscar Wilde (<a href="https://litinglesa.blogspot.com/2019/12/notes-on-oscar-wilde.html">Some
notes on Oscar Wilde</a>).<br />
<span style="font-weight: bold;"><br />
<br />
</span><a href="https://youtu.be/NWXI748lEHI">- Una conferencia de
Fernando Galván</a> sobre Oscar Wilde.<span style="font-weight: bold;"><br />
<br />
</span>- <a href="https://litinglesa.blogspot.com/2019/12/oscar-wilde-importance-of-being-earnest.html">A
video tutorial on</a> <i>The Importance of Being Earnest.</i></big><br />
<br />
<br />
<br />
<big><i> </i><br />
<span style="font-weight: bold;">_____________</span></big><br />
<big><span style="font-weight: bold;"><br />
</span></big><big><span style="font-weight: bold;"><br />
</span></big><big><a href="https://litinglesa.blogspot.com/2019/12/oscar-wilde-nivel-avanzado.html">NIVEL
AVANZADO: Oscar Wilde</a><br />
<span style="font-weight: bold;"></span></big><br />
<big><span style="font-weight: bold;"><br />
</span></big><big>Una buena película reciente sobre Wilde: <i> </i></big></big></p>
<p><big><big><i><a href="https://youtu.be/uNRZ78_BEgQ" target="_blank">The
Happy Prince / La importancia de llamarse Oscar Wilde.</a><br />
</i></big></big></p>
<p><big><big>Y otra más antigua:</big></big></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kQWf3VyLu9Y" title="YouTube video player" width="560"></iframe>
<p><big><big><br />
<span style="font-weight: bold;"></span></big><big><span style="font-weight: bold;">_____________</span></big><br />
<span style="font-size: large;"><big><br />
<br />
<br />
<br />
<span style="font-weight: bold;"><br />
</span><big><big><big><big><small><small><b>GERARD MANLEY HOPKINS</b>
(1844-1889)<br />
<br />
_____. "The Wreck of the Deutschland."<br />
_____. <a href="https://www.poetryfoundation.org/poems/44399/pied-beauty" target="_blank">"Pied Beauty."</a><br />
_____. "The Kingfisher."<br />
_____. "The Windhover."<br />
_____. "God's Grandeur". <br />
_____. "Carrion Comfort."<br />
_____. <a href="https://www.poetryfoundation.org/poems/44398/no-worst-there-is-none-pitched-past-pitch-of-grief" target="_blank">"No Worst, There is None."</a><br />
_____. <a href="https://www.poetryfoundation.org/poems/44397/that-nature-is-a-heraclitean-fire-and-of-the-comfort-of-the-resurrection" target="_blank">"That Nature Is a Heraclitean Fire...."</a> <br />
<br />
All these in:<br />
_____. <span style="font-style: italic;">Poems.</span> Ed. Robert
Bridges. 1918.</small></small> </big></big></big></big>
<br />
<br />
Victorian poet, st. Oxford, converted to Catholicism after Newman,
became Jesuit priest, repressed homosexual, inner torments and acute
health problems, burnt early poems, spiritual poems were published
posthumously by Robert Bridges; proto-Modernist stylist, cultivated
'sprung rhythm'.<br />
<span style="font-style: italic;"><br />
<br />
—</span> <a href="https://litinglesa.blogspot.com/2020/12/gerard-manley-hopkins.html" target="_blank">Una
introducción a Hopkins</a><a href="https://litinglesa.blogspot.com/2020/12/gerard-manley-hopkins.html" target="_blank">.</a> <span style="font-weight: bold;"><br />
<br />
</span><span style="font-style: italic;">___________</span></big></span><br />
<br />
<br />
<span style="font-size: large;"><big><span style="font-style: italic;">Nivel
AVANZADO:</span></big></span><br />
<br />
<span style="font-size: large;"><big><span style="font-style: italic;">-
<a href="https://litinglesa.blogspot.com/2019/12/hopkins-nivel-avanzado.html">Dos
conferencias sobre Gerard Manley Hopkins.</a></span></big></span><br />
<br />
<br />
<span style="font-size: large;"><big><span style="font-style: italic;">-
<a href="http://youtu.be/OlV6AptINsE">Una mesa redonda sobre Gerard
Manley Hopkins</a>.</span><span style="font-weight: bold;"><br />
<small><small><br />
<br />
</small></small>
</span><small><small><span style="font-weight: bold;">_______________<br />
</span><br />
<br />
<br />
</small></small>
<big><b>ALFRED LORD TENNYSON</b> (1809-1892)</big><small><small><br />
<br />
<br />
<br />
</small></small>
<big><big><big><small><small>Tennyson, Alfred (Lord). <span style="font-style: italic;">Poems, Chiefly Lyrical. </span>1830.<br />
_____. <a href="http://vanityfea.blogspot.com.es/2016/12/the-lady-of-shalott.html">"The
Lady of Shalott."</a> Poem. 1832, 1842. <br />
_____. "Morte d'Arthur." Written 1833-38. In Poems. 1842.<br />
_____. <span style="font-weight: bold;">"Ulysses."</span> Poem.
Written 1833, pub. in Poems. 1842.<br />
_____. <span style="font-style: italic; font-weight: bold;">Poems. </span>1842
(including material from 1830 and 1832). <br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Princess.</span> </span>Poem.
1847.<br />
_____. <a href="http://www.online-literature.com/tennyson/718/" target="_blank"><span style="font-style: italic; font-weight: bold;">In
Memoriam A. H. H.</span></a><span style="font-weight: bold;">
</span>Poem. 1850.<br />
_____. "Ode" on the Death of Wellington. 1852.<br />
_____. <span style="font-weight: bold;">"The Charge of the Light
Brigade." </span>Poem. 1854. <br />
_____.<span style="font-weight: bold;"> </span><span style="font-style: italic; font-weight: bold;">Maud, and other Poems. </span>1855.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Idylls
of the King. </span>Poems.
1859-1885.<br />
_____. <span style="font-style: italic;">Enoch Arden etc. </span>Poems.
Moxon, 1864.<br />
_____. <span style="font-style: italic;">The Holy Grail and Other
Poems. </span>1869.<br />
_____. <span style="font-style: italic;">Queen Mary.</span> Drama.
1875.<br />
_____. <span style="font-style: italic;">Harold: A Drama.</span> 1876.<br />
_____. <span style="font-style: italic;">Ballads and Other Poems.</span>
1880.<br />
_____. <span style="font-style: italic;">The Falcon.</span> 1884.<br />
_____. <span style="font-style: italic;">The Cup.</span> 1884.<br />
_____. <span style="font-style: italic;">Becket. </span>Drama. 1884. <br />
_____. <span style="font-style: italic;">The Works of Alfred Tennyson,
Poet Laureate. </span> 1884. <br />
_____. <span style="font-style: italic;">Tiresias, and Other Poems. </span>1885.<br />
_____. <span style="font-style: italic;">Demeter and other Poems.</span>
1889.</small></small> <br />
<br />
</big></big></big><span style="font-weight: bold;"><br />
______<br />
<span style="font-style: italic;"><br />
<br />
</span>
</span>Alfred, Lord Tennyson: <a href="http://vanityfea.blogspot.com.es/2012/11/alfred-lord-tennyson.html">Una
panorámica sobre su obra</a>.<br />
<br />
<br />
Canción de Loreena McKennitt sobre uno de los poemas artúricos de
Tennyson, <span style="font-style: italic;">The Lady of Shalott:</span>
<a href="http://www.poetryfoundation.org/poem/174626">http://www.poetryfoundation.org/poem/174626</a><br />
<span style="font-weight: bold;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/80-kp6RDl94" title="YouTube video player" width="560"></iframe>
<br />
</span><br />
<br />
_________<br />
</big></span><br />
<a href="https://litinglesa.blogspot.com/2019/12/tennyson-nivel-avanzado.html"><span style="font-size: large;"><big>Tennyson: NIVEL AVANZADO </big></span></a><br />
<br />
<br />
<span style="font-size: large;">_____________</span><br />
<br />
<span style="font-size: large;">Lo mejor del teatro inglés victoriano
son, posiblemente, las operetas cómicas de Gilbert &
Sullivan. Aquí una de ellas, <i>Patience.</i> </span></big></p><p><big><span style="font-size: large;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/FmiXDXibJGs" title="YouTube video player" width="560"></iframe> </span></big></p><p><big><span style="font-size: large;"> <br /></span></big></p><p><big><span style="font-size: large;">O quizá una película musical sobre otra opereta, <i><a href="https://www.youtube.com/watch?v=IGzv4vufN-k" target="_blank">The Pirates of Penzance</a>. </i>Se pueden oír
todas las operetas de Gilbert&Sullivan en <i>YouTube.</i></span><br />
</big></p><br /><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">____________________ <br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Nuestros siguientes autores para esta última semana de noviembre son, de tres en tres: </span></p><p><span style="font-size: large;">- los poetas románticos Wordsworth, Keats y Byron</span></p><p><span style="font-size: large;">- los novelistas Mary Shelley, Dickens y George Eliot.</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"><big><big><big><big><big><br />
<span style="font-size: x-large;"><br />
<span style="font-size: large;"><b>GEORGE ELIOT</b>
(1819-1880) </span></span></big></big></big></big></big><span style="font-size: large;"><br />
<span><span>George
Eliot, pseudonym of Mary Ann [later Marian] Evans, English
novelist, b. Warwickshire; quarrelled with her father on her leaving
the Church; self-taught in Continental writing and philosophy; went
through intellectual/erotic infatuations and love affairs with
intellectual men, some married;
assistant ed. of the <i>Westminster Review</i> 1851; lived with G. H.
Lewes c.
1854-1878; successful realist novelist and skeptic moralist; first
ostracised as scandalous and
then successful socialite; married young admirer John Walter Cross 1880
and died; left no children.</span></span></span>
</span></p><p><big><big><span style="font-size: large;"><span><span> </span>
_____. trans. (unsigned). <span style="font-style: italic;">The
Life of Jesus, Critically Examined.</span> By David Friedrich Strauss.
1846.<br />
_____, trans. <span style="font-style: italic;">The Essence of
Christianity.</span>
By Ludwig Feuerbach. London, 1854. <br />
_____. <span style="font-style: italic;">Scenes of Clerical Life. </span>Stories.
1857. <br />
_____. <span style="font-style: italic; font-weight: bold;">Adam Bede.
</span>Novel.
1859. <br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Mill on the Floss.</span> </span>Novel.
1860. <br />
_____. <span style="font-style: italic; font-weight: bold;">Silas
Marner. </span>Novel.
1861. <br />
_____. <span style="font-style: italic;">Romola.</span> Novel.
Serialized in the <span style="font-style: italic;">Cornhill Magazine.
</span>1863. <br />
_____. <span style="font-style: italic;">Felix Holt, the Radical.</span>
Novel. 1866. <br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.gutenberg.org/files/145/145-h/145-h.htm#book01" target="_blank">Middlemarch:</a>
A Study of
English Provincial Life. </span>Novel. 1871/2. <br />
_____. <span style="font-style: italic;">Daniel Deronda.</span> Novel.
1874-76.</span></span><big><big><big><br />
<span style="font-size: large;"><br />
<span><br />
</span></span></big></big></big><span style="font-size: large;"><span>Apuntes
sobre <a href="http://vanityfea.blogspot.com.es/2012/11/george-eliot.html">George
Eliot</a>.<br />
<br />
Resumen de <a href="http://vanityfea.blogspot.com.es/2012/11/middlemarch.html"><span style="font-style: italic;">Middlemarch</span></a><a href="http://vanityfea.blogspot.com.es/2012/11/middlemarch.html"> </a>.<br />
</span></span><big><big><big><br />
</big></big></big><br />
<big><big><big><br />
</big></big></big><br />
<br />
<br />
_______________________________<br />
<br />
NIVEL AVANZADO:<br />
<br />
<span style="font-size: large;"><br />
</span><big><big><big><span style="font-size: large;">
<a href="http://youtu.be/Dl0ZUnGchHE">George Eliot: A Scandalous Life</a></span><br />
</big></big></big><br />
<br />
<span style="font-size: large;"><a href="http://podcasts.ox.ac.uk/series/george-eliot">George
Eliot</a> (audio at Oxford University).<br />
<br />
<a href="https://youtu.be/yS62thsi8UA">A lecture by Rebecca Mead</a> on George Eliot's
<i>Middlemarch.<br />
</i></span><br />
</big></big></p>
<p><big><big>Uno de los amigos e inspiradores de George Eliot fue
Herbert Spencer. Aquí hay <a href="https://www.researchgate.net/publication/301891379">unanota sobre su influyente teoría de la evolución cósmica</a>.<br />
_______________________________</big><br />
<br />
<big><small><small><br />
</small></small></big><big><small><small><br />
</small></small></big><big><small><small><br />
</small></small></big><big><small><small><br />
</small></small></big>Empezaremos diciembre con Mary Shelley y Dickens.
Traed los textos a clase.<br />
<br />
<br />
</big></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGHRPulK5FlMX6l-t2BisLq_fFKw5e1php8iDkOMbtPArJX2aMbD5RBXDwPszV5xEuDHXWlgvpCEdPa0v2_f_nxNGNl6KTtdI8MM9jD3vh1gyB0lc3Y0m0_tJ7mrZNZJ6juulx1zVFaZz/s1600/dickens.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="410" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQGHRPulK5FlMX6l-t2BisLq_fFKw5e1php8iDkOMbtPArJX2aMbD5RBXDwPszV5xEuDHXWlgvpCEdPa0v2_f_nxNGNl6KTtdI8MM9jD3vh1gyB0lc3Y0m0_tJ7mrZNZJ6juulx1zVFaZz/s640/dickens.jpg" width="422" /></a></div>
<br />
<br />
<span style="font-size: x-large;"><br />
<span style="font-size: large;">CHARLES DICKENS
(1812-1870)<br />
</span></span><span style="font-size: x-large;"><span style="font-size: large;"><span><span>Victorian novelist, playwright
and
journalist; b. near Portsmouth; run-down middle-class family, son of a
clerk in the Navy pay office, father imprisoned for debt, unhappy
childhood experience when forced to work as a child in a factory,
apprenticed clerk, stenographer at Parliament, journalist at the
<i>Morning Chronicle,</i> married Catherine Hogarth; </span><span><span>had
many children; in love with sister-in-law, soon
dead; lover of young actress Ellen Ternan, separated from wife
Catherine
1858; </span>world success and fortune
as writer of serialized novels; friend of John Forster, Wilkie Collins,
etc., energetic socialite and amateur actor; travels in USA and
Italy;
anti-slavery advocate in America, philanthropist and social reformer,
launched periodicals (<i>Household Words, Daily Mail),</i> popular
entertainer with public reading tours of his novels, d.
of heart failure.</span></span>
<br />
<span style="font-style: italic;">_____. Sketches by Boz.</span>
Serialized in <span style="font-style: italic;">Old Monthly Magazine.</span>
1836-37.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Posthumous Papers of the
Pickwick Club.</span> Serialized novel. 1836-37.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The Adventures of Oliver
Twist.</span> </span>Novel. 1837-8. <br />
_____. <span style="font-style: italic;">The Life and Adventures of
Nicholas Nickleby.</span> Novel. 1838-9. <br />
_____.<span style="font-style: italic;"> The Old Curiosity Shop. </span>Novel.
Serialized in <span style="font-style: italic;">Master Humphrey's
Clock.</span> 1840-41.<br />
_____. <span style="font-style: italic;">Barnaby Rudge. </span>Novel.
Serialized in <span style="font-style: italic;">Master Humphrey's
Clock.</span> 1841.<br />
_____.<span style="font-style: italic;"> American Notes. </span>1842.<br />
_____. <span style="font-style: italic; font-weight: bold;">A
Christmas Carol.</span>
1843. (Other Christmas stories in the 40s, 50s and 60s).<br />
_____. <span style="font-style: italic;">Martin Chuzzlewit.</span>
Novel. 1844. <br />
_____. <span style="font-style: italic;">Pictures from Italy. </span>Travel
book. 1846.<br />
_____. <span style="font-style: italic;">Dombey and Son. </span>Novel.
1846-1848. <br />
_____. <span style="font-style: italic; font-weight: bold;">David
Copperfield. </span>Novel.
Serialized 1849-1850.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Bleak House.</span> </span>Novel.
Serialized 1852-1853. <br />
_____. <span style="font-style: italic; font-weight: bold;">Hard Times.</span><span style="font-weight: bold;"> </span>Novel.
Serialized in Household Words, 1854. <br />
_____. <span style="font-style: italic; font-weight: bold;">Little
Dorrit. </span>Novel.
Serialized 1855-1857.<br />
_____. <span style="font-style: italic; font-weight: bold;">A Tale of
Two Cities.</span>
Novel. 1859.<br />
_____. <a href="https://www.dickens-online.info/great-expectations.html"><span style="font-style: italic; font-weight: bold;"></span></a><span style="font-style: italic; font-weight: bold;"><a href="https://www.gutenberg.org/files/1400/1400-h/1400-h.htm" target="_blank">Great Expectations</a>.</span><span style="font-weight: bold;">
</span>Novel. Serialized 1860-1861. <br />
_____. <span style="font-style: italic;">Our Mutual Friend.</span>
Novel. 1864-5.<br />
_____. <span style="font-style: italic;">The Mystery of Edwin Drood.</span>
Unfinished novel. 1870.</span>
<br />
<br />
<span></span></span><br />
<span style="font-size: large;"><br />
<br />
<a href="https://litinglesa.blogspot.com/2019/12/dickens-and-some-of-his-main-works.html">Life
of Dickens —and main works</a>—from the <span style="font-style: italic;">Oxford Companion to English Literature.</span> </span>
<div><span style="font-size: large;"><br />
</span></div>
<div><span style="font-size: large;"><br />
</span></div>
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</span></div>
<div><span style="font-size: large;"><br />
</span></div>
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</span></div>
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<div><span style="font-size: large;"></span></div>
<div><span style="font-size: large;">___________________</span></div>
<div><span style="font-size: large;"> </span></div>
<div><span style="font-size: large;"> </span></div>
<div><span style="font-size: large;"></span></div>
<div><span style="font-size: large;">NIVEL AVANZADO<br />
<br />
</span><big><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2019/12/dickens-and-social-novel-nivel-avanzado.html">Cazamian
on Dickens as a social novelist</a>.
<br />
<br />
<a href="https://litinglesa.blogspot.com/2020/12/charles-dickens-victorian-values-nivel.html" target="_blank">Charles
Dickens (Victorian Values)</a>—some notes from Stephen Coote's handbook.<br />
<br />
<br />
</span><br />
</big><br />
<br />
_____________________________<br />
<br />
<br />
<br />
<span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2019/12/dickens-en-cine.html">Dickens
en cine: Algunas películas</a></span><br />
<br />
<br />
______________________________<br />
<br />
<big><br />
</big>
<p><big><br />
</big></p>
<p><big> </big></p>
<p><big> </big></p>
<p><big> </big></p>
<p><big> </big></p><p><big>__________________<big><br />
<br />
<big><big><big><small>MARY SHELLEY (1797-1851)<br />
</small></big></big></big></big></big><br />
<span style="font-size: x-large;"><span>Mary Shelley, née Mary Godwin,
English woman of letters,
novelist and prose writer; daughter
of Mary
Wollstonecraft and William Godwin; m. Percy Bysshe Shelley 1816.</span></span></p>
<p><big><big><big><big><big><small>_____. (Anon. pub.). <span style="font-style: italic;"><a href="http://www.gutenberg.org/files/84/84-h/84-h.htm" target="_blank"><span style="font-weight: bold;">Frankenstein,or, The Modern Prometheus.</span></a>
</span>Novel. 1818. <small><small><br />
</small></small>_____. <span style="font-style: italic;">Valperga. </span>Novel.
1821. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Last
Man.</span> Novel.
1826.<br />
_____. <span style="font-style: italic;">The Fortunes of Perkin
Warbeck. </span>Novel. 1830.</small></big></big></big></big></big></p>
<p><big><big><big><big><big><small>_____. <i>Lodore.</i> Novel. 1835.<br />
_____. <span style="font-style: italic;">Essays and Letters. </span>1839.<br />
_____.<span style="font-style: italic;"> Rambles in Germany and Italy.</span>
Travel book. 1844.</small></big></big></big></big><big><big><big><big><br />
<span style="font-weight: bold;"></span></big></big></big> </big><br />
<br />
</big></p>
<div class="separator" style="clear: both; text-align: center;"><big><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1gJlPIosojmbhFVy2zKgzB6MjbPMVqjM_qLPFSytGSznOxQuKR-EZnblFWRRv88_Lx44ybfqOjUsc6bTSDIJV30NlbhDWdH3lpS-YFvE6sfS8o5vvxGPqYeY9UgVJSIrklG0qdhHlm_1k/s1600/maryshelley.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1400" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1gJlPIosojmbhFVy2zKgzB6MjbPMVqjM_qLPFSytGSznOxQuKR-EZnblFWRRv88_Lx44ybfqOjUsc6bTSDIJV30NlbhDWdH3lpS-YFvE6sfS8o5vvxGPqYeY9UgVJSIrklG0qdhHlm_1k/s640/maryshelley.jpeg" width="640" /></a></big></div>
<br />
<br />
<br />
<span style="font-size: large;"><br />
<span style="font-size: x-large;">Ballesteros,
Antonio. <a href="https://litinglesa.blogspot.com/2019/12/mary-shelley-y-frankenstein-la-creacion.html">"Mary
Shelley y Frankenstein: La creación de un mito y suproyección en la
literatura fantástica victoriana."</a> Conferencia en la Fundación Juan March.<br />
<a href="https://www.march.es/conferencias/anteriores/voz.aspx?p1=101521&l=1">https://www.march.es/conferencias/anteriores/voz.aspx?p1=101521&l=1</a><br />
<br />
<span style="font-style: italic;"><br />
</span>
Una pequeña introducción a <a href="https://litinglesa.blogspot.com/2020/12/mary-shelley.html" target="_blank">Mary
Shelley</a><a href="https://litinglesa.blogspot.com/2020/12/mary-shelley.html" target="_blank">.</a><br />
<br />
Sobre Mary Shelley y<span style="font-style: italic;"> Frankenstein,</span>
nos remitiremos además </span><a href="https://litinglesa.blogspot.com/2020/12/mary-shelley-profetas-de-la-ciencia.html" target="_blank"><span style="font-size: x-large;">a
este documental de la serie "Profetas de la
Ciencia Ficción".</span><br />
</a><br />
<br />
<br />
<span><br />
</span><span>_________________________________</span><br />
<span><br />
</span><span><br />
</span><span><a href="https://litinglesa.blogspot.com/2019/12/nivel-avanzado-mary-shelley.html">NIVEL
AVANZADO: Mary Shelley</a></span></span></div>
<div><span style="font-size: large;"><span> </span></span></div><p>
<span style="font-size: large;">La novela de Mary Shelley <i>The
Last Man,</i>
sobre una mortífera pandemia global que acaba con la humanidad, es
modelo y precedente de toda una "plaga" de literatura pandémica y
apocalíptica. En la Unidad 6 podéis leer sobre Jack London y "La Peste
Escarlata." Con respecto a la actual pandemia del coronavirus, sin
embargo, conviene tener en cuenta otros factores culturales e
históricos. Véase por ejemplo <a href="https://youtu.be/8uZMQEiD1mM" target="_blank">este vídeo sobre control global y pandemia,</a> que es
de 2014—no de 2020. Esto también es, a su manera<i>, literatura de
anticipación.</i></span></p><p><span style="font-size: large;">Otra ficción reciente que recreaba un evento apocalíptico era <i>The Road,</i> de Cormac McCarthy. <a href="http://papers.ssrn.com/abstract=2549563" target="_blank">Aquí una nota sobre la novela, y la película</a>.<br />
</span><span style="font-size: large;"><br />
____________________________________________<br />
</span>
</p><p><big> </big></p>
<a href="https://litinglesa.blogspot.com/2021/11/mary-shelleys-frankenstein-nivel.html" target="_blank">Mary Shelley's FRANKENSTEIN</a> - A film directed by Kenneth Branagh (1994).<br /><p><span style="font-size: large;"> </span></p><p> </p><p><big>_____________________________<br />
</big>
</p><p><big><span><span><big><big><big><br />
<span style="font-size: large;"><b>LORD BYRON </b>
(George Gordon,
1788-1824)</span></big></big></big></span></span></big></p><span style="font-size: large;">
</span><p><big><span><span><big><span style="font-size: large;"><span>George
Gordon Noel, Lord Byron, English romantic poet, b. London,
member of the Chamber of Lords; abandoned England 1816, travels in
Europe; Italy and Greece; libertine with innumerable erotic affairs, fascinated
and scandalized his social circle; friend of Shelley, fought vs. Turks
on Greek side pro independence, d. Missolunghi, Greece; individualist,
skeptic, hedonist, satirist of social conventions.</span></span><span style="font-size: large;"> <br />
<br />
<br />
<span>_____. </span></span><span style="font-size: x-large;"><span style="font-size: large;">
<span style="font-style: italic;">Hours
of Idleness.</span>
Poems. <br />
_____. <span style="font-style: italic; font-weight: bold;">Childe
Harold's Pilgrimage.</span>
1812-1818.<br />
_____. <span style="font-style: italic;">The Giaour.</span> Verse
romance. 1813.<br />
_____. <span style="font-style: italic;">The Corsair. </span>Verse
romance. 1814.<br />
_____. <span style="font-style: italic;">The Bride of Abydos.</span>
Verse romance. <br />
_____. <span style="font-weight: bold;"><a href="https://www.poetryfoundation.org/poems/43825/darkness-56d222aeeee1b" target="_blank">"Darkness."</a> </span>Poem.
1816. <br />
_____. <span style="font-style: italic;">Domestic Pieces. </span>1816.<br />
_____. <a href="https://www.poetryfoundation.org/poems/43843/prometheus-56d222b61d799" target="_blank"><span style="font-weight: bold;">"Prometheus."</span></a>
Poem.
1816.<br />
_____. <span style="font-style: italic; font-weight: bold;">Manfred: A
Dramatic
Poem. </span> 1817. <br />
_____. <span style="font-style: italic; font-weight: bold;">Beppo. </span>Verse
romance.
1818. <br />
_____. <span style="font-style: italic;">Mazeppa. </span>1819.<br />
_____. <span style="font-style: italic; font-weight: bold;">Don Juan,
an Epic Satire.</span>
Satirical epic. 1818-23, pub. 1919-24.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Cain.</span> </span>Tragedy. 1821.<br />
_____. "The Vision of Judgment." Poem. 1822.<br />
_____. "January 22nd. Missolonghi: On This Day I Complete my Thirty
Sixth Year." Poem. 1824.</span> </span><br />
<br />
<br />
<br />
<br />
<br />
<br />
<a href="https://vanityfea.blogspot.com.es/2017/11/lord-byrons-childe-harolds-pilgrimage.html">Lord
Byron and his Childe Harold's Pilgrimage (BBC).</a><br />
<br />
</big></span></span></big></p>
<p><big> </big></p>
<p>________________________________</p>
<p>NIVEL AVANZADO: Sobre la hija de Byron, Ada:</p>
<p>- <a href="https://en.wikipedia.org/wiki/Ada_Lovelace" target="_blank">Ada Lovelace, la primera programadora</a> <br />
</p>
<p>- <a href="http://vanityfea.blogspot.com.es/2012/08/el-sueno-de-ada-byron.html" target="_blank">El sueño de Ada Byron</a></p>
<p>________________________________<br />
</p>
<p><big> </big></p>
<p><big>Nuestro
siguientes autores serán dos poetas románticos, Wordsworth y Keats.
Leeremos en clase de los dos, así que traed los textos.</big></p>
<p><big> </big></p>
<p><big> </big></p>
<p><span style="font-size: large;">JOHN KEATS (1795-1821)<br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">English romantic poet; modest middle class
family, apprenticed and
licensed as apothecary 1816, met Leigh Hunt and
Shelley, travelled to the Lakes, Scotland and Ireland with Charles
Armitage Brown and settled with him 1817; in love with Fanny Brawne;
financial problems, suffered from tuberculosis, attacked by Lockhart
and other
reviewers; travelled to Italy, d. Rome. <a href="http://www.gradesaver.com/author/john-keats">BIOGRAPHY OF JOHN
KEATS</a>.<br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">_____.
<span style="font-style: italic; font-weight: bold;">Poems
by John Keats.</span>
London: Ollier, 1817. <br />
_____. <span style="font-style: italic; font-weight: bold;">Endymion</span>.
1818.<br />
_____. "The Fall of Hyperion: A Dream." Fragmentary epic poem. 1819,
pub. 1857. <br />
_____. "Ode to Autumn." pub. 1820 with:<br />
_____. "Ode on Melancholy." <br />
_____. <a href="https://www.poetryfoundation.org/poems/44477/ode-on-a-grecian-urn" target="_blank">"Ode on a Grecian Urn."</a> <br />
_____. "Ode to a Nightingale." <br />
_____. <span style="font-style: italic;"><a href="https://www.gutenberg.org/files/23684/23684-h/23684-h.htm" target="_blank"><span style="font-weight: bold;">Lamia, Isabella, The
Eve of
St. Agnes, and Other Poems.</span></a> </span> 1820. <br />
_____. <span style="font-weight: bold;"><span style="font-style: italic;">The Letters of John Keats,</span> </span>1814-1821.</span></p><span style="font-size: large;">
</span><p><big><big><big><big><big><small><big><big><big><big><span style="font-size: x-large;"><span style="font-size: large;">_______. <a href="http://keats-poems.com/why-did-i-laugh-tonight-no-voice-will-tell/" target="_blank">"Why Did I Laugh Tonight?"</a> 1819, pub. 1848.</span> </span></big></big></big></big> </small>
</big><br />
</big></big>
<br />
<br />
<br />
<br />
_____________________</big><br />
<br />
<big><br />
<br />
<a href="https://litinglesa.blogspot.com/2019/11/keats-nivel-avanzado.html">John
Keats (NIVEL AVANZADO)</a><br />
<br />
</big></big></p>
<p><big><big> </big></big></p>
<p><big><br />
</big></p>
<p><span style="font-size: large;">______________________</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">NIVEL AVANZADO: <i><a href="https://litinglesa.blogspot.com/2019/11/nivel-avanzado-romantic-poets.html" target="_blank">Otros poetas románticos.</a><br />
</i></span></p>
<p><span style="font-size: large;"><i><a href="https://www.poetryfoundation.org/poems/43991/kubla-khan" target="_blank">KUBLA KHAN </a>—</i>un célebre poema visionario de
Samuel Taylor Coleridge. </span></p>
<p><span style="font-size: large;">Y de Percy Bysshe Shelley, <a href="https://www.poetryfoundation.org/poems/45134/ode-to-the-west-wind" target="_blank">"Ode to the West Wind"</a>.<br />
</span></p>
<p><span style="font-size: large;">______________________ <br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><big> </big></p>
<p><big> </big></p>
<p><big><big><br />
<br />
<br />
<br style="font-weight: bold;" />
<big><big><span style="font-weight: bold;">
<span style="font-size: large;">WILLIAM WORDSWORTH</span></span><span style="font-size: large;"> (1770-1850)<br />
</span></big></big></big></big><span style="font-size: large;"><br />
<span><span><span lang="EN-US">English
romantic
poet; country middle-class childhood in
Cumbria, school with future wife Mary Hutchinson; orphaned as a boy,
left
Cambridge; fought for inheritance; radical youth, travelled to France
during
Revolution, 1 illegitimate secret child there, returned to England,
disillusioned
with Terror, depressed by personal and historical turmoils; friends and
german
travels with Samuel Taylor Coleridge; later friends with Walter Scott,
De
Quincey and Sir George Beaumont; married and lived in Grasmere, Lake
District,
with sister Dorothy and wife Mary (1802); 5 children with Mary, lost 2
children;
official position at the post office administration; later lived in the
South
and turned conservative Victorian sage, retired
in the Lake District, Ambleside; received legacies and help for his
poetry, pensioned
in 1842, then Poet Laureate 1843. Known for his poetry of the emotions,
of memories and of intensely-lived experience, expressed in a simpler
language reacting against 18th-c. poetic diction.</span></span></span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"> </span></p><span style="font-size: large;">
</span><p><span style="font-size: large;">_____. <span style="font-style: italic;">Descriptive
Sketches.</span> 1793.<br />
_____.<span style="font-style: italic; font-weight: bold;"> Lyrical
Ballads, with Pastoral and Other Poems. </span>1800. (With some
poems by S. T. Coleridge). <br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://en.wikisource.org/wiki/The_Prelude_(Wordsworth)/Book_X" target="_blank">The Prelude</a>. </span>1st version, 1799; rev. 1805; 1st pub. in 3rd rev.
version, 1850.<br />
_____. <a href="https://www.poetryfoundation.org/poems/45536/ode-intimations-of-immortality-from-recollections-of-early-childhood" target="_blank">"Ode: Intimations of Immortality from Recollections of
Early
Childhood."</a> 1802-4, pub. 1807. <br />
_____. "<span style="font-weight: bold;">Tintern Abbey." </span><br />
_____. <i>Poems. </i>1807. <a href="https://www.poetryfoundation.org/poems/45554/the-solitary-reaper" target="_blank"><span>("The Solitary Reaper")</span></a></span></p><span style="font-size: large;">
</span><p><big><big><big><big><span style="font-size: large;">_____. <i>The Excursion.</i> Poem. 1814.</span>
</big></big><br />
<br />
</big><br />
<big>
</big><br />
</big></p>
<div class="MsoNormal"><span style="font-size: large;"><span lang="EN-US"><br />
</span></span></div>
<big>
</big><span style="font-size: large;"><br />
<br />
</span>
<div style="text-align: right;"><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/12/wordsworth-oxford-companion.html">Some
notes on Wordsworth</a><br />
</span></div>
<span style="font-size: large;"><br />
</span><br />
<big><br />
</big><br />
<span style="font-size: large;">_________________________<br />
</span>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">En nuestra Sección B, estamos ya en
el último tema: <a href="https://litinglesa.blogspot.com/2019/12/8-literatura-norteamericana-1960.html" target="_blank">8. Literatura norteamericana desde 1960. </a></span></p>
<p><span style="font-size: large;">A principios de diciembre
tendréis ya en red todo el material para la sección B, temas
6-7-8. <br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> <br />
</span></p>
<p><big><span style="font-size: large;">____________________________ </span></big></p><p> </p><p>
</p><p><span style="font-size: large;">Con Mary Wollstonecraft cerramos el siglo XVIII; con Blake ya
pasamos
al XIX, y a continuación empezamos la Unidad 4 (Literatura inglesa del siglo XIX).</span></p><span style="font-size: large;">
</span><p><span style="font-size: large;">Primero Austen y Walter Scott—traed las lecturas—, y a continuación más poetas románticos:
Wordsworth, Keats, Byron, Mary
Shelley. Luego seguirán Dickens, George Eliot, Tennyson, Hopkins, Wilde
y Wells. Traed los textos por ese orden a clase<i>.</i><br /></span>
<span style="font-size: large;"><br />
Los textos van siendo
selecciones más largas de novelas, etc.; procurad asignaros (y
mantener) un horario para lecturas. La lectura sistemática <span style="font-style: italic;">con diccionario</span> es imprescindible
para desarrollar el tipo de dominio de la lengua que puede aportar sólo
la literatura.</span></p><p><span style="font-size: large;">__________________</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">SECCIÓN B: En la sección B del programa, para estudio fuera de clase, vamos añadiendo ya los últimos autores del <a href="https://litinglesa.blogspot.com/search/label/8.%20SECCI%C3%93N%20B" target="_blank">tema 8 y último—Literatura Norteamericana 1960-2000.</a></span><br /></p><p><span style="font-size: large;">__________________ <br /></span></p>
<p><big><br />
</big></p>
<p><big><br />
<br />
</big></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElwWf2mEokYc0hH-rm0HHjn_kmPNjpZFEJ-B6FHhyQbTNcfjZv9HQ3f-HGcQU-5nSbOvBbpCjykAfQJglT5bnp7r07sjg7Dfx8gm1rnd6dEVU6sdHpm47XTYJMox3fNNxiXlUO95kTfoy/s1600/walterscott.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="539" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElwWf2mEokYc0hH-rm0HHjn_kmPNjpZFEJ-B6FHhyQbTNcfjZv9HQ3f-HGcQU-5nSbOvBbpCjykAfQJglT5bnp7r07sjg7Dfx8gm1rnd6dEVU6sdHpm47XTYJMox3fNNxiXlUO95kTfoy/s640/walterscott.jpg" width="436" /></a></div>
<big><br />
<br />
<br />
<span style="font-size: large; font-weight: bold;">SIR WALTER SCOTT
</span><span style="font-size: large;"><span>
(1771-1832)<br />
<br />
_____, ed. <span style="font-style: italic;">The Minstrelsy
of the Scottish Border</span>. 1802-3. <br />
_____.
<span style="font-style: italic;">The Lay of the Last Minstrel</span>.
Poem. 1805.<br />
_____. <span style="font-style: italic;">Ballads and Lyrical Pieces</span>.
1806.<br />
_____. <span style="font-style: italic;">Marmion: A Tale of Flodden
Field.</span> Poem. 1808.<br />
_____. <span style="font-style: italic;">The Lady of the Lake</span>.
Poem. 1810. <br />
_____. <span style="font-style: italic;">Rokeby.</span> Poem. 1813.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;"><a href="http://www.booksshouldbefree.com/book/Waverley-1-Sir-Walter-Scott" target="_blank">Waverley,</a> </span>or 'Tis Sixty Years
Since.</span> Novel. 1814. <br />
_____. <span style="font-style: italic;">Guy Mannering,
or, The Astrologer</span>. Novel. 1815.<br />
_____. <span style="font-style: italic;">The Field of Waterloo.</span>
Poem. 1815.<br />
_____. <span style="font-style: italic;">The Antiquary</span>. Novel.
1816. <br />
_____. <span style="font-style: italic; font-weight: bold;">Old
Mortality</span><span style="font-weight: bold;">.</span> Novel.
1816.<br />
_____. <span style="font-style: italic; font-weight: bold;">Rob Roy</span><span style="font-weight: bold;">. </span>Novel. 1817. <br />
_____ . <span style="font-style: italic; font-weight: bold;">The Heart
of Midlothian</span><span style="font-weight: bold;">.</span>
Novel. 1818.<br />
_____. <span style="font-style: italic;">Tales of My Landlord: Third
Series. (The Bride of Lammermoor and A Legend of Montrose). </span>Novels.
1819.<br />
_____. <span style="font-style: italic; font-weight: bold;">Ivanhoe, a
Romance.</span><span style="font-weight: bold;">
</span>Novel. 1819. <br />
_____. <span style="font-style: italic;">The Monastery, A Romance.</span>
1820.<br />
_____. <span style="font-style: italic;">Kenilworth: A Romance. </span>1821.
<br />
_____. <span style="font-style: italic;">The Pirate.</span> Novel.
1821.<br />
_____. <span style="font-style: italic;">The Fortunes of Nigel.</span>
Novel. 1822.<br />
_____. <span style="font-style: italic;">Quentin Durward. </span>Novel.
1823.<br />
_____. <span style="font-style: italic;">Redgauntlet, A Tale of the
Eighteenth Century. </span>Novel. 1824. <br />
_____. <span style="font-style: italic;">Tales
of the Crusaders (The
Betrothed and The Talisman).</span> 1825.<br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.gutenberg.org/cache/epub/9785/pg9785.html" target="_blank">Woodstock; or, The Cavalier.</a> </span>Novel.
1826.</span><br />
<br />
<br />
<br />
<br />
<span>Walter Scott, Scottish novelist, poet and
scholar; st. law at
Edinburgh U, bar 1792; m. Margaret Charlotte Charpentier 1797;
successful poet, printer with James Ballantyne; contributor to <span style="font-style: italic;">Edinburgh Review;</span>
built Abbotsford mansion; promoted Tory <span style="font-style: italic;">Quarterly Review</span>;
refused Laureateship 1813; pub. historical novels anonymously as "the
author of Waverley" until 1827; baronet ("Sir") 1820; bankrupt with
Ballantyne
1826; struggled to pay debts; world-wide influence on historical
novelists and nationalist romance writers.</span><br />
<br />
<br />
<span style="font-style: italic;">Influences on Scott:<br />
<br />
</span><span>Thomas Percy. <span style="font-style: italic;">Reliques of
Ancient English Poetry. </span>1765.<span style="font-style: italic;"><br />
</span>Maria Edgeworth,<span style="font-style: italic;"><span style="font-style: italic;"> Castle Rackrent.</span></span> Novel.
1800.</span></span></big><span style="font-size: large;">
</span><div><span style="font-size: large;">_________________ <br />
</span></div><span style="font-size: large;">
</span><div><span style="font-size: large;"> </span></div><span style="font-size: large;">
</span><div><span style="font-size: large;">Nuestra lectura de Walter
Scott, en las fotocopias, es el capítulo 2 de <i>Woodstock.</i></span><span style="font-size: large; font-style: italic;"><br />
</span><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Una sección de un manual de literatura
sobre <a href="https://litinglesa.blogspot.com/2019/11/walter-scott.html">Walter
Scott</a>. </span></div><span style="font-size: large;">
</span><div><span style="font-size: large;"> </span></div><span style="font-size: large;">
</span><div><span style="font-size: large;"> </span></div><span style="font-size: large;">
</span><div><big><span style="font-size: large;"><span>Y unas notas sobre <a href="http://personal.unizar.es/garciala/publicaciones/novelah.html">"La
novela histórica: Parámetros para su definición"</a>.</span><br />
<br />
<br />
</span></big><br />
<big><span style="font-size: large;"></span></big><br />
<big><span style="font-size: large;"></span></big><span style="font-size: large;">_____________________</span><br />
<br />
<br />
<br />
<br />
<big><span style="font-size: large;">Apuntes sobre <a href="http://vanityfea.blogspot.com.es/2012/11/jane-austen.html">The
Novels of Jane Austen (and Fanny Burney)</a><br />
<br />
<br />
<br />
Una conferencia sobre la época de Jane Austen de Fernando Galván,
que ha sido
presidente de la Asociación Española de Estudios Anglo-Norteamericanos
(AEDEAN) y de la European Society for the Study of English (ESSE):</span><span style="font-size: x-large;"><br />
</span><br />
<br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Bv3Pi7N2niw" title="YouTube video player" width="560"></iframe>
<br />
<br />
</big><br />
<br />
<span style="font-size: large;"><br />
<span style="font-size: x-large;"><span style="font-size: large;">De Jane Austen tenemos como lectura, en las fotocopias, el principio de
su novela <i>Mansfield Park.</i></span><br />
</span></span><span style="font-size: x-large;"><br />
<br />
<br />
<br />
<br />
<br />
<br />
<span style="font-weight: bold;">
<span style="font-size: large;">JANE AUSTEN</span></span><span style="font-size: large;"> (1775-1817)</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><br />
English realist novelist; b. Steventon, near Winchester; 7th child of
the parish rector; lived unmarried with her family in Steventon, also
in
Bath
1801-5, then Hampshire and Winchester, novelist of genteel country families, of courtship and marriage, and fine psychological ironist on character, social appearances and manners.<br /></span></span></div><div><span style="font-size: large;"><span><br />
<br />
_____. <a href="http://etext.lib.virginia.edu/toc/modeng/public/AusNort.html" target="_blank"><span style="font-style: italic;">Northanger Abbey.</span></a>
Written 1790s, pub. 1818.<span style="text-decoration: underline;"> </span><br />
_____.<span style="font-weight: bold;"> </span><span style="font-style: italic; font-weight: bold;">Sense and Sensibility.</span>
Novel. London, 1811. <br />
_____. <span style="font-style: italic; font-weight: bold;">Pride and
Prejudice.</span><span style="font-weight: bold;"> </span>Novel. 1813.
<br />
_____. <span style="font-style: italic;"><a href="https://www.gutenberg.org/cache/epub/141/pg141-images.html" target="_blank"><span style="font-weight: bold;">Mansfield Park.</span></a> </span>Novel.
1814.
<br />
_____. <span style="font-style: italic; font-weight: bold;">Emma.</span>
Novel. 1816. <br />
_____. <span style="font-style: italic;">Persuasion.</span> Novel.
Written 1815-16, pub. 1818.</span></span></div><div><span style="font-size: large;"><span>____________________ </span>
<br />
<br />
- Some <a href="http://vanityfea.blogspot.com.es/2016/11/austen-regional-novel-and-scott.html">notes
on Jane Austen</a> (<span style="font-style: italic;">Short Oxford
History of English Literature).</span></span><span style="font-size: large;"><br /></span>
</div><span style="font-size: large;">
</span><div><span style="font-size: large;"><br />
<br />
<span>- Un documental de la UNED sobre Jane Austen (<a href="https://youtu.be/Zh8tdL4SjAY" target="_blank">ENLACE AL VIDEO</a>)</span><br />
<br />
<br />
<br />
<span style="font-style: italic;"> </span><br />
<br />
<span>- Y una conferencia de Fernando Galván sobre la obra de Jane Austen.</span></span><br />
<big><br />
</big><br />
<big><br />
</big><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bHLf3UnI5i4" title="YouTube video player" width="560"></iframe>
<big><br />
</big><br />
<big><br />
</big><br />
<big><br />
</big><span style="font-size: large;"><br />
_______</span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;"></span></div><div><span style="font-size: large;">NIVEL AVANZADO:<br />
<br />
</span></div>
<div><span style="font-size: large;">- Una de las muchas películas
basadas en las novelas de Jane Austen: <a href="https://litinglesa.blogspot.com/2020/11/northanger-abbey-nivel-avanzado.html" target="_blank">Northanger Abbey</a><span></span><br />
<br />
<br />
- Jane Austen y Walter Scott: <a href="https://litinglesa.blogspot.com/2019/11/austen-scott-nivel-avanzado.html">NIVEL
AVANZADO</a></span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;">
</span></div><p><br /></p><div><div><span style="font-size: large;">
<br />
</span></div><div style="text-align: right;"><big>Los autores anteriores, en el tema 3: <a href="https://litinglesa.blogspot.com/2019/10/3-literatura-inglesa-1660-1800.html">literatura inglesa 1660-1800</a></big></div><p><big>
</big></p><p><big><br />
</big></p><p><big><br />
</big></p><p><big></big></p><p><big></big></p><p><big></big></p><p><big><br /> </big><br /></p></div>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-28145286605505481402021-11-29T23:16:00.001+01:002021-11-29T23:16:09.869+01:00Mary Shelley's FRANKENSTEIN (NIVEL AVANZADO)<p> </p><p></p><p>
</p><p class="MsoNormal" style="margin-right: .5pt;"><span style="font-size: medium;"><i><span lang="EN-US">Mary Shelley's
Frankenstein. </span></i><span lang="EN-US">Dir. Kenneth Branagh. </span><span lang="EN-US"><span lang="EN-US">Screenplay by Steph Lady and Frank Darabont, based on Mary Shelley's
novel.</span></span></span></p><p class="MsoNormal" style="margin-right: .5pt;"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></span></p><p class="MsoNormal" style="margin-right: .5pt;"><span style="font-size: small;"><span lang="EN-US">Prod. Francis Ford Coppola, James V. Hart, John Veitch.
Coprod. Kenneth Branagh, David Parfitt. Prod. design Tim Harvey. Photog. dir.
Robert Pratt. Ed. Andrew Marcus. Costumes by James Acheson. Music: Patrick
Doyle. </span></span></p><p class="MsoNormal" style="margin-right: .5pt;"><span style="font-size: small;"><span lang="EN-US"> </span></span></p><p class="MsoNormal" style="margin-right: .5pt;"><span style="font-size: small;"><span lang="EN-US">Cast: Robert de Niro, Kenneth Branagh, Hom Hulce, Helena Bonham Carter,
Aidan Quinn, Ian Holm, Richard Briers, John Cleese. Cherie Lunghi, Treuyn
McDowell. </span></span></p><p class="MsoNormal" style="margin-right: .5pt;"><span style="font-size: small;"><span lang="EN-US"> </span></span></p><p class="MsoNormal" style="margin-right: .5pt;"><span style="font-size: small;"><span lang="EN-US">TriStar Pictures / Japan Satellite Broadcasting / The Indie Prod.
Company / American Zoetrope, 1994.</span></span></p>
<p><br /><br /><br /></p><p> </p><div style="height: 0px; overflow: hidden; padding-bottom: 56.25%; position: relative;"> <iframe allow="autoplay" allowfullscreen="" frameborder="0" height="100%" src="https://www.dailymotion.com/embed/video/x7zpm50?autoplay=false" style="height: 100%; left: 0px; overflow: hidden; position: absolute; top: 0px; width: 100%;" type="text/html" width="100%"> </iframe> </div><p> </p><p> </p><div style="height: 0px; overflow: hidden; padding-bottom: 56.25%; position: relative;"> <iframe allowfullscreen="" frameborder="0" height="100%" src="https://www.dailymotion.com/embed/video/x7zqfdb" style="height: 100%; left: 0px; overflow: hidden; position: absolute; top: 0px; width: 100%;" type="text/html" width="100%"> </iframe> </div><p> </p><p> </p><div style="height: 0px; overflow: hidden; padding-bottom: 56.25%; position: relative;"> <iframe allowfullscreen="" frameborder="0" height="100%" src="https://www.dailymotion.com/embed/video/x7zqfby" style="height: 100%; left: 0px; overflow: hidden; position: absolute; top: 0px; width: 100%;" type="text/html" width="100%"> </iframe> </div><p> </p><p> </p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-29498074764468943172021-11-22T21:29:00.003+01:002022-04-08T19:18:43.857+02:003. LITERATURA INGLESA 1660-1800<br /><span style="font-weight: bold;"><span style="font-size: x-large;"><br />
<br /></span></span><p><span style="font-size: x-large;"><span style="font-size: large;"><big>Yendo un poco más deprisa, intentaremos ver (o al menos <i>nombrar en clase...</i>
a tres autores del programa cada día. El 22 de noviembre, a Gray,
Johnson y Blake; y el 23 terminamos el tema 3 con Wollstonecraft, y
pasamos al 4 con Austen y Scott.</big></span></span></p><p><span style="font-size: x-large;"><span style="font-size: large;"><big> </big></span></span></p><p><span style="font-size: x-large;"><span style="font-size: large;"><big><big><span style="font-size: x-large;">________________________</span></big>
</big></span></span></p><p><big><span style="font-size: x-large;"></span></big></p>
<p><span style="font-size: large;"><span><span style="font-weight: bold;">Mary
Wollstonecraft </span> (1759-1797)</span></span></p>
<p><span style="font-size: large;">English woman of letters,
philosopher and novelist, political thinker and educationist, major
theorist of feminism. Born in London, unhappy childhood with brutal
improvident father; loved Fanny Blood; self-educated schoolteacher,
Dissenter, frequented Unitarian and radical circles, hack writer for
Joseph Johnson, unhappy infatuation with Henry Fuseli; feminist and
radical activist; travelled to France during Revolution, met Gilbert
Imlay, had illegitimate daughter Fanny Imlay; rejected and exploited by
Imlay, travelled to Scandinavia as his business agent, attempted
suicide in Putney Bridge, rescued; friendship and marriage with William
Godwin, died after giving birth to daughter Mary Godwin [later Mary
Shelley]. As a feminist writer, she emphasizes the importance of
education in modelling character and socially promoting the equality of
women, rather than the straightforward demand of political rights for
women.<br />
<br />
<br />
_____. <span style="font-style: italic;">Thoughts on the Education of
Daughters. </span>1787.<br />
_____. <span style="font-style: italic;">Original Stories.</span>
Children's book. 1788.<br />
_____. <span style="font-style: italic;">Mary: A Fiction.</span>
1788.</span><big><span style="font-size: large;"> </span></big></p><p><big><span style="font-size: large;">_____, ed. <i>The Female
Reader.</i> 1789.</span></big><br /></p><p><big><span style="font-size: large;">
_____. <span style="font-style: italic;">A Vindication of the Rights
of Men.</span> 1790.<br />
_____. <span style="font-weight: bold;"><span style="font-style: italic;">A Vindication of the Rights of
Woman.</span> </span> 1792. <br />
_____. <span style="font-style: italic; font-weight: bold;">An
Historical and Moral View.
. . of the French
Revolution.</span> 1794.<br />
_____. <span style="font-style: italic;">Letters Written During a
Short Residence in Denmark, Norway and
Sweden.</span> 1796.<br />
_____. <span style="font-style: italic;">Maria, or The Wrongs of Woman.</span>
Unfinished novel. In
<span style="font-style: italic;">Posthumous Works,</span> 1798.
<br />
<br />
<br />
<br />
Nuestra lectura de Mary Wollstonecraft es <a href="https://litinglesa.blogspot.com/2021/11/a-vindication-of-rights-of-woman.html" target="_blank">una selección de </a><i><a href="https://litinglesa.blogspot.com/2021/11/a-vindication-of-rights-of-woman.html" target="_blank">Vindication
of the Rights of Woman</a> </i>(en las fotocopias).<br />
</span></big></p>
<p><big><span style="font-size: large;">Aquí una presentación sobre
Mary Wollstonecraft como filósofa feminista: una pequeña lección de la
UNED (audio) sobre <a href="https://www.youtube.com/watch?v=P8qXIAQdQQQ">Mary Wollstonecraft
y su <i>Vindication of the Rights of Woman.</i></a><br />
<br />
Y una <a href="https://litinglesa.blogspot.com/2022/02/mary-wollstonecraft-vindicacion-de-los.html" target="_blank">biografía de Mary Wollstonecraft </a>(audio-vídeo).<br />
<br />
<a href="https://www.elcuadrodeldia.com/image/99709533228" target="_blank">Lady Macbeth sonámbula,</a> un cuadro de uno de los
amados de Mary Wollstonecraft, el pintor romántico Henry Fuseli.</span><br />
</big></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> Dr Kat on Mary Wollstonecraft:</span></p>
<p><span style="font-size: large;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/7vFMx2Jo-qA" title="YouTube video player" width="560"></iframe>
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">Political writers of the 1790s:</span></p>
<p><span style="font-size: large;">
</span></p>
<p class="MsoNormal" style="margin-right: 2.9pt;"><span style="font-size: large;"><span lang="EN-US"><br />
</span></span></p>
<span style="font-size: large;">
</span>
<p><span style="font-size: large;">Edmund Burke. <i>Conciliation with
the American Colonies.</i> 1775.</span></p>
<p><span style="font-size: large;">_______. <i>Reflections on the
Revolution in France.</i> 1790.<br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><span><span lang="EN-US">Richard
Price. <i>Observations on Civil Liberty.</i> 1776.</span></span> <br />
</span></p>
<p><span style="font-size: large;">William Godwin<i>. Political Justice.</i>
1793.</span></p>
<p><span style="font-size: large;"><br />
</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">__________________</span></p>
<p><span style="font-size: large;"><br />
</span></p>
<p><span style="font-size: large;">NIVEL AVANZADO: </span></p>
<p><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/11/godwin-and-wollstonecraft-nivel-avanzado.html" target="_blank">Mary Wollstonecraft and William Godwin.</a><br />
</span></p>
<p><span style="font-size: large;"><br />
__________________<br />
<big><big><br />
<br />
</big></big></span></p><p><span style="font-size: x-large;"><span style="font-size: large;"><big> </big></span></span></p><p><span style="font-size: x-large;"><span style="font-size: large;"><big>_____________</big></span></span></p><span style="font-weight: bold;">
<br />
</span><span style="font-size: x-large;">Obras de <a href="https://litinglesa.blogspot.com/2020/11/william-blake.html" target="_blank"><span style="font-weight: bold;">William
Blake</span></a> (1757-1827):<br />
<br />
<br />
_____. <span style="font-style: italic;"></span><span style="font-weight: bold;"><span style="font-style: italic;">Songs of
Innocence.</span> </span>1789.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic; font-weight: bold;">The Marriage of Heaven
and Hell</span><span style="font-style: italic;">.</span> c.1790-93.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">America: A Prophecy.</span> 1793.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">Visions of the Daughters of Albion.</span>
1793.<br />
_____.
<span style="font-weight: bold;"><span style="font-style: italic;">Songs
of Experience.</span> </span>1794. <span style="font-size: large;">
(<a href="https://www.poetryfoundation.org/poems/43655/the-clod-and-the-pebble" target="_blank">"The Clod and the Pebble"</a>; <a href="https://www.poetryfoundation.org/poems/43673/london-56d222777e969" target="_blank">"London"</a>)</span><br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic; font-weight: bold;">The Book of Urizen.</span>
Poem. 1794.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">Europe: A Prophecy. </span>1794.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">The Book of Los. </span>Poem. 1795.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic;">The Four Zoas</span> (Orig. <span style="font-style: italic;">Vala</span>), written and rev. 1797-1804.</span>
<p><big><span style="font-size: x-large;">_____. <a href="https://www.poetryfoundation.org/poems/43650/auguries-of-innocence" target="_blank">"Auguries of Innocence."</a> 1803.<br />
_____. <span style="font-style: italic;"></span><span style="font-style: italic; font-weight: bold;">Milton, a Poem in Two
Books.</span>
1804-8.<br />
_____. <span style="font-style: italic;"></span>
<span style="font-weight: bold;"><span style="font-style: italic;">Jerusalem:
The Emanation of
the Giant Albion.</span> </span>1804-20.</span></big></p>
<p><big><span style="font-size: x-large;">_____. <a href="https://www.bartleby.com/236/58.html" target="_blank">"The
Everlasting Gospel."</a> 1818.<br />
<a href="https://www.google.es/search?hl=es&site=imghp&tbm=isch&source=hp&biw=1495&bih=956&q=William+Blake&oq=William+Blake&gs_l=img.3..0l10.5319.8778.0.9027.18.12.2.4.4.0.93.846.12.12.0....0...1ac.1.64.img..0.18.872.ingYLetjy3c"><br />
William Blake y sus grabados</a> en Google Images.
<br />
<br />
</span></big></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicLOz0RuYQyfUCX1Kplr0LVCa8MfygbfQs6lk0gCasOR517AlevzNN_Mj6lc9A8obyiVjjzNO835C01Zhq-l31sGTXuMGQMwYILJofA7_v9iyQKJQpgMhQ_339_msr4_6Csr2yM152arHT/s475/blakenewton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="475" height="493" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicLOz0RuYQyfUCX1Kplr0LVCa8MfygbfQs6lk0gCasOR517AlevzNN_Mj6lc9A8obyiVjjzNO835C01Zhq-l31sGTXuMGQMwYILJofA7_v9iyQKJQpgMhQ_339_msr4_6Csr2yM152arHT/w640-h493/blakenewton.jpg" width="640" /></a></div>
<p><br />
<span style="font-size: x-large;"><br />
<br />
<br />
<span style="font-size: large;">De Blake tenemos en la selección de
lecturas unos poemas: "The Clod and the Pebble", "London", y "Auguries
of Innocence".<br />
</span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;">-
Un audio de la BBC sobre <a href="http://www.bbc.co.uk/programmes/b07gh4pg#play">Songs of
Innocence & Songs of Experience</a> de William Blake. (Este
programa de la BBC 4, <span style="font-style: italic;">In Our Time,</span>
es una excelente idea añadirlo a vuestros favoritos para practicar
inglés con temas de interés cultural).</span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;">_____________</span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"> </span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;">NIVEL
AVANZADO: <a href="https://litinglesa.blogspot.com/2021/02/the-life-of-poet-william-blake.html" target="_blank">A video documentary on William Blake</a> <br />
</span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;">_____________
</span></span><br /></p><span style="font-size: x-large;">
<br />
<span style="font-weight: bold;">Samuel
Johnson </span><span>
(1709-1784)<br />
<br />
_____. "London, A Poem in Imitation of the Third Satire of Juvenal."
1738.<br />
_____. "The Vanity of Human Wishes: The Tenth Satire of Juvenal
Imitated." 1749.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Rambler.</span><span style="font-style: italic;"> </span>
London, 1750-2.<br />
_____. <span style="font-style: italic; font-weight: bold;">A
Dictionary of the
English Language: </span><span style="font-style: italic;">In Which
the Words
are
Deduced from Their Originals, and Illustrated in Their Different
Significations by Examples from the Best Writers. </span> 2
vols.
London,
1755. <br />
_____. <span style="font-style: italic;">The Idler. </span>
Periodical. 1758-60.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
History of Rasselas,
Prince of Abisinia.</span> Novel. 1759.<br />
_____, ed. <span style="font-style: italic; font-weight: bold;">The
Plays of William
Shakespeare,</span><span style="font-style: italic;"> with Notes,
etc. </span>1765. (<a href="http://www.jacklynch.net/Texts/prefabr.html" target="_blank">"Preface
to Shakespeare"</a>)<br />
_____. <span style="font-style: italic;"> </span><a href="https://cowley.lib.virginia.edu/small/johnsoncowley.htm" target="_blank"><span style="font-style: italic; font-weight: bold;">Lives
of the English Poets.</span></a> 1778-1780. <br />
_____. <span style="font-style: italic;">Prayers and
Meditations. </span>1785.</span>
<br />
<br />
<a href="https://litinglesa.blogspot.com/2022/04/prose-in-age-of-reason.html" target="_blank"><br />
<span>Prose in the Age of Reason</span></a><span> (Anthony Burgess).<br />
<br />
Dos conferencias: <a href="http://vanityfea.blogspot.com/2013/09/johnson-boswell.html">Johnson
y Boswell</a>.<br />
<br />
</span></span><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">De Johnson tenemos una selección de
lecturas en las fotocopias.</span></p>
<p><span style="font-size: medium;"><br />
<span style="font-size: large;">_______________________ <br />
<br />
NIVEL AVANZADO:<br />
<br />
<br />
- <a href="https://litinglesa.blogspot.com/2019/12/the-age-of-johnson.html">The
Age of Johnson</a> (video lecture)<br />
<br />
<br />
<br />
- Un documental sobre Samuel Johnson: <a href="https://youtu.be/IpVP8ezoVlM">https://youtu.be/IpVP8ezoVlM</a><br />
<br />
- <a href="https://litinglesa.blogspot.com/2019/12/samuel-johnson-as-critic-nivel-avanzado.html">Samuel
Johnson as critic</a> (video lectures). </span></span></p><span style="font-size: large;">
</span><p><span style="font-size: large;"> </span></p><span style="font-size: large;">
</span><p><span style="font-size: x-large;">From Johnson's Club: <br />
</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">James Boswell. <i>The Life of
Samuel Johnson. </i>1791.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"><br />
</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">Oliver Goldsmith, <i>The
Citizen of the World.</i> Essays. 1760s.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">_____. <i>The Vicar of Wakefield.</i>
Novel. 1766.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">_____. <i>The Deserted Village.</i>
Poem. 1770. <br />
</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: large;"><span style="font-size: x-large;">_____. <i>She Stoops to Conquer.</i>
Drama. 1771.</span> </span></p>
<p><span style="font-size: large;"><big><big><big><big><big><small><small> </small></small></big></big></big></big></big></span></p>
<p><span style="font-size: large;"><big><big><big><big><big><small><small><br />
</small></small></big></big></big></big></big></span></p>
<p><span style="font-size: large;"><big><big><big><big><big> </big></big></big></big></big><br />
<br />
<br />
<big><big><big><big><big><br />
<span style="font-size: medium;">________________</span></big></big></big></big></big><span style="font-size: medium;"><br />
<br />
<br />
<br />
<br />
<span style="font-size: x-large; font-weight: bold;">Thomas Gray</span><span style="font-size: x-large;">
(1716-1771)<br />
<br />
<br />
_____. "Ode on the Spring." 1742.<br />
_____. "Ode to Adversity." 1742.<br />
_____. <span style="font-weight: bold;">"Ode on a Distant Prospect of
Eton College."</span> 1742.<br />
_____. <span style="font-weight: bold;"><a href="https://www.poetryfoundation.org/poems-and-poets/poems/detail/44299">"Elegy
Written in a Country
Churchyard."</a> </span> Written 1742-50. Pub.
1751.<br />
_____. "The Progress of Poesy." Ode. Written. 1754. Pub. 1757.<br />
_____. "The Bard." Ode. Written 1754-57. Pub. 1757.<br />
_____. "The Triumphs of Owen." Poem. Written c. 1764. Pub. 1768.<br />
_____. "The Fatal Sisters. From the Norse Tongue." Poem. Written
1761. Pub. 1768.<br />
_____. "The Descent of Odin." Poem. Poem. Written 1761. Pub. 1768.<br />
_____. <span style="font-style: italic;">Poems. </span>1768.</span></span></span><span style="font-size: x-large;"><span> 1775.</span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"><span> </span>_____. <span style="font-style: italic;">Journal in the Lakes.</span>
Written 1769, pub. 1775.
<br />
</span><span style="font-size: x-large;"><span>_____. <span style="font-style: italic;">Journal in France.</span>
Written 1739. Posthumous.</span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"><span> </span></span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">Leeremos de Gray el poema incluido
en las fotocopias, "Elegy Written in a Country Churchyard".</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">_______________ </span><span style="font-size: x-large;"><br /></span>
</p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">Other poets of the "age of
sensibility", the Graveyard School and pre-Romantics:<br />
</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">James Thomson, <i>The Seasons.</i>
1730.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">Edward Young, <i>Night Thoughts.</i>
1745.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">William Collins, "Ode to Evening."
1746. </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"><br />
</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">William Cowper, <i>The Task.</i>
1775.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">____. "The Castaway". 1799. </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;">James MacPherson. <i>The Works of
Ossian son of Fingal.</i> 1765.</span></p><span style="font-size: x-large;">
</span><p><span style="font-size: x-large;"> </span></p><span style="font-size: x-large;">
</span><p><span style="font-size: large;"><span style="font-size: medium;"><span style="font-size: x-large;">Thomas
Chatterton. <i>Poems, Supposed to Have Been Written at Bristol, by
Thomas Rowley.</i> 1777.
<br />
<br />
<br />
_____________<br />
<br />
<a href="https://litinglesa.blogspot.com/2019/11/nivel-avanzado-gray-y-sus-coetaneos.html">NIVEL
AVANZADO: Gray y sus coetáneos</a><br />
<br />
_____________</span> <br />
</span><br />
<big><big><br />
<br />
</big></big><br /></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big> </big></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big> </big></span></span></p><p><span style="font-size: medium;"><span>15 de noviembre: Textos de Defoe y Swift</span></span></p><p><span style="font-size: medium;"><span>16 de noviembre: El plan es hablar de Richardson, Fielding y Sterne. Si llegamos a tanto, pero hay que ir deprisa.</span></span></p><p><span style="font-size: medium;"><span>Mientras,<br /></span></span></p><p><span style="font-size: medium;"><span> </span></span></p><p><span style="font-size: medium;"><span>En la sección B (Siglo XX, estudio fuera de aula) seguimos añadiendo materiales, ya para dar fin a la <a href="https://litinglesa.blogspot.com/search/label/7.%20SECCI%C3%93N%20B" target="_blank">Unidad 7. </a></span></span></p><p><span style="font-size: large;"><span style="font-size: large;"><big><span style="font-size: medium;">____________________________________</span><br />
<br />
<br /></big></span></span></p><p><span style="font-size: large;"><br /></span></p><span style="font-size: large;"><span style="font-size: large;"><big><p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><big><big><br />
<br />
</big></big><br />
<big><big><big><br />
<br />
<span style="font-size: medium;"><br />
<span style="color: black;"><span style="font-weight: bold;"><a href="https://litinglesa.blogspot.com/2020/11/sterne-and-novel-of-his-times.html" target="_blank">Laurence Sterne</a> </span>(1713-1768)</span></span></big></big></big></span></p><p><span style="font-size: large;"><big><big><big><span style="font-size: medium;"><span style="color: black;"> </span></span></big></big></big><span><br />
<span style="color: black;">English novelist, b. Ireland, studied in
Cambridge; Anglican priest in Yorkshire, unfortunate and scandalous
marriage; follower of Rabelais and Cervantes; of Burton, Locke and
Swift; satirical and sentimental prose writer, humourist student of
character and experimental psychological novelist; parodist of pedantry
and erudition combined with sexual allusions; he often appears as
'Yorick' in his works; success with <i>Tristram Shandy</i>, unhappy
love story with 'Eliza'; travelled in Europe with poor health.<br />
_____. <span style="font-style: italic;">A Political Romance. </span>1759.
<br />
_____. <a href="https://www.gutenberg.org/files/39270/39270-h/39270-h.htm" target="_blank"><span style="font-style: italic; font-weight: bold;">The
Life
and Opinions of Tristram Shandy, Gentleman.</span></a><span style="font-weight: bold;"> </span> Novel. 9 vols. 1759-67. <br />
_____. <span style="font-style: italic;">Sermons. </span>7 vols.
1760-1769.<br />
_____. <span style="font-style: italic;">A Sentimental Journey through
France and Italy, by Mr Yorick. </span>Travel book. 1761.<br />
_____. <span style="font-style: italic;">Letters from Yorick to Eliza.</span>
1773.<span style="font-weight: bold;"><br />
</span></span><br />
<br />
<a href="https://litinglesa.blogspot.com/2020/11/sterne-and-novel-of-his-times.html" target="_blank">Some introductory notes on Sterne.</a></span></span></p><span>
</span><p><span><span>Tenemos en las fotocopias una
selección de páginas de <i>Tristram Shandy.</i></span><br />
_________________________________<br />
<br />
<br />
<span>NIVEL AVANZADO:</span></span></p>
<p><span><a href="https://litinglesa.blogspot.com/2020/11/daiches-on-sterne-nivel-avanzado.html" target="_blank">- Daiches on Sterne</a><br />
<a href="http://garciala.blogia.com/2006/121201-la-aporia-de-shandy.php"><br />
- La aporía temporal de Tristram Shandy</a><br />
<br />
<br />
Otros novelistas significativos de finales del siglo XVIII son:<br />
</span></p>
<p><span><br />
</span></p>
<p><span>Frances Burney, <i>Evelina.</i>
1778.</span></p>
<p><span>_____. <i>Cecilia.</i>
1782. </span></p>
<p><span> </span></p>
<p><span>
- Tobias Smollett (<span style="font-style: italic;">Humphry Clinker)</span><br />
- Ann Radcliffe (<span style="font-style: italic;">The Mysteries of
Udolpho)</span></span></p>
<p><span><span style="font-style: italic;">- </span><span>William Godwin (<i>Caleb Williams</i>)</span><span style="font-style: italic;"> </span><br />
<br />
<br />
</span></p>
<div class="MsoNormal">
<span lang="EN-US">Mullan, John. "The Rise of
the Novel." <i>British Library</i> 21 June 2018.<i>*</i></span></div>
<span>
</span>
<div class="MsoNormal"><span><span lang="EN-US"><span> </span><a href="https://www.bl.uk/restoration-18th-century-literature/articles/the-rise-of-the-novel">https://www.bl.uk/restoration-18th-century-literature/articles/the-rise-of-the-novel</a></span></span></div>
<big><big><big>
__________________<br />
<br />
<br />
<br />
<br />
<br />
</big>
<br />
<br />
<br />
</big></big><br />
<big><br />
</big><br />
<br />
<br />
<br />
<br />
<br />
<big><span style="font-size: x-large;"><big><br />
<a href="http://vanityfea.blogspot.com.es/2013/12/henry-fielding.html"><br />
</a>
<span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2019/11/henry-fielding.html">HENRY
FIELDING</a> (1707-1754)<br />
<br />
_____. <span style="font-style: italic;">The Author's Farce And the
Pleasures of the Town. </span>1730.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Tragedy of Tragedies, or Tom Thumb the Great.</span><span style="font-weight: bold;"> </span>1731. <br />
_____. <span style="font-style: italic;">The Covent Garden Tragedy.</span>
1732. <br />
_____. <span style="font-style: italic;">The Mock Doctor.</span> 1732.
Adaptation of Molière's <span style="font-style: italic;">Le Médecin
Malgré Lui.</span><br />
_____. <span style="font-style: italic;">The Miser. </span>1733.
Adaptation of Molière's <span style="font-style: italic;">L'Avare.</span><br />
_____. <span style="font-style: italic;">Don Quixote in England.</span>
Comedy. 1736.<br />
_____. <span style="font-style: italic;">Pasquin.</span> Farce. 1737.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Historical Register for the Year 1736. </span>Farce. 1737.<br />
_____. <span style="font-style: italic;">The Champion.</span>
Periodical. 1739.<br />
_____. (Attr.). <span style="font-style: italic;">An Apology for the
Life of Mrs <span style="font-weight: bold;">Shamela</span> Andrews,
etc., by Conny Keyber. </span>Parody. 1741.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The
History of the Adventures of Joseph Andrews, and of His Friend Mr
Abraham Adams: Written in Imitation of the Manner of Cervantes, Author
of "Don Quixote".</span> </span>Novel. 1742. <br />
_____. <span style="font-style: italic;">A Journey from this World to
the Next.</span> Menippean satire. In <span style="font-style: italic;">Miscellanies.</span>Vol.
2. 1743. <br />
_____. <span style="font-style: italic;">The Life of Mr. Jonathan Wild
the Great. </span>Novel. In Fielding, <span style="font-style: italic;">Miscellanies.</span> Vol. 3. 1743.<br />
_____. <span style="font-style: italic;">The True Patriot.</span>
Periodical. 1745-46.<br />
_____. <a href="https://www.gutenberg.org/files/6593/6593-h/6593-h.htm"><span style="font-style: italic; font-weight: bold;">The History of Tom
Jones, a Foundling. </span></a>Novel. 1749.<br />
_____.<span style="font-style: italic; font-weight: bold;"> Amelia.</span>
Novel. 1751.<br />
_____. <span style="font-style: italic;">The
Covent-Garden Journal. </span>Periodical. 1752. <br />
_____. <span style="font-style: italic;">Proposal for Making an
Effectual Provision for the Poor.</span> 1753.<br />
_____. <span style="font-style: italic;">A Journal of a Voyage to
Lisbon. </span>1754.</span><span><br />
<br />
</span><span><span style="font-size: medium;"><span style="font-size: x-large;"><br />
<span style="font-size: large;">Fielding was an English novelist, dramatist and journalist;
gentleman; st. Leiden; lawyer and anti-Walpole satirist; social
reformer; novelist "in the style of Cervantes"; Westminster
magistrate, severe illness, d. Lisbon. <a href="https://litinglesa.blogspot.com/2019/11/henry-fielding.html">Some
notes here</a>.</span></span><span style="font-size: large;"><br />
</span></span><span style="font-size: large;"><br />
</span></span></big></span></big><br />
<span>
</span>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US">En las fotocopias hay una selección de capítulos de<i>
Tom Jones</i> <span> </span>(I.1-5, pp. 51-61; I.9-10,
144-49; VII.1-3,
299-305)</span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm;"><span lang="EN-US">NIVEL AVANZADO: <a href="https://litinglesa.blogspot.com/2020/12/henry-fielding-tom-jones-nivel-avanzado.html" target="_blank">An audio introduction to <i>Tom Jones.</i></a> <br />
</span></p>
<span>
<br />
</span><span>
<br />
</span>
<div style="text-align: center;"><span><span style="font-style: italic;">William
Hogarth, "Canvassing for Votes"</span></span><big><br />
</big></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWjOt52mVlt_F6yLz7T3CMTiNJiaOStBPX4EN9HmOy6qVcdqmKFC9f-zcPag50-gJmtg7v2WPms9BTYvM5x4QFCAvir5tFyq4jo4MDiEKHUuKMZqiLTHLEMSsgqaAoPk4-UTMeaOOUamMw/s1600/hogarthcanvassing.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWjOt52mVlt_F6yLz7T3CMTiNJiaOStBPX4EN9HmOy6qVcdqmKFC9f-zcPag50-gJmtg7v2WPms9BTYvM5x4QFCAvir5tFyq4jo4MDiEKHUuKMZqiLTHLEMSsgqaAoPk4-UTMeaOOUamMw/s640/hogarthcanvassing.jpg" width="640" /></a></div>
<span style="font-size: large;"><big><br />
</big></span>
<p><span style="font-size: large;">_________________</span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><span style="font-size: large;"><big><br />
<br />
<span style="font-size: medium;"><b>SAMUEL RICHARDSON </b>
(1689-1761)<br />
<br />
Major English novelist, began as London printer
apprentice, later prosperous self-made businessman; family man,
distressed by death of many children and wife; remarried, had nervous
disorders; master printer of London and bourgeois novelist; developed
sentimental epistolary novel with psychological and "feminist" interest.<span style="font-style: italic;"> </span></span></big></span></span></p><span style="font-size: medium;">
</span><p><span style="font-size: medium;"><span><span style="font-style: italic;">_____. Letters Written to and
for
Particular Friends, on the most important Occasions. Directing not only
the Requisite Style and Forms to be observed in Writing Familiar
Letters; but how to think and act justly and prudently, in the common
Concerns of Human Life.</span> 1741.<br />
_____. [Unsigned] <a href="https://archive.org/stream/pamelaorvirtuere06124gut/pam1w10.txt"><i>Pamela,
or Virtue Rewarded.</i> </a> Novel. 1740. <br />
_____. <span style="font-style: italic;">Pamela in Her Exalted
Condition.</span> Novel. 1741.<br />
_____. <span style="font-style: italic; font-weight: bold;">Clarissa,
or, The History of a Young Lady. </span> Novel. 8 vols.
1747-48. <br />
_____. <span style="font-style: italic;">The History of Sir Charles
Grandison. </span>Novel. 1753-4.</span></span></p>
<p><span style="font-size: x-large;"><br />
</span><br />
<span style="font-size: x-large;"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Cambria",serif; font-size: 12pt;">Tenéis
en las fotocopias una selección de <i>Pamela</i>
(letters i-xii, pp. 43-57)</span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Cambria",serif; font-size: 12pt;"> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Cambria",serif; font-size: 12pt;"> </span></span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"><span lang="EN-US" style="font-family: "Cambria",serif; font-size: 12pt;"> </span>
<br />
Some notes here: </span></span></p>
<p><span style="font-size: x-large;"><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/11/samuel-richardson.html" target="_blank">AN INTRODUCTION TO SAMUEL RICHARDSON</a></span></span><span style="font-size: large;"><br />
<br />
<br />
<br />
________________________</span></p>
<p><span style="font-size: large;">NIVEL AVANZADO</span></p>
<p><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/11/epistolary-literature-nivel-avanzado.html" target="_blank">Un audio de la BBC (In Our Time) sobre Epistolary
Fiction.</a><br />
<br />
<br />
_____________________________<br />
</span><br />
<br />
<br />
<br />
<br />
<br />
<i>A Yahoo:</i><br />
</p></big></span>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><big><span style="font-size: large;"><big><b><br />
</b><span><b>Jonathan Swift</b> (1667-1745). <br />
<br />
_____. <span style="font-style: italic;">The Battle of the
Books.</span><br />
_____. <span style="font-style: italic; font-weight: bold;">A
Tale of a Tub. </span> Satire. Written 1696-8. Pub.1704,
1710.<br />
_____, ed. <span style="font-style: italic;">The Examiner </span>(Bolingbroke’s
Tory newspaper). 1710.
Written 1696-8.
Pub. 1704.<br />
_____. <span style="font-style: italic;">Journal to Stella. </span>1710-1713.
Pub.
1766-8. <br />
_____. <span style="font-style: italic;">Proposal for the Universal
Use of Irish Manufacture. </span>Pamphlet.
1720.<br />
_____. <span style="font-style: italic; font-weight: bold;">Travels
into Several Remote Nations of the World, by Lemuel
Gulliver. </span>Written 1721-25. London, 1726. (a.k.a.<i> <a href="http://literatureproject.com/gulliver-travel/" target="_blank">Gulliver's
Travels</a>)</i><br />
_____.<span style="font-style: italic;"> The Drapier's Letters. </span>Pamphlet
series. 1724.<br />
_____. <span style="font-style: italic; font-weight: bold;">A Modest
Proposal for Preventing the Children of Poor People
from Being a Burthen to Their Parents or Country. </span>1729.<br />
_____. "Verses on the Death of Dr. Swift." Satire. 1731, pub. 1739.<br />
_____. <span style="font-style: italic;">Works.</span> 4 vols. Dublin:
George Faulkner, 1735.</span><br />
<br />
<big><big><br />
<span style="font-size: medium;"><a href="http://vanityfea.blogspot.com.es/2015/11/queen-anne-prose.html">Some
notes on Swift</a> and on other prose writers of the early 18th c.</span><span style="font-size: medium;"><br />
<br />
_______________<br />
<span><br />
NIVEL AVANZADO: <a href="https://youtu.be/vfQ992lh7Cg">A lecture on
Jonathan Swift's life and world</a>.<br />
<br />
Cazamian: <a href="http://vanityfea.blogspot.com.es/2014/12/universal-criticism-arbuthnot-and-swift.html">Universal
Criticism: Arbuthnot and Swift</a></span></span><br />
_______________<br />
<br />
</big></big></big></span><br />
<br />
<br />
</big></span>
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<big><span style="font-style: italic;"><br />
</span><br />
<br />
<span style="font-size: x-large;"><br />
<span style="font-size: large;"><span style="font-weight: bold;">Daniel
Defoe </span>(1660-1731)
(Daniel Foe to
1695)<br />
<br />
_____. <span style="font-style: italic;">An Essay upon
Projects. </span>
1697.<br />
_____. <span style="font-style: italic;">Enquiry into the Occasional
Conformity of Dissenters.</span> Pamphlet.
1698.<br />
_____. <span style="font-style: italic;">Legion's Memorial to the
House of Commons. </span>Pamphlet. 1701.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">The True-Born
Englishman.</span> </span> Satirical poem. 1701.<br />
_____. <span style="font-style: italic;">The Shortest Way with the
Dissenters.</span> Hoax pamphlet. 1702.<br />
_____. <span style="font-style: italic;">Hymn to the Pillory.</span>
Satirical poem. 1702.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Review.</span>
Journalism. 1704-13.<br />
_____. <span style="font-style: italic;">True Relation of the
Apparition of one Mrs. Veal.</span></span></span></big><big><span style="font-size: x-large;"><span style="font-size: large; font-style: italic;"><span> </span></span><span style="font-size: large;">Tale. 1706.</span><span><span style="font-size: large;"><br />
_____. <span style="font-style: italic;">Mercator, or Commerce
Retriev'd.</span> Journal. 1713-14.<br />
_____. <a href="http://learnlibrary.com/rob-crusoe/" target="_blank"><span style="font-style: italic; font-weight: bold;">The Life and Strange
Surprizing Adventures of Robinson Crusoe,of York, Mariner.</span></a>
Memoir novel. 1719. <br />
_____. <span style="font-style: italic;">The Farther Adventures of
Robinson Crusoe: Being the Second and
Last Part of his Life. </span>Narrative. 1719.<br />
_____. <span style="font-style: italic;">Serious Reflections during
the Life and Surprising Adventures of
Robinson Crusoe: With his Vision of the Angelick World.</span>
1720.<br />
_____. <span style="font-style: italic;">The Memoirs of a Cavalier</span>.
Memoir novel. 1720.<br />
_____. <span style="font-style: italic;">Captain Singleton.</span>
Memoir novel. 1720.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Fortunes and Misfortunes of the Famous Moll Flanders.</span> Memoir
novel. 1722. <br />
_____. <span style="font-style: italic;">Colonel Jacque. </span>
Memoir novel. 1722. <br />
_____. <span style="font-style: italic; font-weight: bold;">A Journal
of the Plague Year.</span> Apocryphal memoir. 1722. <br />
_____. <span style="font-style: italic;">Religious Courtship. </span>Moral
treatise. 1722.<br />
_____. <span style="font-style: italic; font-weight: bold;">Roxana,
The Fortunate Mistress.</span> Memoir novel. 1724.<br />
_____. <span style="font-style: italic;">A Tour Through the Whole
Island of Great Britain</span>. Guide
book. 3 vols. 1724-26.<br />
_____. <span style="font-style: italic;">The Complete English
Tradesman.</span> Non-fiction. 1726.<br />
_____. <span style="font-style: italic;">A Plan of the English Commerce</span>.
Non-fiction. 1728.<br />
_____. <span style="font-style: italic;">The Complete English
Gentleman.</span> Non-fiction. 1729, pub. 1890.</span> </span><span style="font-weight: bold;"><br />
</span></span><br />
</big><br />
<span style="font-size: large;"><br />
</span><span style="font-size: large;">_______________________</span><br />
<br />
<br />
<span style="font-size: large;">Some notes on <a href="https://litinglesa.blogspot.com/2019/11/daniel-defoe.html">Daniel
Defoe and his works</a>. </span><br />
<br />
<span style="font-size: large;">Un clásico del cine aragonés sobre la
novela más famosa de Defoe. <a href="https://litinglesa.blogspot.com/2020/11/robinson-crusoe-bunuel.html" target="_blank"><i>Robinson Crusoe,</i> de Luis Buñuel (1952)</a>.</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><br />
</span><br />
Una introducción panorámica a la historia y expansión del <a href="https://litinglesa.blogspot.com/2021/12/el-imperio-britanico-i-julio-crespo.html" target="_blank">Imperio Británico</a>.<br />
<br />
<br />
<span style="font-size: large;">________________________</span></div>
<div><span style="font-size: large;"> </span></div>
<div><span style="font-size: large;">NIVEL AVANZADO:</span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;">- Un audio de la BBC
sobre <a href="https://www.bbc.co.uk/programmes/b018flp4" target="_blank">Robinson Crusoe (In Our Time).</a></span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2022/04/queen-anne-prose.html" target="_blank">Queen Anne Prose</a> (notes from Saintsbury). <br />
</span></div>
<div><span style="font-size: large;">________________________ </span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;"> </span></div><div><span style="font-size: large;"> </span><br />
<span style="font-size: large;"><big>
</big></span><br />
<span style="font-size: large;"><a href="http://faculty.winthrop.edu/kosterj/ENGL201/neoclassical.htm">An
introduction to the neoclassical period in English Literature.</a></span><br />
<br />
</div><br />
<br />
<i>Alexander Pope:</i><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHux6lHADagDC9BJEcY2EX5XbobMmEDK_PEe6kfqUe1kNasQ7rMxQk-vvXgm_aekdZ7y3pdehWTaV6qcnQlKuoxMX5G3s6FKh4cDkcA9ZJI4msnL7eaCkCp_IhDuMsSu1POWZ4axrYIGCc/s1600/popealexander.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="309" data-original-width="500" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHux6lHADagDC9BJEcY2EX5XbobMmEDK_PEe6kfqUe1kNasQ7rMxQk-vvXgm_aekdZ7y3pdehWTaV6qcnQlKuoxMX5G3s6FKh4cDkcA9ZJI4msnL7eaCkCp_IhDuMsSu1POWZ4axrYIGCc/s640/popealexander.jpg" width="640" /></a></div>
<span style="font-size: large;"><big><br />
<br />
<span style="font-size: medium;">Some works by <br />
<br />
<span><a href="https://litinglesa.blogspot.com/2019/11/alexander-pope.html">ALEXANDER
POPE</a> (1688-1744)<br />
</span><span><br />
<span>(English poet, son of a Catholic
businessman; small and crook-backed,
poor health; l. unmarried in Twickenham; Catholic/deist, associated
first with Whigs and soon with Scriblerus club of Tory satirists;
friend of Gay, Swift, Arbuthnot, Bolingbroke; quarrelsome man of
letters, conservative Tory critic of men and manners; neoclassical
model in English poetry after Dryden)</span><span><br />
<br />
_____. <span style="font-style: italic;">Pastorals.</span> 1709.<br />
_____. <span style="font-style: italic; font-weight: bold;">An
Essay on Criticism. </span> 1711. <br />
_____. <span style="font-style: italic; font-weight: bold;">The Rape
of the Lock. </span>First version. 1712. Enlarged ed. 1714.<br />
_____. "Windsor Forest." 1713.<br />
_____, trans. <span style="font-style: italic;">Iliad.</span> 1715-20.<br />
_____. "Epistle of Eloisa to Abelard." Poem. 1717.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Works.</span>
1717.<br />
_____. "Preface to The Works of Shakespear." 1725. <br />
_____, trans. <span style="font-style: italic;">Odyssey.</span>
1725-26. (In collaboration)<br />
_____. <span style="font-style: italic;">Peri Bathous or, The
Art of Sinking in Poetry.</span>
1727. <br />
_____. <span style="font-style: italic; font-weight: bold;">The
Dunciad.</span> books I-III. 1728-1743.<br />
_____. <a href="https://www.poetryfoundation.org/poems/44900/an-essay-on-man-epistle-ii" target="_blank"><span style="font-style: italic; font-weight: bold;">Essay
on
Man.</span></a> 1733-1734. <a href="https://www.poetryfoundation.org/poems/44899/an-essay-on-man-epistle-i" target="_blank"><span>(Epistle I)</span></a><br />
_____. <span style="font-style: italic;">Epistle to Dr.
Arbuthnot. </span> Poem. 1735.<br />
_____. <span style="font-style: italic;">Imitations of Horace.</span>
1737.</span></span></span><br />
<br />
<br />
<br />
<span style="font-size: medium;"><a href="https://litinglesa.blogspot.com/2019/11/alexander-pope.html">Introductory
notes to Pope.</a></span></big></span><span style="font-size: medium;">
</span><div><span style="font-size: medium;"> </span><span style="font-size: medium;"><br />
<br />
<span><a href="http://www.victorianweb.org/previctorian/pope/man.html" target="_blank">An introduction to The Essay on Man.</a></span></span><br />
<br />
<span style="font-size: large;"><big><br />
</big></span><br />
<span style="font-size: large;"><big><br />
</big></span><br />
<span style="font-size: large;"><big><br />
</big></span><br />
<span style="font-size: large;"><big><br />
</big></span><br />
<span style="font-size: large;"><big>__________</big></span><br />
<span style="font-size: medium;"><br />
</span><span style="font-size: medium;"><br />
<span>NIVEL AVANZADO:</span><br />
</span><span style="font-size: large;"><big><span style="font-size: medium;"><br />
<a href="http://vanityfea.blogspot.com.es/2016/11/pope-and-his-elder-contemporaries-in.html">Pope
and his elder contemporaries in verse (Saintsbury)</a></span><br />
<br />
<big>___________________<br />
</big></big></span><br />
<br />
<br />
<br />
<big><br />
<br />
<span style="font-size: large;"><span>SARAH EGERTON
(1670-1723)<br />
<br />
<span>Sarah Fyge Egerton, née Sarah Fyge,
English poet of the Dryden school, outspoken feminist, precocious
writer, teenage feminist;
sent to the country
by her parents to repress her, forced to marry Edward Field, widow, m.
cousin Reverend Thomas Egerton, unsuccessfuly sued for divorce, loved
Henry Pierce, object of scandal and public ridicule, forgotten as a
poet and recovered by feminist critics in the 20th century.<br />
</span></span><span><br />
_____. (anon.). <span style="font-style: italic;">The
Female Advocate or, an Answer to a Late Satyr Against the Pride, Lust
and Inconstancy, c. of Woman. Written by a Lady in Vindication of her
Sex.</span> 1686. <span>(A verse satire published
in response to
Robert Gould's misogynist satire, <span style="font-style: italic;">A
Late Satyr Against the Pride, Lust, and Inconstancy, etc. of Woman, </span>1682). </span></span></span></big><span style="font-size: large;"><br />
</span><span style="font-size: large;"><span> </span><br />
</span><span style="font-size: large;">_____. (signed S. F.). <span style="font-style: italic;">Poems
on Several Occasions,</span> Together with a Pastoral… 1703.<br />
_____. "The Emulation." <a href="http://rpo.library.utoronto.ca/poems/emulation">http://rpo.library.utoronto.ca/poems/emulation</a></span><span style="font-size: x-large;"><span style="font-size: large;">
</span><br />
<span style="font-size: large;"><br />
<span><br />
</span><span style="font-weight: bold;"><span>Sarah Egerton: The
Emulation</span><br />
<br />
</span>
Say, tyrant Custom, why must we obey<br />
The impositions of thy haughty sway?<br />
From the first dawn of life unto the grave,<br />
Poor womankind's in every state a slave,<br />
The nurse, the mistress, parent and the swain,<br />
For love she must, there's none escape that pain.<br />
Then comes the last, the fatal slavery:<br />
The husband with insulting tyranny<br />
Can have ill manners justified by law,<br />
For men all join to keep the wife in awe.<br />
Moses, who first our freedom did rebuke,<br />
Was married when he writ the Pentateuch.<br />
They're wise to keep us slaves, for well they know,<br />
If we were loose, we should soon make them so.<br />
We yield like vanquished kings whom fetters bind,<br />
When chance of war is to usurpers kind;<br />
Submit in form; but they'd our thoughts control,<br />
And lay restraints on the impassive soul.<br />
They fear we should excel their sluggish parts,<br />
Should we attempt the sciences and arts;<br />
Pretend they were designed for them alone,<br />
So keep us fools to raise their own renown.<br />
Thus priests of old, their grandeur to maintain, <br />
Cried vulgar eyes would sacred laws profane;<br />
So kept the mysteries behind a screen:<br />
Their homage and the name were lost had they been seen.<br />
But in this blessèd age such freedom's given,<br />
That every man explains the will of heaven;<br />
And shall we women now sit tamely by,<br />
Make no excursions in philosophy,<br />
Or grace our thoughts in tuneful poetry?<br />
We will our rights in learning's world maintain;<br />
Wit's empire now shall know a female reign. <br />
Come, all ye fair, the great attempt improve,<br />
Divinely imitate the realms above:<br />
There's ten celestial females govern wit,<br />
And but two gods that dare pretend to it.<br />
And shall these finite males reverse their rules?<br />
No, we'll be wits, and then men must be fools. <br />
<br />
<br />
</span></span><span style="font-size: large;">
</span><div style="text-align: right;"><span style="font-size: large;">
(1703)<br />
</span></div><span style="font-size: large;">
<br />
<br />
<br />
<br />
</span><div style="text-align: right;">
<span style="font-size: large;">—<a href="https://garciala.blogia.com/2012/110503-sarah-egerton-the-emulation.php" target="_blank">La emulación, de Sarah Egerton</a></span></div>
<big>
<br />
</big><br />
<br />
___________________________<br />
<br />
<br />
<br />
<br />
<big><a href="https://litinglesa.blogspot.com/2019/10/otras-autoras-feministas-tempranas.html">Otras
autoras feministas de la Restauración y 1700</a> (NIVEL AVANZADO)</big></div><div><big> </big><br />
<br />
<br />
<br />
<br />
<big>________________________</big><br />
<br />
<br /><span style="font-size: large;">Nuestros primeros autores en este tema, el 8 de noviembre, serán Milton, Rochester y Dryden<br />
<br />
<span><br />
<span>JOHN DRYDEN
(1631-1700)</span><span><br />
<br />
English man of letters, b. Aldwinkle, Northamptonshire; st.
Westminster
School and Trinity College, Cambridge; Parliamentarian protestant
background, soon Anglican Royalist courtier, converted to catholicism
1686; successful playwright, Poet Laureate 1668; Historiographer 1670;
Tory satirist and polemicist vs. Whigs; lost jobs in 1688 Revolution;
then jacobite; neoclassical critic and translator; influential
dramatist, poet and critic, d. London; buried at Westminster Abbey
after some grotesque incidents.<br />
<span style="font-weight: bold;"><br />
<br />
</span>
_____. "A Poem upon the Death of His Late
Highness, Oliver, Lord
Protector of England, Scotland, and Ireland." 1659. <br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Astraea Redux. </span>A Poem on the
Happy Restoration and Return of his
Sacred Majesty Charles the Second.</span> Poem. 1660.<br />
_____. "To His Sacred Majesty, A Panegyrick on his Coronation." 1661.<br />
_____. <span style="font-style: italic;">The Rival Ladies</span>.
Tragicomedy. 1664.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Indian
Emperor, or The
Conquest of Mexico by the Spaniards.</span>
Heroic drama. 1665.<br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.bartleby.com/204/5.html" target="_blank">Annus
Mirabilis, The Year of wonders, 1666.</a> </span><span style="font-style: italic;">An Historical
Poem: containing the Progress and various Successes of our Naval War
with Holland, under the Conduct of His Highness Prince Rupert
(...) And describing the Fire of London.</span>
1667.<br />
_____. <span style="font-style: italic;">The Tempest, or The Enchanted
Island.</span> Operatic adaptation,
with William Davenant. 1667, pr. 1670.<br />
_____. <span style="font-style: italic; font-weight: bold;">Of
Dramatic Poesy:</span> An Essay. 1668. <br />
_____. <span style="font-style: italic;">Tyrannick love, or , The
Royal Martyr.</span> Heroic play 1669.<br />
_____. <span style="font-style: italic;">Almanzor and Almahide, or The
Conquest of Granada.</span> Heroic play. 2
parts, 1669, 1670. Pub. 1672.<br />
_____. <span style="font-style: italic;">Marriage à la Mode. </span>Comedy
1672.<br />
_____. <span style="font-style: italic;">Aureng-Zebe.</span> Heroic
play. 1676.<br />
_____. <span style="font-style: italic; font-weight: bold;">All for
Love</span><span style="font-style: italic;">; or, The World Well Lost</span><span style="font-style: italic; font-weight: bold;">. </span>Tragedy.
1677, pr. 1678.<br />
_____. <span style="font-style: italic;">Mac-Flecknoe, or A Satyr upon
the True-Blew-Protestant Poet, T.
S. </span>[Thomas Shadwell] Satire. 1676, pub. 1682.<br />
_____. <span style="font-style: italic;">The Spanish Fryar, or The
Double Discovery. </span> Tragicomedy.
1680.<br />
_____. (Anon.) <a href="https://www.poetryfoundation.org/poems/44172/absalom-and-achitophel" target="_blank"><span style="font-style: italic; font-weight: bold;">Absalom
and Achitophel. </span></a> (1st part).
Satirical poem. 1681. <br />
_____. <span style="font-style: italic;">The Medall. A Satyre against
Sedition. By the Author of Absalom
and Achitophel.</span> Poem. 1682.<br />
_____. <span style="font-style: italic; font-weight: bold;">Religio
Laici.</span> Poem. 1682.<br />
_____. <span style="font-style: italic;">To the Pious Memory of Mrs.
Anne Killigrew. </span>Poem. 1686.<br />
_____. <span style="font-style: italic;">The Hind and the Panther. A
Poem.</span> 1687.<br />
_____. <span style="font-style: italic;">Song for St. Cecilia's
Day. </span> 1687. Set by Draghi in 1687.<br />
_____. <span style="font-style: italic; font-weight: bold;"><a href="https://www.youtube.com/watch?v=8P4yC3HMxkQ" target="_blank">King
Arthur</a> </span><span style="font-style: italic;">or The British
Worthy.</span>
Dramatic opera. Music by
Purcell. 1691.<br />
_____, trans. <span style="font-style: italic;">Aeneis.</span> By
Virgil. 1697.<br />
_____. <span style="font-style: italic;">Fables Ancient and
Modern, Translated into Verse from
Homer, Virgil, Boccacce, and Chaucer. </span>1699.</span><span><br />
</span></span><span><span><br />
Dryden, John, and William Soames, trans. <span style="font-style: italic;">Art Poétique.</span> By Boileau. 1683.</span></span><span style="font-weight: bold;"><br />
<br />
</span><span style="color: black;"><span style="font-weight: bold;"><br />
</span>Cosas de Dryden:</span><br />
<br />
</span><span style="color: black;"><span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2020/11/dryden-nivel-avanzado.html">Unas
notas sobre su figura y obra</a>... la primera mitad puede que os
sirva, el resto es NIVEL AVANZADO.</span><br />
</span>
<div><span style="font-size: large;"><span style="color: black;"> </span></span></div>
<div><span style="font-size: large;"><span style="color: black;">O
podéis mirar mejor <a href="http://www.luminarium.org/eightlit/dryden/drydenbio.htm" target="_blank">su página de Luminarium</a>.
Eso vale para todos estos autores. </span><br />
<br />
<br />
<span style="color: black;">- <a href="https://litinglesa.blogspot.com/2019/10/dryden-y-la-musica.html">John
Dryden y sus colaboraciones musicales.</a></span><br />
<span style="color: black;"><br />
</span><br />
<span style="color: black;"><br />
</span><br />
<span style="color: black;"><br />
</span><br />
<span style="color: black;">
</span><span style="color: black;">________________</span><br />
<span style="color: black;"><br />
</span><br />
<br />
<span style="color: black;"><br />
</span><span style="color: black;"><br />
</span><span style="color: black;">NIVEL AVANZADO: Restoration drama.</span><br />
<br />
<span style="color: black;">- <a href="https://my.mail.ru/mail/viktorlaskin/video/2180/703.html" target="_blank">Purcell
— <i>Dido and Aeneas</i></a></span><br />
<br />
Este siglo aparece la ópera. Purcell es quizá el mayor compositor
inglés. Aquí <a href="https://litinglesa.blogspot.com/2020/11/henry-purcell-dido-and-aeneas-nivel.html" target="_blank">otra versión reciente de </a><i><a href="https://litinglesa.blogspot.com/2020/11/henry-purcell-dido-and-aeneas-nivel.html" target="_blank">Dido & Aeneas</a>. </i><br />
</span></div>
<div><span style="font-size: large;"><br />
<span style="color: black;"><br />
<span style="color: black;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"> </span></span></span><span style="font-style: italic;"><a href="http://vanityfea.blogspot.com.es/2012/10/the-theatre-of-restoration-by-louis.html">-
The
Theatre of the Restoration </a>—</span> notes from <span style="font-style: italic;">A History of English Literature,</span> by
Legouis and Cazamian<span style="font-style: italic;">.</span></span>
</span><span style="color: black;"><br />
</span><span style="color: black;"><br />
</span><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small>_____________________</small></small></span></big></big></big></big></big><br />
<big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big><big><big><big><big><big><span style="color: black;"><small><small><br />
</small></small></span></big></big></big></big></big><br />
<br />
<big><big><big><big><big><br />
<span style="font-size: medium;"><b>John
Wilmot, Earl of Rochester </b> (1647-1680)</span></big></big></big><span style="font-size: medium;"><br />
<br />
2nd Earl of Rochester, b. Ditchley, Oxfordshire, son
of
the 1st Earl of Rochester; scandalous court wit and erotic poet under Charles II, rake
and hooligan; destroyed his health through drink and sex; atheist and
misanthropist, skeptic philosophical poet, libertine converted to Christian devotion before his death, d. London.<br />
<br />
_____. <span style="font-weight: bold;">"A Satyr against Reason and
Mankind." </span>Satire.<br />
_____. "The Imperfect Enjoyment." Poem.<br />
_____. "The Disabled Debauchee." Poem.</span></big></big></span></div><span style="font-size: large;">
</span><div><span style="font-size: large;">_____. <a href="http://www.luminarium.org/eightlit/rochester/thefall.htm" target="_blank">"The Fall."</a> Poem.</span></div><span style="font-size: large;">
</span><div><span style="font-size: large;"><span style="font-size: x-large;"><span style="font-size: large;">_____.
<a href="http://www.jacklynch.net/Texts/charles2.html">"A
Satyr on Charles II.</a>" Poem.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Poems on Several Occasions</span>...</span>
1680.<br />
_____. <a href="https://www.poetryfoundation.org/poems/53720/upon-nothing"><span style="font-weight: bold;">"Upon
Nothing.</span></a><span style="font-weight: bold;"><a href="https://www.poetryfoundation.org/poems/53720/upon-nothing">"</a>
</span>1711.</span><br />
</span><br />
________________________<br />
<br />
<span style="font-weight: bold;"> </span><span style="color: black;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><a href="http://www.luminarium.org/eightlit/rochester/">Esta
es la página de Rochester en </a><span style="font-style: italic;"><a href="http://www.luminarium.org/eightlit/rochester/">Luminarium</a>—</span>con
obras, crítica, etc.<span style="font-weight: bold;"> </span>Es
especialmente recomendable la <a href="http://andromeda.rutgers.edu/%7Ejlynch/Texts/mankind.html"><span style="font-style: italic;">Satire against Reason and Mankind.</span></a><span style="font-weight: bold;"><span style="font-weight: bold;"> <br />
<br />
</span></span></span><span style="color: black;"><span style="font-weight: bold;"><span style="font-weight: bold;">
</span></span><a href="https://litinglesa.blogspot.com/2021/11/john-wilmot-earl-of-rochester.html" target="_blank">Unas notas complementarias</a> sobre Rochester. </span><br />
<big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big></big></big><br />
</span>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1TZP_pH_D0KFqyXVjoAr8JvQqeI1931_1sPP_Jrp-rIUIrtbtR6TIIxeqNA34CU1fQP5XwW30UieVJMeI3l_QTccOBC-UGIVuuRVPd_kIOZBIaoamPePZ9EiOLMJgacaCYBbXaDEAVW1y/s1600/rochester.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="465" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1TZP_pH_D0KFqyXVjoAr8JvQqeI1931_1sPP_Jrp-rIUIrtbtR6TIIxeqNA34CU1fQP5XwW30UieVJMeI3l_QTccOBC-UGIVuuRVPd_kIOZBIaoamPePZ9EiOLMJgacaCYBbXaDEAVW1y/s640/rochester.jpg" width="496" /></a></div>
<big><big><big><big><big><big><span style="color: black;"><small><small><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></small></small></span></big></big></big></big></big></big><br />
<span style="font-size: large;"><br />
</span></div>
<div><span style="font-size: large;"> </span></div>
<div><span style="font-size: large;">_______________________ <br />
</span></div>
<div><big><span style="font-size: large;"><br />
<br />
Una breve biografía y algunas obras de Milton. Por cierto,
bibliografías más completas de
todos estos autores se encuentran en <a href="http://bit.ly/abiblio">http://bit.ly/abiblio</a></span><br />
<br />
<big><big><big><big><br />
<span style="font-size: large;">JOHN MILTON
(1608-1674)</span></big></big><span style="font-size: large;"><br />
<br />
English poet, son of a London musician and scrivener; studied in
Christ's
College, Cambridge, BA 1628, MA 1632; turned vs. Anglicanism, then
private study at father's house in Buckinghamshire; tour of Italy late
30s; private tutor and active Protestant pamphleteer and polemicist in
London; married Mary Powell, of Royalist family, 1643, estranged
for
some time, advocated divorce; reconciliation with wife; austere and
authoritarian patriarch, militant masculinist, </span></big></big></big><span style="font-size: large;"><br />
<br />
<span>Independent critic of
Presbyterians, Latin secretary to the Commonwealth, supported regicide,
apologist of Cromwell; blind 1652; wife died after childbirth, son
died,
3 surviving daughters; m. Katharine Woodcock, died after childbirth; m.
Elizabeth Minshull after Restoration (no surviving children from later
wives); </span><br />
<br />
<span>Milton protected Royalists under war and Commonwealth and was
protected by Davenant and Marvell after the Restoration: fined but
pardoned; abandoned political activity, private life as man of letters,
historian, theologian and neoclassical poet, helped by his family and
visitors, organ player for recreation.
</span><br />
<br />
<br />
<span><br />
</span><span><i>Early works:</i></span><br />
<br />
<span><i> </i></span>
<span>_____."On the Morning of Christ's Nativity. Compos'd
1629."
Ode. In <span style="font-style: italic;">Poems.</span> 1645. <br />
_____. "On Shakespeare"
Sonnet. 1630.<br />
_____. <span style="font-weight: bold;">"L'Allegro" /</span>"<span style="font-weight: bold;">Il Penseroso."</span> Poems.
c. 1631. <br />
_____. <span style="font-weight: bold;"><span style="font-style: italic;"><a href="https://youtu.be/iS9cXWfVZXk" target="_blank">Comus</a>.</span></span>
Masque. 1634.<br />
_____. <span style="font-weight: bold;">"Lycidas."</span> Pastoral
elegy. 1637. </span><span><br />
_____. <span style="font-style: italic; font-weight: bold;">Poems / of
/ Mr. John Milton, / both / English and Latin, /
Compos'd at Several Times. /</span> 1645.</span></span></div><span style="font-size: large;">
</span><div><span style="font-size: large;"> </span><span style="font-size: large;"><br />
</span></div><span style="font-size: large;">
</span><div><span style="font-size: large;"><br />
<br />
<span><i>Middle Works</i></span><br />
<br />
<span><i> </i>_____. <span style="font-style: italic;">Of
Reformation Touching
Church Discipline in England. </span>1641.<br />
_____. <span style="font-style: italic; font-weight: bold;">The Reason
of Church Government Urg'd Against Prelaty,</span> by Mr.
John Milton. 1641-42.<br />
_____. <span style="font-style: italic; font-weight: bold;">The
Doctrine and Discipline of Divorce.</span> 1643. <br />
_____. <span style="font-style: italic; font-weight: bold;">Areopagitica:
A Speech of Mr John Milton For the Liberty of
Unlicenc'd Printing, To the Parliament of England. </span>1644. <br />
_____. "On the new forcers of Conscience under the Long PARLIAMENT."
Expanded sonnet. c.
1646.<br />
_____. <span style="font-style: italic;">The Tenure of Kings and
Magistrates</span>. 1649.<br />
_____. <span style="font-style: italic; font-weight: bold;">EIKONOCLASTES.
</span>1649.<br />
_____. <span style="font-style: italic;"><span style="font-weight: bold;">Pro populo Anglicano Defensio.</span> </span>Political
pamphlet. 1651. <br />
_____. "Cromwell, our Chief of Men." Sonnet. Pub. 1694. <br />
_____. "When I Consider How My Light Is Spent." Sonnet. c. 1652. <br />
_____. "On the late Massacher in Piedmont." Sonnet. 1655.<br />
_____. <a href="https://milton.host.dartmouth.edu/reading_room/sonnets/sonnet_23/text.shtml" target="_blank">"Methought I saw my late espoused Saint."</a>
Sonnet. 1658.</span><br />
<br />
<span><br />
</span><br />
<span><i>Late works:</i></span><br />
<br />
</span><span style="font-size: x-large;"><span><span style="font-size: large;"><i> </i>_____. <a href="https://milton.host.dartmouth.edu/reading_room/pl/book_1/text.shtml" target="_blank"><span style="font-style: italic; font-weight: bold;">PARADISE
LOST.</span></a> Epic poem in 10 books, 1667. Rev. in 12 books,
1674.<br />
_____. <span style="font-style: italic;">History of Britain.</span>
1670.<br />
_____. <span style="font-style: italic;">PARADISE / REGAIN'D. / A /
POEM. / In IV BOOKS. / To which is
added / <span style="font-weight: bold;">SAMSON AGONISTES.</span> </span>1671.</span><br />
</span><br />
</span><span style="font-size: x-large;"><br />
__________</span><span style="font-size: x-large;"><br />
<br />
<br />
<br />
<br />
</span><div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2rLOl5h1_QwKmSw5UMjXkraQrI-Hp5KXI8pc5OqiTgDnyg-dG4_O9Uq7-H8hyphenhyphen7hASAc0W_BA5j1uwOiSU2xZ0bha-rmXXMrin2PF1K5WMeER7nx8d59-sGzuggN7_9eDU9FxuoXQQzMU/s1600/milton.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1276" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2rLOl5h1_QwKmSw5UMjXkraQrI-Hp5KXI8pc5OqiTgDnyg-dG4_O9Uq7-H8hyphenhyphen7hASAc0W_BA5j1uwOiSU2xZ0bha-rmXXMrin2PF1K5WMeER7nx8d59-sGzuggN7_9eDU9FxuoXQQzMU/w385-h484/milton.jpg" width="385" /></a></span></div><span style="font-size: x-large;">
<br />
<br />
<span style="font-size: large; font-weight: bold;">John Milton:
Paradise
Lost</span><span style="font-size: large;"><br />
<br />
<span style="font-style: italic;">From Book 1 </span></span><span style="font-size: large;"><br />
</span></span><big><span style="font-size: large; font-style: italic;"> </span><span style="font-size: medium;"><span style="font-size: large;"><br />
Of Man's first disobedience, and the fruit<br />
Of that forbidden tree whose mortal taste<br />
Brought death into the World, and all our woe,<br />
With loss of Eden, till one greater Man<br />
Restore us, and regain the blissful Seat,<br />
Sing, Heavenly Muse, that, on the secret top<br />
Of Oreb, or of Sinai, didst inspire<br />
That shepherd who first taught the chosen seed<br />
In the beginning how the heavens and earth<br />
Rose out of Chaos: or, if Sion hill<br />
Delight thee more, and Siloa's brook that flowed<br />
Fast by the oracle of God, I thence<br />
Invoke thy aid to my adventurous song,<br />
That with no middle flight intends to soar<br />
Above th' Aonian mount, while it pursues<br />
Things unattempted yet in prose or rhyme.<br />
And chiefly Thou, O Spirit, that dost prefer<br />
Before all temples th' upright heart and pure,<br />
Instruct me, for Thou know'st; Thou from the first<br />
Wast present, and, with mighty wings outspread,<br />
Dove-like sat'st brooding on the vast Abyss,<br />
And mad'st it pregnant: what in me is dark<br />
Illumine, what is low raise and support;<br />
That, to the height of this great argument,<br />
I may assert Eternal Providence,<br />
And justify the ways of God to men.</span>
</span><br />
</big><br />
<br />
<br />
<br />
<big><big><big><br />
<br />
</big></big>________________________</big><br />
<br />
<br />
<span style="font-size: large;">Materiales sobre John Milton en
Internet abundan:</span>
</div><div><span style="font-size: large;"><br />
- "John Milton (1608-1674)." en <span style="font-style: italic;">Luminarium.</span><br />
<a href="http://www.luminarium.org/sevenlit/milton/">http://www.luminarium.org/sevenlit/milton/</a><span style="color: black;"><br />
</span></span><span style="font-size: large;"><br />
- Spark Notes: <i>Paradise Lost</i><br />
<a href="http://www.sparknotes.com/poetry/paradiselost/">http://www.sparknotes.com/poetry/paradiselost/</a></span>
</div>
<div><span style="font-size: large;"><br />
</span><span style="color: black; font-size: large;">—y <a href="http://www.bbc.co.uk/programmes/b094f8n6">un audio de la BBC</a>
de Adam Nicolson. </span></div>
<div><span style="color: black; font-size: large;"> </span></div>
<div><span style="color: black; font-size: large;"> </span></div>
<div><span style="color: black; font-size: large;"> ___________________</span></div>
<div><span style="color: black; font-size: large;"> </span></div>
<div><span style="color: black; font-size: large;"><a href="https://litinglesa.blogspot.com/2019/10/john-milton-nivel-avanzado.html" target="_blank">NIVEL AVANZADO: John Milton </a><br />
</span></div>
<div><span style="color: black; font-size: large;"> </span></div><div><span style="color: black; font-size: large;"><a href="https://www.bbc.co.uk/programmes/p00547bx" target="_blank">In Our Time: The Restoration</a> <br /></span></div>
<div><span style="color: black; font-size: large;"> </span></div>
<div><span style="color: black; font-size: large;"> </span><br />
</div>
<div><br />
<br />
</div>
<div style="text-align: right;"><a href="https://litinglesa.blogspot.com/2019/10/2-literatura-inglesa-renacentista.html" target="_blank">Tema 2: Literatura inglesa renacentista</a><br />
</div>
<br />
<br /></div></span><p></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-77897343334626131452021-11-22T21:27:00.000+01:002021-11-22T21:27:11.526+01:00A Vindication of the Rights of Woman (Selection)<p>
</p><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD">Mary
Wollstonecraft</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD">from
<i>A VINDICATION OF THE RIGHTS OF WOMAN </i>(1792)<br /><i></i></span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; mso-outline-level: 4; mso-para-margin-bottom: .01gd;"><span style="font-size: large;"><b><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">INTRODUCTION.</span></b></span></p><p class="MsoNormal" style="margin-bottom: .1pt; mso-outline-level: 4; mso-para-margin-bottom: .01gd;"><span style="font-size: large;"><b><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">After considering the historic page, and viewing the living world with
anxious solicitude, the most melancholy emotions of sorrowful indignation have
depressed my spirits, and I have sighed when obliged to confess, that either
nature has made a great difference between man and man, or that the
civilization, which has hitherto taken place in the world, has been very
partial. I have turned over various books written on the subject of education,
and patiently observed the conduct of parents and the management of schools;
but what has been the result? a profound conviction, that the neglected
education of my fellow creatures is the grand source of the misery I deplore;
and that women in particular, are rendered weak and wretched by a variety of
concurring causes, originating from one hasty conclusion. The conduct and
manners of women, in fact, evidently prove, that their minds are not in a
healthy state; for, like the flowers that are planted in too rich a soil,
strength and usefulness are sacrificed to beauty; and the flaunting leaves,
after having pleased a fastidious eye, fade, disregarded on the stalk, long
before the season when they ought to have arrived at maturity. One cause of this
barren blooming I attribute to a false system of education, gathered from the
books written on this subject by men, who, considering females rather as women
than human creatures, have been more anxious to make them alluring mistresses
than rational wives; and the understanding of the sex has been so bubbled by
this specious homage, that the civilized women of the present century, with a
few exceptions, are only anxious to inspire love, when they ought to cherish a
nobler ambition, and by their abilities and virtues exact respect.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">In a treatise, therefore, on female rights and manners, the works
which have been particularly written for their improvement must not be
overlooked; especially when it is asserted, in direct terms, that the minds of
women are enfeebled by false refinement; that the books of instruction, written
by men of genius, have had the same tendency as more frivolous productions; and
that, in the true style of Mahometanism, they are only considered as females,
and not as a part of the human species, when improvable reason is allowed to be
the dignified distinction, which raises men above the brute creation, and puts
a natural sceptre in a feeble hand.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Yet, because I am a woman, I would not lead my readers to suppose,
that I mean violently to agitate the contested question respecting the equality
and inferiority of the sex; but as the subject lies in my way, and I cannot
pass it over without subjecting the main tendency of my reasoning to
misconstruction, I shall stop a moment to deliver, in a few words, my opinion.
In the government of the physical world, it is observable that the female, in
general, is inferior to the male. The male pursues, the female yields—this is
the law of nature; and it does not appear to be suspended or abrogated in favour
of woman. This physical superiority cannot be denied—and it is a noble
prerogative! But not content with this natural pre-eminence, men endeavour to
sink us still lower, merely to render us alluring objects for a moment; and
women, intoxicated by the adoration which men, under the influence of their
senses, pay them, do not seek to obtain a durable interest in their hearts, or
to become the friends of the fellow creatures who find amusement in their
society.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">I am aware of an obvious inference: from every quarter have I heard
exclamations against masculine women; but where are they to be found? If, by
this appellation, men mean to inveigh against their ardour in hunting,
shooting, and gaming, I shall most cordially join in the cry; but if it be,
against the imitation of manly virtues, or, more properly speaking, the
attainment of those talents and virtues, the exercise of which ennobles the
human character, and which raise females in the scale of animal being, when
they are comprehensively termed mankind—all those who view them with a
philosophical eye must, I should think, wish with me, that they may every day
grow more and more masculine.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">This discussion naturally divides the subject. I shall first consider
women in the grand light of human creatures, who, in common with men, are
placed on this earth to unfold their faculties; and afterwards I shall more
particularly point out their peculiar designation.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">I wish also to steer clear of an error, which many respectable writers
have fallen into; for the instruction which has hitherto been addressed to
women, has rather been applicable to LADIES, if the little indirect advice,
that is scattered through Sandford and Merton, be excepted; but, addressing my
sex in a firmer tone, I pay particular attention to those in the middle class,
because they appear to be in the most natural state. Perhaps the seeds of false
refinement, immorality, and vanity have ever been shed by the great. Weak,
artificial beings raised above the common wants and affections of their race, in
a premature unnatural manner, undermine the very foundation of virtue, and
spread corruption through the whole mass of society! As a class of mankind they
have the strongest claim to pity! the education of the rich tends to render
them vain and helpless, and the unfolding mind is not strengthened by the
practice of those duties which dignify the human character. They only live to
amuse themselves, and by the same law which in nature invariably produces
certain effects, they soon only afford barren amusement.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">But as I purpose taking a separate view of the different ranks of
society, and of the moral character of women, in each, this hint is, for the
present, sufficient; and I have only alluded to the subject, because it appears
to me to be the very essence of an introduction to give a cursory account of
the contents of the work it introduces.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">My own sex, I hope, will excuse me, if I treat them like rational
creatures, instead of flattering their FASCINATING graces, and viewing them as
if they were in a state of perpetual childhood, unable to stand alone. I
earnestly wish to point out in what true dignity and human happiness consists—I
wish to persuade women to endeavour to acquire strength, both of mind and body,
and to convince them, that the soft phrases, susceptibility of heart, delicacy
of sentiment, and refinement of taste, are almost synonymous with epithets of
weakness, and that those beings who are only the objects of pity and that kind
of love, which has been termed its sister, will soon become objects of
contempt.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Dismissing then those pretty feminine phrases, which the men
condescendingly use to soften our slavish dependence, and despising that weak
elegancy of mind, exquisite sensibility, and sweet docility of manners,
supposed to be the sexual characteristics of the weaker vessel, I wish to show
that elegance is inferior to virtue, that the first object of laudable ambition
is to obtain a character as a human being, regardless of the distinction of
sex; and that secondary views should be brought to this simple touchstone.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> <br /></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">This is a rough sketch of my plan; and should I express my conviction
with the energetic emotions that I feel whenever I think of the subject, the
dictates of experience and reflection will be felt by some of my readers.
Animated by this important object, I shall disdain to cull my phrases or polish
my style—I aim at being useful, and sincerity will render me unaffected; for
wishing rather to persuade by the force of my arguments, than dazzle by the
elegance of my language, I shall not waste my time in rounding periods, nor in
fabricating the turgid bombast of artificial feelings, which, coming from the
head, never reach the heart. I shall be employed about things, not words! and,
anxious to render my sex more respectable members of society, I shall try to
avoid that flowery diction which has slided from essays into novels, and from
novels into familiar letters and conversation.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">These pretty nothings, these caricatures of the real beauty of
sensibility, dropping glibly from the tongue, vitiate the taste, and create a
kind of sickly delicacy that turns away from simple unadorned truth; and a
deluge of false sentiments and over-stretched feelings, stifling the natural
emotions of the heart, render the domestic pleasures insipid, that ought to
sweeten the exercise of those severe duties, which educate a rational and
immortal being for a nobler field of action.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">The education of women has, of late, been more attended to than
formerly; yet they are still reckoned a frivolous sex, and ridiculed or pitied
by the writers who endeavour by satire or instruction to improve them. It is
acknowledged that they spend many of the first years of their lives in
acquiring a smattering of accomplishments: meanwhile, strength of body and mind
are sacrificed to libertine notions of beauty, to the desire of establishing
themselves, the only way women can rise in the world—by marriage. And this
desire making mere animals of them, when they marry, they act as such children
may be expected to act: they dress; they paint, and nickname God's creatures.
Surely these weak beings are only fit for the seraglio! Can they govern a
family, or take care of the poor babes whom they bring into the world?</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">If then it can be fairly deduced from the present conduct of the sex,
from the prevalent fondness for pleasure, which takes place of ambition and
those nobler passions that open and enlarge the soul; that the instruction
which women have received has only tended, with the constitution of civil
society, to render them insignificant objects of desire; mere propagators of
fools! if it can be proved, that in aiming to accomplish them, without
cultivating their understandings, they are taken out of their sphere of duties,
and made ridiculous and useless when the short lived bloom of beauty is over*,
I presume that RATIONAL men will excuse me for endeavouring to persuade them to
become more masculine and respectable.</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: medium;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">(*Footnote. A lively writer, I cannot recollect his name, asks what
business women turned of forty have to do in the world.)</span></span></p><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Indeed the word masculine is only a bugbear: there is little reason to
fear that women will acquire too much courage or fortitude; for their apparent
inferiority with respect to bodily strength, must render them, in some degree,
dependent on men in the various relations of life; but why should it be
increased by prejudices that give a sex to virtue, and confound simple truths
with sensual reveries?</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">Women are, in fact, so much degraded by mistaken notions of female
excellence, that I do not mean to add a paradox when I assert, that this
artificial weakness produces a propensity to tyrannize, and gives birth to
cunning, the natural opponent of strength, which leads them to play off those
contemptible infantile airs that undermine esteem even whilst they excite
desire. Do not foster these prejudices, and they will naturally fall into their
subordinate, yet respectable station in life.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0cm; mso-para-margin-right: 0cm; mso-para-margin-top: .01gd;"><span style="font-size: large;"><span lang="ES-TRAD" style="font-family: Times; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-fareast-language: ES-TRAD;">It seems scarcely necessary to say, that I now speak of the sex in
general. Many individuals have more sense than their male relatives; and, as
nothing preponderates where there is a constant struggle for an equilibrium,
without it has naturally more gravity, some women govern their husbands without
degrading themselves, because intellect will always govern.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD">(…)</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p><span style="font-size: large;">
</span><h4 style="margin-bottom: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">CHAPTER 2.</span></span></h4><h4 style="margin-bottom: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></h4><span style="font-size: large;">
</span><h5 style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">THE PREVAILING OPINION OF A SEXUAL CHARACTER DISCUSSED.</span></span></h5><h5 style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></h5><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">To account for,
and excuse the tyranny of man, many ingenious arguments have been brought
forward to prove, that the two sexes, in the acquirement of virtue, ought to
aim at attaining a very different character: or, to speak explicitly, women are
not allowed to have sufficient strength of mind to acquire what really deserves
the name of virtue. Yet it should seem, allowing them to have souls, that there
is but one way appointed by providence to lead MANKIND to either virtue or
happiness.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">If then women
are not a swarm of ephemeron triflers, why should they be kept in ignorance
under the specious name of innocence? Men complain, and with reason, of the
follies and caprices of our sex, when they do not keenly satirize our
headstrong passions and groveling vices. Behold, I should answer, the natural
effect of ignorance! The mind will ever be unstable that has only prejudices to
rest on, and the current will run with destructive fury when there are no
barriers to break its force. Women are told from their infancy, and taught by
the example of their mothers, that a little knowledge of human weakness, justly
termed cunning, softness of temper, OUTWARD obedience, and a scrupulous
attention to a puerile kind of propriety, will obtain for them the protection
of man; and should they be beautiful, every thing else is needless, for at
least twenty years of their lives.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Thus Milton
describes our first frail mother; though when he tells us that women are formed
for softness and sweet attractive grace, I cannot comprehend his meaning,
unless, in the true Mahometan strain, he meant to deprive us of souls, and
insinuate that we were beings only designed by sweet attractive grace, and
docile blind obedience, to gratify the senses of man when he can no longer soar
on the wing of contemplation.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">How grossly do
they insult us, who thus advise us only to render ourselves gentle, domestic
brutes! For instance, the winning softness, so warmly, and frequently
recommended, that governs by obeying. What childish expressions, and how
insignificant is the being—can it be an immortal one? who will condescend to
govern by such sinister methods! "Certainly," says Lord Bacon,
"man is of kin to the beasts by his body: and if he be not of kin to God
by his spirit, he is a base and ignoble creature!" Men, indeed, appear to
me to act in a very unphilosophical manner, when they try to secure the good
conduct of women by attempting to keep them always in a state of childhood.
Rousseau was more consistent when he wished to stop the progress of reason in
both sexes; for if men eat of the tree of knowledge, women will come in for a
taste: but, from the imperfect cultivation which their understandings now
receive, they only attain a knowledge of evil.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Children, I
grant, should be innocent; but when the epithet is applied to men, or women, it
is but a civil term for weakness. For if it be allowed that women were destined
by Providence to acquire human virtues, and by the exercise of their
understandings, that stability of character which is the firmest ground to rest
our future hopes upon, they must be permitted to turn to the fountain of light,
and not forced to shape their course by the twinkling of a mere satellite.
Milton, I grant, was of a very different opinion; for he only bends to the
indefeasible right of beauty, though it would be difficult to render two
passages, which I now mean to contrast, consistent: but into similar
inconsistencies are great men often led by their senses:—</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"></span></span></p><blockquote><span style="font-size: large;">"To whom
thus Eve with perfect beauty adorned:<br />
My author and disposer, what thou bidst<br />
Unargued I obey; so God ordains;<br />
God is thy law, thou mine; to know no more<br />
Is woman's happiest knowledge and her praise."</span></blockquote><p></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">These are
exactly the arguments that I have used to children; but I have added,
"Your reason is now gaining strength, and, till it arrives at some degree
of maturity, you must look up to me for advice: then you ought to THINK, and
only rely on God."</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Yet, in the
following lines, Milton seems to coincide with me, when he makes Adam thus
expostulate with his Maker:—</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"></span></span></p><blockquote><span style="font-size: large;">"Hast thou
not made me here thy substitute,<br />
And these inferior far beneath me set?<br />
Among unequals what society<br />
Can sort, what harmony or delight?<br />
Which must be mutual, in proportion due<br />
Given and received; but in disparity<br />
The one intense, the other still remiss<br />
Cannot well suit with either, but soon prove<br />
Tedious alike: of fellowship I speak<br />
Such as I seek fit to participate<br />
All rational delight."</span></blockquote><p></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">In treating,
therefore, of the manners of women, let us, disregarding sensual arguments,
trace what we should endeavour to make them in order to co-operate, if the
expression be not too bold, with the Supreme Being.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">By individual
education, I mean—for the sense of the word is not precisely defined—such an
attention to a child as will slowly sharpen the senses, form the temper,
regulate the passions, as they begin to ferment, and set the understanding to
work before the body arrives at maturity; so that the man may only have to
proceed, not to begin, the important task of learning to think and reason.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">To prevent any
misconstruction, I must add, that I do not believe that a private education can
work the wonders which some sanguine writers have attributed to it. Men and
women must be educated, in a great degree, by the opinions and manners of the
society they live in. In every age there has been a stream of popular opinion
that has carried all before it, and given a family character, as it were, to
the century. It may then fairly be inferred, that, till society be differently
constituted, much cannot be expected from education. It is, however, sufficient
for my present purpose to assert, that, whatever effect circumstances have on
the abilities, every being may become virtuous by the exercise of its own
reason; for if but one being was created with vicious inclinations—that is,
positively bad— what can save us from atheism? or if we worship a God, is not
that God a devil?</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Consequently,
the most perfect education, in my opinion, is such an exercise of the
understanding as is best calculated to strengthen the body and form the heart;
or, in other words, to enable the individual to attain such habits of virtue as
will render it independent. In fact, it is a farce to call any being virtuous
whose virtues do not result from the exercise of its own reason. This was
Rousseau's opinion respecting men: I extend it to women, and confidently assert
that they have been drawn out of their sphere by false refinement, and not by
an endeavour to acquire masculine qualities. Still the regal homage which they
receive is so intoxicating, that, till the manners of the times are changed,
and formed on more reasonable principles, it may be impossible to convince them
that the illegitimate power, which they obtain by degrading themselves, is a
curse, and that they must return to nature and equality, if they wish to secure
the placid satisfaction that unsophisticated affections impart. But for this
epoch we must wait—wait, perhaps, till kings and nobles, enlightened by reason,
and, preferring the real dignity of man to childish state, throw off their
gaudy hereditary trappings; and if then women do not resign the arbitrary power
of beauty, they will prove that they have LESS mind than man. I may be accused
of arrogance; still I must declare, what I firmly believe, that all the writers
who have written on the subject of female education and manners, from Rousseau
to Dr. Gregory, have contributed to render women more artificial, weaker
characters, than they would otherwise have been; and, consequently, more useless
members of society. I might have expressed this conviction in a lower key; but
I am afraid it would have been the whine of affectation, and not the faithful
expression of my feelings, of the clear result, which experience and reflection
have led me to draw. When I come to that division of the subject, I shall
advert to the passages that I more particularly disapprove of, in the works of
the authors I have just alluded to; but it is first necessary to observe, that
my objection extends to the whole purport of those books, which tend, in my
opinion, to degrade one half of the human species, and render women pleasing at
the expense of every solid virtue.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Though to
reason on Rousseau's ground, if man did attain a degree of perfection of mind
when his body arrived at maturity, it might be proper in order to make a man
and his wife ONE, that she should rely entirely on his understanding; and the
graceful ivy, clasping the oak that supported it, would form a whole in which
strength and beauty would be equally conspicuous. But, alas! husbands, as well
as their helpmates, are often only overgrown children; nay, thanks to early
debauchery, scarcely men in their outward form, and if the blind lead the
blind, one need not come from heaven to tell us the consequence.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Many are the
causes that, in the present corrupt state of society, contribute to enslave
women by cramping their understandings and sharpening their senses. One,
perhaps, that silently does more mischief than all the rest, is their disregard
of order.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">To do every
thing in an orderly manner, is a most important precept, which women, who,
generally speaking, receive only a disorderly kind of education, seldom attend
to with that degree of exactness that men, who from their infancy are broken
into method, observe. This negligent kind of guesswork, for what other epithet
can be used to point out the random exertions of a sort of instinctive common
sense, never brought to the test of reason? prevents their generalizing matters
of fact, so they do to-day, what they did yesterday, merely because they did it
yesterday.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">This contempt
of the understanding in early life has more baneful consequences than is
commonly supposed; for the little knowledge which women of strong minds attain,
is, from various circumstances, of a more desultory kind than the knowledge of
men, and it is acquired more by sheer observations on real life, than from
comparing what has been individually observed with the results of experience
generalized by speculation. Led by their dependent situation and domestic
employments more into society, what they learn is rather by snatches; and as
learning is with them, in general, only a secondary thing, they do not pursue
any one branch with that persevering ardour necessary to give vigour to the
faculties, and clearness to the judgment. In the present state of society, a
little learning is required to support the character of a gentleman; and boys
are obliged to submit to a few years of discipline. But in the education of
women the cultivation of the understanding is always subordinate to the
acquirement of some corporeal accomplishment; even while enervated by
confinement and false notions of modesty, the body is prevented from attaining
that grace and beauty which relaxed half-formed limbs never exhibit. Besides,
in youth their faculties are not brought forward by emulation; and having no
serious scientific study, if they have natural sagacity it is turned too soon
on life and manners. They dwell on effects, and modifications, without tracing
them back to causes; and complicated rules to adjust behaviour are a weak
substitute for simple principles.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">As a proof that
education gives this appearance of weakness to females, we may instance the
example of military men, who are, like them, sent into the world before their
minds have been stored with knowledge or fortified by principles. The
consequences are similar; soldiers acquire a little superficial knowledge,
snatched from the muddy current of conversation, and, from continually mixing
with society, they gain, what is termed a knowledge of the world; and this
acquaintance with manners and customs has frequently been confounded with a
knowledge of the human heart. But can the crude fruit of casual observation,
never brought to the test of judgment, formed by comparing speculation and
experience, deserve such a distinction? Soldiers, as well as women, practice
the minor virtues with punctilious politeness. Where is then the sexual
difference, when the education has been the same; all the difference that I can
discern, arises from the superior advantage of liberty which enables the former
to see more of life.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">It is wandering
from my present subject, perhaps, to make a political remark; but as it was
produced naturally by the train of my reflections, I shall not pass it silently
over.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Standing armies
can never consist of resolute, robust men; they may be well disciplined
machines, but they will seldom contain men under the influence of strong
passions or with very vigorous faculties. And as for any depth of understanding,
I will venture to affirm, that it is as rarely to be found in the army as
amongst women; and the cause, I maintain, is the same. It may be further
observed, that officers are also particularly attentive to their persons, fond
of dancing, crowded rooms, adventures, and ridicule. Like the FAIR sex, the
business of their lives is gallantry. They were taught to please, and they only
live to please. Yet they do not lose their rank in the distinction of sexes,
for they are still reckoned superior to women, though in what their superiority
consists, beyond what I have just mentioned, it is difficult to discover.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">The great
misfortune is this, that they both acquire manners before morals, and a
knowledge of life before they have from reflection, any acquaintance with the
grand ideal outline of human nature. The consequence is natural; satisfied with
common nature, they become a prey to prejudices, and taking all their opinions
on credit, they blindly submit to authority. So that if they have any sense, it
is a kind of instinctive glance, that catches proportions, and decides with
respect to manners; but fails when arguments are to be pursued below the
surface, or opinions analyzed.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">May not the
same remark be applied to women? Nay, the argument may be carried still further,
for they are both thrown out of a useful station by the unnatural distinctions
established in civilized life. Riches and hereditary honours have made cyphers
of women to give consequence to the numerical figure; and idleness has produced
a mixture of gallantry and despotism in society, which leads the very men who
are the slaves of their mistresses, to tyrannize over their sisters, wives, and
daughters. This is only keeping them in rank and file, it is true. Strengthen
the female mind by enlarging it, and there will be an end to blind obedience;
but, as blind obedience is ever sought for by power, tyrants and sensualists
are in the right when they endeavour to keep women in the dark, because the
former only want slaves, and the latter a play-thing. The sensualist, indeed,
has been the most dangerous of tyrants, and women have been duped by their
lovers, as princes by their ministers, whilst dreaming that they reigned over
them.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I now
principally allude to Rousseau, for his character of Sophia is, undoubtedly, a
captivating one, though it appears to me grossly unnatural; however, it is not
the superstructure, but the foundation of her character, the principles on
which her education was built, that I mean to attack; nay, warmly as I admire
the genius of that able writer, whose opinions I shall often have occasion to
cite, indignation always takes place of admiration, and the rigid frown of
insulted virtue effaces the smile of complacency, which his eloquent periods
are wont to raise, when I read his voluptuous reveries. Is this the man, who,
in his ardour for virtue, would banish all the soft arts of peace, and almost
carry us back to Spartan discipline? Is this the man who delights to paint the
useful struggles of passion, the triumphs of good dispositions, and the heroic
flights which carry the glowing soul out of itself? How are these mighty
sentiments lowered when he describes the prettyfoot and enticing airs of his
little favourite! But, for the present, I waive the subject, and, instead of
severely reprehending the transient effusions of overweening sensibility, I
shall only observe, that whoever has cast a benevolent eye on society, must
often have been gratified by the sight of humble mutual love, not dignified by
sentiment, nor strengthened by a union in intellectual pursuits. The domestic
trifles of the day have afforded matter for cheerful converse, and innocent
caresses have softened toils which did not require great exercise of mind, or
stretch of thought: yet, has not the sight of this moderate felicity excited
more tenderness than respect? An emotion similar to what we feel when children
are playing, or animals sporting, whilst the contemplation of the noble
struggles of suffering merit has raised admiration, and carried our thoughts to
that world where sensation will give place to reason.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Women are,
therefore, to be considered either as moral beings, or so weak that they must
be entirely subjected to the superior faculties of men.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Let us examine
this question. Rousseau declares, that a woman should never, for a moment feel
herself independent, that she should be governed by fear to exercise her
NATURAL cunning, and made a coquetish slave in order to render her a more
alluring object of desire, a SWEETER companion to man, whenever he chooses to relax
himself. He carries the arguments, which he pretends to draw from the
indications of nature, still further, and insinuates that truth and fortitude
the corner stones of all human virtue, shall be cultivated with certain
restrictions, because with respect to the female character, obedience is the
grand lesson which ought to be impressed with unrelenting rigour.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">What nonsense!
When will a great man arise with sufficient strength of mind to puff away the
fumes which pride and sensuality have thus spread over the subject! If women
are by nature inferior to men, their virtues must be the same in quality, if
not in degree, or virtue is a relative idea; consequently, their conduct should
be founded on the same principles, and have the same aim.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Connected with man
as daughters, wives, and mothers, their moral character may be estimated by
their manner of fulfilling those simple duties; but the end, the grand end of
their exertions should be to unfold their own faculties, and acquire the
dignity of conscious virtue. They may try to render their road pleasant; but
ought never to forget, in common with man, that life yields not the felicity
which can satisfy an immortal soul. I do not mean to insinuate, that either sex
should be so lost, in abstract reflections or distant views, as to forget the
affections and duties that lie before them, and are, in truth, the means
appointed to produce the fruit of life; on the contrary, I would warmly
recommend them, even while I assert, that they afford most satisfaction when they
are considered in their true subordinate light.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Probably the
prevailing opinion, that woman was created for man, may have taken its rise
from Moses's poetical story; yet, as very few it is presumed, who have bestowed
any serious thought on the subject, ever supposed that Eve was, literally
speaking, one of Adam's ribs, the deduction must be allowed to fall to the
ground; or, only be so far admitted as it proves that man, from the remotest
antiquity, found it convenient to exert his strength to subjugate his
companion, and his invention to show that she ought to have her neck bent under
the yoke; because she as well as the brute creation, was created to do his
pleasure.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Let it not be
concluded, that I wish to invert the order of things; I have already granted,
that, from the constitution of their bodies, men seem to be designed by
Providence to attain a greater degree of virtue. I speak collectively of the
whole sex; but I see not the shadow of a reason to conclude that their virtues
should differ in respect to their nature. In fact, how can they, if virtue has
only one eternal standard? I must, therefore, if I reason consequentially, as
strenuously maintain, that they have the same simple direction, as that there
is a God.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">It follows
then, that cunning should not be opposed to wisdom, little cares to great
exertions, nor insipid softness, varnished over with the name of gentleness, to
that fortitude which grand views alone can inspire.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I shall be
told, that woman would then lose many of her peculiar graces, and the opinion
of a well known poet might be quoted to refute my unqualified assertions. For
Pope has said, in the name of the whole male sex,</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"></span></span></p><blockquote><span style="font-size: large;">"Yet ne'er
so sure our passions to create,<br />
As when she touch'd the brink of all we hate."</span></blockquote><p></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"></span></span><span style="font-size: large;"><span lang="ES-TRAD">In what light
this sally places men and women, I shall leave to the judicious to determine;
meanwhile I shall content myself with observing, that I cannot discover why,
unless they are mortal, females should always be degraded by being made
subservient to love or lust.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span><span style="font-size: large;">
</span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">To speak disrespectfully
of love is, I know, high treason against sentiment and fine feelings; but I
wish to speak the simple language of truth, and rather to address the head than
the heart. To endeavour to reason love out of the world, would be to out
Quixote Cervantes, and equally offend against common sense; but an endeavour to
restrain this tumultuous passion, and to prove that it should not be allowed to
dethrone superior powers, or to usurp the sceptre which the understanding
should ever coolly wield, appears less wild.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Youth is the
season for love in both sexes; but in those days of thoughtless enjoyment,
provision should be made for the more important years of life, when reflection
takes place of sensation. But Rousseau, and most of the male writers who have
followed his steps, have warmly inculcated that the whole tendency of female
education ought to be directed to one point to render them pleasing.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Let me reason
with the supporters of this opinion, who have any knowledge of human nature, do
they imagine that marriage can eradicate the habitude of life? The woman who
has only been taught to please, will soon find that her charms are oblique
sun-beams, and that they cannot have much effect on her husband's heart when
they are seen every day, when the summer is past and gone. Will she then have
sufficient native energy to look into herself for comfort, and cultivate her
dormant faculties? or, is it not more rational to expect, that she will try to
please other men; and, in the emotions raised by the expectation of new
conquests, endeavour to forget the mortification her love or pride has
received? When the husband ceases to be a lover—and the time will inevitably
come, her desire of pleasing will then grow languid, or become a spring of
bitterness; and love, perhaps, the most evanescent of all passions, gives place
to jealousy or vanity.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I now speak of
women who are restrained by principle or prejudice; such women though they
would shrink from an intrigue with real abhorrence, yet, nevertheless, wish to
be convinced by the homage of gallantry, that they are cruelly neglected by
their husbands; or, days and weeks are spent in dreaming of the happiness
enjoyed by congenial souls, till the health is undermined and the spirits
broken by discontent. How then can the great art of pleasing be such a
necessary study? it is only useful to a mistress; the chaste wife, and serious
mother, should only consider her power to please as the polish of her virtues,
and the affection of her husband as one of the comforts that render her task
less difficult, and her life happier. But, whether she be loved or neglected,
her first wish should be to make herself respectable, and not rely for all her
happiness on a being subject to like infirmities with herself.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">The amiable Dr.
Gregory fell into a similar error. I respect his heart; but entirely disapprove
of his celebrated Legacy to his Daughters.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">He advises them
to cultivate a fondness for dress, because a fondness for dress, he asserts, is
natural to them. I am unable to comprehend what either he or Rousseau mean,
when they frequently use this indefinite term. If they told us, that in a
pre-existent state the soul was fond of dress, and brought this inclination
with it into a new body, I should listen to them with a half smile, as I often
do when I hear a rant about innate elegance. But if he only meant to say that
the exercise of the faculties will produce this fondness, I deny it. It is not
natural; but arises, like false ambition in men, from a love of power.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Dr. Gregory
goes much further; he actually recommends dissimulation, and advises an
innocent girl to give the lie to her feelings, and not dance with spirit, when
gaiety of heart would make her feet eloquent, without making her gestures
immodest. In the name of truth and common sense, why should not one woman
acknowledge that she can take more exercise than another? or, in other words,
that she has a sound constitution; and why to damp innocent vivacity, is she
darkly to be told, that men will draw conclusions which she little thinks of?
Let the libertine draw what inference he pleases; but, I hope, that no sensible
mother will restrain the natural frankness of youth, by instilling such
indecent cautions. Out of the abundance of the heart the mouth speaketh; and a
wiser than Solomon hath said, that the heart should be made clean, and not
trivial ceremonies observed, which it is not very difficult to fulfill with
scrupulous exactness when vice reigns in the heart.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Women ought to
endeavour to purify their hearts; but can they do so when their uncultivated
understandings make them entirely dependent on their senses for employment and
amusement, when no noble pursuit sets them above the little vanities of the
day, or enables them to curb the wild emotions that agitate a reed over which
every passing breeze has power? To gain the affections of a virtuous man, is
affectation necessary?</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Nature has
given woman a weaker frame than man; but, to ensure her husband's affections,
must a wife, who, by the exercise of her mind and body, whilst she was discharging
the duties of a daughter, wife, and mother, has allowed her constitution to
retain its natural strength, and her nerves a healthy tone, is she, I say, to
condescend, to use art, and feign a sickly delicacy, in order to secure her
husband's affection? Weakness may excite tenderness, and gratify the arrogant
pride of man; but the lordly caresses of a protector will not gratify a noble
mind that pants for and deserves to be respected. Fondness is a poor substitute
for friendship!</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">In a seraglio,
I grant, that all these arts are necessary; the epicure must have his palate
tickled, or he will sink into apathy; but have women so little ambition as to
be satisfied with such a condition? Can they supinely dream life away in the
lap of pleasure, or in the languor of weariness, rather than assert their claim
to pursue reasonable pleasures, and render themselves conspicuous, by
practising the virtues which dignify mankind? Surely she has not an immortal
soul who can loiter life away, merely employed to adorn her person, that she
may amuse the languid hours, and soften the cares of a fellow-creature who is
willing to be enlivened by her smiles and tricks, when the serious business of
life is over.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Besides, the
woman who strengthens her body and exercises her mind will, by managing her
family and practising various virtues, become the friend, and not the humble
dependent of her husband; and if she deserves his regard by possessing such
substantial qualities, she will not find it necessary to conceal her affection,
nor to pretend to an unnatural coldness of constitution to excite her husband's
passions. In fact, if we revert to history, we shall find that the women who
have distinguished themselves have neither been the most beautiful nor the most
gentle of their sex.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Nature, or to
speak with strict propriety God, has made all things right; but man has sought
him out many inventions to mar the work. I now allude to that part of Dr.
Gregory's treatise, where he advises a wife never to let her husband know the
extent of her sensibility or affection. Voluptuous precaution; and as
ineffectual as absurd. Love, from its very nature, must be transitory. To seek
for a secret that would render it constant, would be as wild a search as for
the philosopher's stone, or the grand panacea; and the discovery would be
equally useless, or rather pernicious to mankind. The most holy band of society
is friendship. It has been well said, by a shrewd satirist, "that rare as
true love is, true friendship is still rarer."</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">This is an
obvious truth, and the cause not lying deep, will not elude a slight glance of
inquiry.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Love, the
common passion, in which chance and sensation take place of choice and reason,
is in some degree, felt by the mass of mankind; for it is not necessary to
speak, at present, of the emotions that rise above or sink below love. This
passion, naturally increased by suspense and difficulties, draws the mind out
of its accustomed state, and exalts the affections; but the security of
marriage, allowing the fever of love to subside, a healthy temperature is
thought insipid, only by those who have not sufficient intellect to substitute
the calm tenderness of friendship, the confidence of respect, instead of blind
admiration, and the sensual emotions of fondness.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">This is, must be,
the course of nature—friendship or indifference inevitably succeeds love. And
this constitution seems perfectly to harmonize with the system of government
which prevails in the moral world. Passions are spurs to action, and open the
mind; but they sink into mere appetites, become a personal momentary
gratification, when the object is gained, and the satisfied mind rests in
enjoyment. The man who had some virtue whilst he was struggling for a crown,
often becomes a voluptuous tyrant when it graces his brow; and, when the lover
is not lost in the husband, the dotard a prey to childish caprices, and fond
jealousies, neglects the serious duties of life, and the caresses which should
excite confidence in his children are lavished on the overgrown child, his wife.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">In order to
fulfil the duties of life, and to be able to pursue with vigour the various
employments which form the moral character, a master and mistress of a family
ought not to continue to love each other with passion. I mean to say, that they
ought not to indulge those emotions which disturb the order of society, and
engross the thoughts that should be otherwise employed. The mind that has never
been engrossed by one object wants vigour—if it can long be so, it is weak.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">A mistaken
education, a narrow, uncultivated mind, and many sexual prejudices, tend to
make women more constant than men; but, for the present, I shall not touch on
this branch of the subject. I will go still further, and advance, without
dreaming of a paradox, that an unhappy marriage is often very advantageous to a
family, and that the neglected wife is, in general, the best mother. And this
would almost always be the consequence, if the female mind was more enlarged;
for, it seems to be the common dispensation of Providence, that what we gain in
present enjoyment should be deducted from the treasure of life, experience; and
that when we are gathering the flowers of the day and revelling in pleasure,
the solid fruit of toil and wisdom should not be caught at the same time. The
way lies before us, we must turn to the right or left; and he who will pass
life away in bounding from one pleasure to another, must not complain if he
neither acquires wisdom nor respectability of character.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Supposing for a
moment, that the soul is not immortal, and that man was only created for the
present scene; I think we should have reason to complain that love, infantine
fondness, ever grew insipid and palled upon the sense. Let us eat, drink, and
love, for to-morrow we die, would be in fact the language of reason, the
morality of life; and who but a fool would part with a reality for a fleeting
shadow? But, if awed by observing the improvable powers of the mind, we disdain
to confine our wishes or thoughts to such a comparatively mean field of action;
that only appears grand and important as it is connected with a boundless
prospect and sublime hopes; what necessity is there for falsehood in conduct,
and why must the sacred majesty of truth be violated to detain a deceitful good
that saps the very foundation of virtue? Why must the female mind be tainted by
coquetish arts to gratify the sensualist, and prevent love from subsiding into
friendship or compassionate tenderness, when there are not qualities on which
friendship can be built? Let the honest heart show itself, and REASON teach
passion to submit to necessity; or, let the dignified pursuit of virtue and
knowledge raise the mind above those emotions which rather imbitter than
sweeten the cup of life, when they are not restrained within due bounds.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I do not mean
to allude to the romantic passion, which is the concomitant of genius. Who can
clip its wings? But that grand passion not proportioned to the puny enjoyments
of life, is only true to the sentiment, and feeds on itself. The passions which
have been celebrated for their durability have always been unfortunate. They
have acquired strength by absence and constitutional melancholy. The fancy has
hovered round a form of beauty dimly seen—but familiarity might have turned
admiration into disgust; or, at least, into indifference, and allowed the
imagination leisure to start fresh game. With perfect propriety, according to
this view of things, does Rousseau make the mistress of his soul, Eloisa, love
St. Preux, when life was fading before her; but this is no proof of the
immortality of the passion.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Of the same
complexion is Dr. Gregory's advice respecting delicacy of sentiment, which he
advises a woman not to acquire, if she has determined to marry. This
determination, however, perfectly consistent with his former advice, he calls
INDELICATE, and earnestly persuades his daughters to conceal it, though it may
govern their conduct: as if it were indelicate to have the common appetites of
human nature.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Noble morality!
and consistent with the cautious prudence of a little soul that cannot extend
its views beyond the present minute division of existence. If all the faculties
of woman's mind are only to be cultivated as they respect her dependence on
man; if, when she obtains a husband she has arrived at her goal, and meanly
proud, is satisfied with such a paltry crown, let her grovel contentedly,
scarcely raised by her employments above the animal kingdom; but, if she is
struggling for the prize of her high calling, let her cultivate her
understanding without stopping to consider what character the husband may have
whom she is destined to marry. Let her only determine, without being too
anxious about present happiness, to acquire the qualities that ennoble a
rational being, and a rough, inelegant husband may shock her taste without
destroying her peace of mind. She will not model her soul to suit the frailties
of her companion, but to bear with them: his character may be a trial, but not
an impediment to virtue.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">If Dr. Gregory
confined his remark to romantic expectations of constant love and congenial
feelings, he should have recollected, that experience will banish what advice
can never make us cease to wish for, when the imagination is kept alive at the
expence of reason.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I own it
frequently happens, that women who have fostered a romantic unnatural delicacy
of feeling, waste their lives in IMAGINING how happy they should have been with
a husband who could love them with a fervid increasing affection every day, and
all day. But they might as well pine married as single, and would not be a jot
more unhappy with a bad husband than longing for a good one. That a proper
education; or, to speak with more precision, a well stored mind, would enable a
woman to support a single life with dignity, I grant; but that she should avoid
cultivating her taste, lest her husband should occasionally shock it, is
quitting a substance for a shadow. To say the truth, I do not know of what use
is an improved taste, if the individual be not rendered more independent of the
casualties of life; if new sources of enjoyment, only dependent on the solitary
operations of the mind, are not opened. People of taste, married or single,
without distinction, will ever be disgusted by various things that touch not
less observing minds. On this conclusion the argument must not be allowed to
hinge; but in the whole sum of enjoyment is taste to be denominated a blessing?</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">The question
is, whether it procures most pain or pleasure? The answer will decide the
propriety of Dr. Gregory's advice, and show how absurd and tyrannic it is thus
to lay down a system of slavery; or to attempt to educate moral beings by any
other rules than those deduced from pure reason, which apply to the whole
species.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Gentleness of
manners, forbearance, and long suffering, are such amiable godlike qualities,
that in sublime poetic strains the Deity has been invested with them; and,
perhaps, no representation of his goodness so strongly fastens on the human
affections as those that represent him abundant in mercy and willing to pardon.
Gentleness, considered in this point of view, bears on its front all the
characteristics of grandeur, combined with the winning graces of condescension;
but what a different aspect it assumes when it is the submissive demeanour of
dependence, the support of weakness that loves, because it wants protection;
and is forbearing, because it must silently endure injuries; smiling under the
lash at which it dare not snarl. Abject as this picture appears, it is the
portrait of an accomplished woman, according to the received opinion of female
excellence, separated by specious reasoners from human excellence. Or, they
(Vide Rousseau, and Swedenborg) kindly restore the rib, and make one moral
being of a man and woman; not forgetting to give her all the "submissive
charms."</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">How women are
to exist in that state where there is to be neither marrying nor giving in
marriage, we are not told. For though moralists have agreed, that the tenor of
life seems to prove that MAN is prepared by various circumstances for a future
state, they constantly concur in advising WOMAN only to provide for the
present. Gentleness, docility, and a spaniel-like affection are, on this
ground, consistently recommended as the cardinal virtues of the sex; and,
disregarding the arbitrary economy of nature, one writer has declared that it
is masculine for a woman to be melancholy. She was created to be the toy of
man, his rattle, and it must jingle in his ears, whenever, dismissing reason,
he chooses to be amused.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">To recommend
gentleness, indeed, on a broad basis is strictly philosophical. A frail being
should labour to be gentle. But when forbearance confounds right and wrong, it
ceases to be a virtue; and, however convenient it may be found in a companion,
that companion will ever be considered as an inferior, and only inspire a vapid
tenderness, which easily degenerates into contempt. Still, if advice could
really make a being gentle, whose natural disposition admitted not of such a
fine polish, something toward the advancement of order would be attained; but
if, as might quickly be demonstrated, only affectation be produced by this
indiscriminate counsel, which throws a stumbling block in the way of gradual
improvement, and true melioration of temper, the sex is not much benefited by
sacrificing solid virtues to the attainment of superficial graces, though for a
few years they may procure the individual's regal sway.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">As a
philosopher, I read with indignation the plausible epithets which men use to
soften their insults; and, as a moralist, I ask what is meant by such
heterogeneous associations, as fair defects, amiable weaknesses, etc.? If there
is but one criterion of morals, but one archetype for man, women appear to be
suspended by destiny, according to the vulgar tale of Mahomet's coffin; they
have neither the unerring instinct of brutes, nor are allowed to fix the eye of
reason on a perfect model. They were made to be loved, and must not aim at
respect, lest they should be hunted out of society as masculine.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">But to view the
subject in another point of view. Do passive indolent women make the best
wives? Confining our discussion to the present moment of existence, let us see
how such weak creatures perform their part? Do the women who, by the attainment
of a few superficial accomplishments, have strengthened the prevailing
prejudice, merely contribute to the happiness of their husbands? Do they
display their charms merely to amuse them? And have women, who have early
imbibed notions of passive obedience, sufficient character to manage a family
or educate children? So far from it, that, after surveying the history of
woman, I cannot help agreeing with the severest satirist, considering the sex
as the weakest as well as the most oppressed half of the species. What does
history disclose but marks of inferiority, and how few women have emancipated
themselves from the galling yoke of sovereign man? So few, that the exceptions
remind me of an ingenious conjecture respecting Newton: that he was probably a
being of a superior order, accidentally caged in a human body. In the same
style I have been led to imagine that the few extraordinary women who have
rushed in eccentrical directions out of the orbit prescribed to their sex, were
MALE spirits, confined by mistake in a female frame. But if it be not
philosophical to think of sex when the soul is mentioned, the inferiority must
depend on the organs; or the heavenly fire, which is to ferment the clay, is
not given in equal portions.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">But avoiding,
as I have hitherto done, any direct comparison of the two sexes collectively, or
frankly acknowledging the inferiority of woman, according to the present
appearance of things, I shall only insist, that men have increased that
inferiority till women are almost sunk below the standard of rational
creatures. Let their faculties have room to unfold, and their virtues to gain
strength, and then determine where the whole sex must stand in the intellectual
scale. Yet, let it be remembered, that for a small number of distinguished
women I do not ask a place.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">It is difficult
for us purblind mortals to say to what height human discoveries and
improvements may arrive, when the gloom of despotism subsides, which makes us
stumble at every step; but, when morality shall be settled on a more solid
basis, then, without being gifted with a prophetic spirit, I will venture to
predict, that woman will be either the friend or slave of man. We shall not, as
at present, doubt whether she is a moral agent, or the link which unites man
with brutes. But, should it then appear, that like the brutes they were principally
created for the use of man, he will let them patiently bite the bridle, and not
mock them with empty praise; or, should their rationality be proved, he will
not impede their improvement merely to gratify his sensual appetites. He will
not with all the graces of rhetoric, advise them to submit implicitly their
understandings to the guidance of man. He will not, when he treats of the
education of women, assert, that they ought never to have the free use of
reason, nor would he recommend cunning and dissimulation to beings who are
acquiring, in like manner as himself, the virtues of humanity.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Surely there
can be but one rule of right, if morality has an eternal foundation, and
whoever sacrifices virtue, strictly so called, to present convenience, or whose
DUTY it is to act in such a manner, lives only for the passing day, and cannot
be an accountable creature.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">The poet then
should have dropped his sneer when he says,</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"></span></span></p><blockquote><span style="font-size: large;">"If weak
women go astray,<br />
The stars are more in fault than they."</span></blockquote><p></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">For that they
are bound by the adamantine chain of destiny is most certain, if it be proved
that they are never to exercise their own reason, never to be independent,
never to rise above opinion, or to feel the dignity of a rational will that
only bows to God, and often forgets that the universe contains any being but
itself, and the model of perfection to which its ardent gaze is turned, to
adore attributes that, softened into virtues, may be imitated in kind, though
the degree overwhelms the enraptured mind.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">If, I say, for
I would not impress by declamation when reason offers her sober light, if they
are really capable of acting like rational creatures, let them not be treated
like slaves; or, like the brutes who are dependent on the reason of man, when
they associate with him; but cultivate their minds, give them the salutary,
sublime curb of principle, and let them attain conscious dignity by feeling
themselves only dependent on God. Teach them, in common with man, to submit to
necessity, instead of giving, to render them more pleasing, a sex to morals.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Further, should
experience prove that they cannot attain the same degree of strength of mind,
perseverance and fortitude, let their virtues be the same in kind, though they
may vainly struggle for the same degree; and the superiority of man will be
equally clear, if not clearer; and truth, as it is a simple principle, which
admits of no modification, would be common to both. Nay, the order of society,
as it is at present regulated, would not be inverted, for woman would then only
have the rank that reason assigned her, and arts could not be practised to
bring the balance even, much less to turn it.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">These may be
termed Utopian dreams. Thanks to that Being who impressed them on my soul, and
gave me sufficient strength of mind to dare to exert my own reason, till
becoming dependent only on him for the support of my virtue, I view with
indignation, the mistaken notions that enslave my sex.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I love man as
my fellow; but his sceptre real or usurped, extends not to me, unless the
reason of an individual demands my homage; and even then the submission is to
reason, and not to man. In fact, the conduct of an accountable being must be
regulated by the operations of its own reason; or on what foundation rests the
throne of God?</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">It appears to me
necessary to dwell on these obvious truths, because females have been insulted,
as it were; and while they have been stripped of the virtues that should clothe
humanity, they have been decked with artificial graces, that enable them to
exercise a short lived tyranny. Love, in their bosoms, taking place of every
nobler passion, their sole ambition is to be fair, to raise emotion instead of
inspiring respect; and this ignoble desire, like the servility in absolute
monarchies, destroys all strength of character. Liberty is the mother of
virtue, and if women are, by their very constitution, slaves, and not allowed
to breathe the sharp invigorating air of freedom, they must ever languish like
exotics, and be reckoned beautiful flaws in nature; let it also be remembered,
that they are the only flaw.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">As to the
argument respecting the subjection in which the sex has ever been held, it
retorts on man. The many have always been enthralled by the few; and, monsters
who have scarcely shown any discernment of human excellence, have tyrannized
over thousands of their fellow creatures. Why have men of superior endowments
submitted to such degradation? For, is it not universally acknowledged that
kings, viewed collectively, have ever been inferior, in abilities and virtue,
to the same number of men taken from the common mass of mankind—yet, have they
not, and are they not still treated with a degree of reverence, that is an
insult to reason? China is not the only country where a living man has been
made a God. MEN have submitted to superior strength, to enjoy with impunity the
pleasure of the moment—WOMEN have only done the same, and therefore till it is
proved that the courtier, who servilely resigns the birthright of a man, is not
a moral agent, it cannot be demonstrated that woman is essentially inferior to
man, because she has always been subjugated.</span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">Brutal force
has hitherto governed the world, and that the science of politics is in its
infancy, is evident from philosophers scrupling to give the knowledge most
useful to man that determinate distinction.</span></span></p><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD"> </span></span></p><span style="font-size: large;">
</span><p style="margin-bottom: .1pt; margin-left: 0cm; margin-right: 0cm; margin-top: .1pt;"><span style="font-size: large;"><span lang="ES-TRAD">I shall not
pursue this argument any further than to establish an obvious inference, that
as sound politics diffuse liberty, mankind, including woman, will become more
wise and virtuous.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal"><span style="font-size: large;"><b><span lang="ES-TRAD"> </span></b></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD">(…)</span></b></p>
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{page:WordSection1;}</style></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-3798961751004299519.post-61622526335577959542021-11-14T17:05:00.002+01:002022-04-27T18:07:27.012+02:007. SECCIÓN B (Literatura inglesa 1960-2000)<p>
<br />
<span style="font-size: large;"></span><span style="font-size: large;"><br />
</span><big><span style="font-size: large;">SECCIÓN B, unidad 7:
Literatura inglesa 1960-2000</span><br />
<br />
Algunos temas sobre autores (no precisamente secundarios) que no vemos
en clase. Recordad que la Sección B no entra para tema de redacción,
pero puede entrar para preguntas cortas y comentario.</big></p>
<p><big> </big></p>
<p style="text-align: right;"><big>Con Salman Rushdie terminamos el
tema 7, <a href="https://litinglesa.blogspot.com/2019/12/8-literatura-norteamericana-1960.html" target="_blank">y pasamos al tema 8 </a></big></p>
<p style="text-align: right;"><big>y último de la Sección B<br />
</big></p>
<p><big> </big></p>
<p><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/11/salman-rushdie-oxford-companion.html" target="_blank">SALMAN RUSHDIE </a> (1947)<br />
<br />
International
and multicultural English-language novelist, born in the Muslim
community of Bombay; studied and lived in England; international
best-selling novelist with Midnight's Children and Shame, novels
on Indian "magic realism"; often divorced and remarried; then sentenced
to death for blasphemy, in absentia, by the Iranian ayatollahs in 1988,
victim of a world-wide Muslim persecution and scandal; lived in hiding
under police protection since 1989; Austrian State Prize for European
Literature 1993; knighted 2007; Ordre des Arts et des Lettres
Françaises; critic of Islamist totalitarianism and intolerance, icon of
Western liberalism and of a global postmodernist multicultural and open
civilization.<br />
<br />
<br />
Works<br />
<br />
Rushdie, Salman. <b><i>Midnight's Children.</i> </b>Novel. 1981.
(Booker Prize for 1981; Booker of Bookers awarded 1993)<br />
_____. <i>Shame. </i>Novel. 1983. Prix du Meilleur Livre
Étranger.<br />
_____. <b><i>The Satanic Verses.</i></b> Novel. 1988. (Whitbread
Prize. Germany's Author of the Year Award 1989)<br />
_____. <i>Imaginary Homelands: Essays and Criticism 1981-1991. </i>1991.<br />
_____. <i>The Moor's Last Sigh. </i>Novel. 1995.<br />
_____. <i>Shalimar the Clown.</i> Novel. 2005.*<br />
_____. <i>Midnight's Children.</i> Screenplay.<br />
_____. <i><b>Joseph Anton: A Memoir.</b> </i> 2012. <br />
_____ <i>Two Years, Eight Months and Twenty-Eight Nights.</i> Novel. 2015. (On
Averroes and 1001 Nights).<br />
_____. <i>The Golden House.</i> Novel. New York: Random House, 2017.* (Trump
caricature).<br />
_____. <i>Quichotte: A Novel.</i> 2019.</span></p>
<p><span style="font-size: large;"> </span><br />
<span style="font-size: large;"><br />
<br />
<span>Unas notas sobre
<a href="https://litinglesa.blogspot.com/2020/11/salman-rushdie-oxford-companion.html" target="_blank">Salman
Rushdie</a>.</span>
<span><br />
</span><br />
<br />
___________________<br />
</span></p>
<p><span style="font-size: large;">NIVEL AVANZADO:</span></p>
<p><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/11/critical-notes-on-salman-rushdie-nivel.html" target="_blank">Critical notes</a> on Salman Rushdie. <br />
</span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;"><a href="https://litinglesa.blogspot.com/2020/11/salman-rushdie-nivel-avanzado.html" target="_blank">Angels and Devils:</a> Salman Rushdie's <i>The
Satanic Verses</i> (BBC).<span></span><br />
<br />
<a href="https://litinglesa.blogspot.com/2019/12/postcolonial-postmodern-english.html">Postcolonial
and Postmodern English literature</a><br />
<br />
</span></p>
<p><br />
<span style="font-size: large;"><big>Otro novelista del inglés
internacional: el anglo-japonés Kazuo Ishiguro, Premio Nobel de
literatura 2017.</big></span></p>
<p><span style="font-size: large;"><big>Novels by Kazuo Ishiguro: <br />
</big></span></p>
<p><span style="font-size: large;"><big>_____. <i>An Artist of the
Floating World.</i> (Whitbread Prize)<br />
_____. <b><i>The Remains of the Day. </i></b>1989. (Booker Prize)<br />
_____. <i>The Unconsoled.</i> 1995. (Cheltenham Prize)<br />
_____. <i>When We Were Orphans.</i> 2000.<br />
_____. <i>Never Let Me Go.</i> 2005.<br />
<br />
Video: <a href="https://litinglesa.blogspot.com/2020/11/nobel-lecture-kazuo-ishiguro-nivel.html" target="_blank">Nobel Lecture by Kazuo Ishiguro</a></big></span></p>
<p><span style="font-size: large;"><big> </big></span></p>
<p><span style="font-size: large;"><big>Otros premios Nobel de habla
inglesa de las últimas décadas:</big></span></p>
<p><span style="font-size: large;"><big> </big></span></p>
<p><span style="font-size: large;"><big><br />
1983 William Golding (UK)<br />
1986 Wole Soyinka (Nigeria)<br />
1991 Nadine Gordimer (Sudáfrica)<br />
1995 Seamus Heaney (UK)<br />
2001 V. S. Naipaul (Trinidad/UK)<br />
2003 J. M. Coetzee (South Africa)<br />
2005 Harold Pinter (UK)<br />
2007 <a href="https://litinglesa.blogspot.com/2020/12/doris-lessing-nivel-avanzado.html" target="_blank">Doris Lessing</a> (UK/Africa)<br />
2013 Alice Munro (Canada)</big></span></p><p><span style="font-size: large;"><big>2021 Abdulrazak Gurnah <br /></big></span></p>
<p><span style="font-size: large;"><big><br />
—más los estadounidenses del Tema 8.</big>
</span></p>
<p><span style="font-size: large;">_________________ <br />
</span></p><p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;"><b>TOM STOPPARD</b>
(1937)<br />
British dramatist and screenplay writer, b.
Czechoslovakia, childhood in Singapore; journalist and dramatist,
liberal anti-Communist activist.
<br />
<br />
Stoppard, Tom. <b><span style="font-style: italic;">Rosencrantz and
Guildenstern Are Dead.</span> </b>Drama. 1966.<br />
_____. <span style="font-style: italic;">The Real Inspector Hound.</span>
Drama. 1968. <br />
_____. <span style="font-style: italic;">Jumpers.</span> Drama.
Performed by the National Theatre, 1972. (Fascism).<br />
_____. <span style="font-style: italic;"><b>Travesties.</b> </span>Drama.
Prod. RSC, 1975. (Joyce, Tzara, Lenin, & Oscar Wilde's <i>The
Importance of Being Earnest).</i><br />
_____. <span style="font-style: italic;">Every Good Boy Deserves
Favour.</span> Musical play. 1977.<br />
_____ . <span style="font-style: italic;">The Real Thing.</span>
Drama. 1982.<br />
_____. <span style="font-style: italic;">Brazil. </span>Screenplay
for Terry Gilliam's film. 1985.<br />
_____. <span style="font-style: italic;">Hapgood. </span>Drama. 1988.<br />
_____. <b><span style="font-style: italic;">Arcadia.</span> </b>Drama.
1993.<br />
_____. <span style="font-style: italic;">The Invention of Love. </span>Drama.
1997. (On Housman and Wilde).<br />
_____. <span style="font-style: italic;">The Coast of Utopia.</span>
Drama. 2002. (On Russian liberal exiles).<br />
_____. <b><span style="font-style: italic;">Rock n Roll.</span></b>
Drama.
2006.<br />
_____. <span style="font-style: italic;">Darkside.</span> Radio play
based on Pink Floyd's <span style="font-style: italic;">The Dark Side
of the Moon.</span> 2013. <br />
_____. <span style="font-style: italic;"><a href="https://www.londontheatre.co.uk/reviews/the-hard-problem" target="_blank">The Hard Problem</a>. </span>
Drama. 2015.<br />
<br />
</span></p>
<p><span style="font-size: large;"> <br />
Norman, Marc, and Tom Stoppard. <span style="font-style: italic;">Shakespeare
in Love. </span>Screenplay. London: Faber, 1999.<br />
</span></p>
<p><big>A scene from <i>Shakespeare in Love:</i></big></p>
<p><br />
<br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-c8p4GKClwI" width="560"></iframe><br />
</p>
<p><big> </big></p><p><span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2020/11/tom-stoppard-norton.html" target="_blank">Some notes on Tom Stoppard. </a> </span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal">NIVEL AVANZADO: </p><p class="MsoNormal"><a href="https://litinglesa.blogspot.com/2022/04/tom-stoppard-rosencrantz-and.html" target="_blank">TOM STOPPARD'S </a><i><a href="https://litinglesa.blogspot.com/2022/04/tom-stoppard-rosencrantz-and.html" target="_blank">ROSENCRANTZ AND GUILDENSTERN ARE DEAD.</a><br /></i></p><i>
</i><p><big> </big></p>
<p><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YAPHf-HUOls" width="560"></iframe><br />
<br />
</p>
<br />
<p class="MsoNormal"><span lang="EN-US"> ______________________</span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;">NIVEL
AVANZADO:</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2020/11/tom-stoppard-darkside-nivel-avanzado.html" target="_blank">Tom Stoppard (& Pink Floyd): <i>Darkside.</i></a>
<br />
</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;"> </span><span lang="EN-US" style="font-size: large;"> </span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;">-
"Tom
Stoppard." <i>Wikipedia: The Free
Encyclopedia.*</i></span></p>
<span style="font-size: large;">
</span>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;"><span> </span></span><span lang="ES-TRAD" style="font-size: large;"><a href="http://en.wikipedia.org/wiki/Tom_Stoppard"><span lang="EN-US">http://en.wikipedia.org/wiki/Tom_Stoppard</span></a></span></p>
<span style="font-size: large;">
</span>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;"><span> </span>2015</span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size: large;"> </span></p>
<p class="MsoNormal"><span class="citationbook" style="font-size: large;"><span lang="EN-US">"<i>Travesties."
Wikipedia:
The Free Encyclopedia.*</i></span></span></p>
<span style="font-size: large;">
</span>
<p class="MsoNormal"><span class="citationbook" style="font-size: large;"><span lang="EN-US"><span>
</span></span></span><span lang="ES-TRAD" style="font-size: large;"><a href="http://en.wikipedia.org/wiki/Travesties"><span lang="EN-US">http://en.wikipedia.org/wiki/Travesties</span></a></span></p>
<span style="font-size: large;">
</span>
<p class="MsoNormal"><span class="citationbook" style="font-size: large;"><span lang="EN-US"><span>
</span>2012</span></span></p>
<span style="font-size: large;">
</span>
<p><span style="font-size: large;"> <br />
</span></p>
<br />
<p><big> Nuestra Facultad ha premiado a nuestro propio Tom
Stoppard de Aragón, el actor y dramaturgo José Luis Esteban, que también participó hace unos días en "la noche de las letras vivientes". <a href="https://litinglesa.blogspot.com/2020/11/alumno-distinguido-2020-jose-luis.html" target="_blank">Aquí puede verse su discurso sobre la literatura y su
estudio.</a><br />
</big></p>
<p><big> <br />
</big></p>
<p><br />
</p>
<p>______________________<br />
</p><p><span style="font-size: large;"> </span></p>
<p><span style="font-size: large;">HAROLD
PINTER (1930-2008)<br />
</span></p>
<p><span style="font-size: large;">British modernist dramatist, b. East
London, son of a Jewish tailor; itinerant actor, success as dramatist
of incommunication; m. Vivian Merchant 1956, successful dramatic
director, screenwriter, and actor, became modernist icon in the
Beckett/Kafka tradition of existentialist intellectual drama of
miscommunication and human impenetrability; 1 son; unhappy marriage and
adulterous affairs, affair and 2nd marriage with Lady Antonia Fraser
1975-, grand social life; exwife sunk into resentment and terminal
alcoholism, estranged from him after divorce. Pinter went from
existential to political dramatist; leftist outspoken critic of Blair
and Bush, human rights activist; Nobel Prize for Literature 2005, died
of cancer.<br />
<br />
<br />
Works<br />
<br />
Pinter, Harold. <i>The Room.</i> Drama. 1957.<br />
_____. <i>The Birthday Party. </i>Drama. 1957.<br />
_____. <b><i>The Caretaker. </i></b>Drama. 1959.<br />
_____. <i>The Collection.</i> Drama. 1960.<br />
_____. <i>A Night Out. </i> Drama. 1961.<br />
_____. <b><i>The Examination.</i> </b>Drama. 1963.<br />
_____. <i>The Lover.</i> Drama. 1963.<br />
_____. <b><i>The Homecoming.</i></b> Drama. 1964.<br />
_____. <i>The Basement.</i> TV drama. 1967.<br />
_____. <i>Landscape.</i> Drama. 1968.<br />
_____. <i>Silence.</i> Drama. 1969.<br />
_____. <b><i>Old Times.</i></b> Drama. 1971.<br />
_____.<i> No Man's Land. </i>TV drama. 1975.<br />
_____. <b><i>Betrayal.</i></b> TV drama. 1978. Feature film 1981.<br />
_____. <i>Family Voices.</i> Drama. 1981.<br />
_____. <i>One for the Road.</i> Drama. 1984.<br />
_____. <b><i>Mountain Language.</i></b> Drama. 1988.<br />
_____. <i>The French Lieutenant's Woman.</i> Screenplay based on John
Fowles' novel. 1982.<br />
_____. <i>A Kind of Alaska. </i>Drama. 1982.<br />
_____. <i>Ashes to Ashes.</i> Drama. 1996.<br />
_____. "Arte, verdad y política." (Nobel Prize speech 2005). <br />
</span></p>
<p><span style="font-size: large;"><span><br />
</span><span><br />
Algo sobre <a href="https://litinglesa.blogspot.com/2020/11/harold-pinter.html" target="_blank">Harold
Pinter</a>,
y un poquito más sobre <a href="https://litinglesa.blogspot.com/2020/11/pinter-and-stoppard-sanders.html">el
teatro desde los 60</a>, con Pinter y Stoppard. </span></span></p>
<p><span style="font-size: large;"><span> </span><br />
</span></p>
<p><span style="font-size: large;"></span></p>
<p><span style="font-size: large;">_______________________<br />
<br />
<br />
Harold Pinter (<a href="https://litinglesa.blogspot.com/2019/11/harold-pinter-nivel-avanzado-seccion-b.html">NIVEL
AVANZADO</a>)</span></p>
<p><span style="font-size: large;"><big> <br />
</big></span></p>
<p><span style="font-size: large;"><big>__________________ <br />
</big></span></p>
<p><span style="font-size: large;"><big> </big></span></p>
<p><span style="font-size: large;"><big> </big></span></p>
<p><span style="font-size: large;"><big> </big> <br />
</span></p>
<p><span style="font-size: large;">Empezamos el tema 7 (Sección
B), Literatura inglesa 1960-2000, con los poemas de Philip Larkin.</span></p>
<p><span style="font-size: large;">- <a href="https://www.poetryfoundation.org/poems/48422/aubade-56d229a6e2f07" target="_blank">Aubade (at the Poetry Foundation).</a><br />
</span></p>
<p><span style="font-size: large;">- <a href="http://www.famouspoetsandpoems.com/poets/philip_larkin/poems/14541" target="_blank">Toads Revisited (at <i>Famous Poets and Poems</i>)</a><br />
</span></p>
<p><br />
<span style="font-size: large;"><big><big><span style="font-size: medium;">Un capítulo de la <span style="font-style: italic;">Short Oxford
History of English Literature </span><a href="https://litinglesa.blogspot.com/2020/11/philip-larkin-sanders.html" target="_blank">sobre
Philip Larkin</a>.</span><br />
<br />
</big></big>___________________</span></p>
<p><span style="font-size: large;"><big><br />
</big></span></p>
<p><span style="font-size: large;">NIVEL AVANZADO:</span></p>
<p><span style="font-size: large;">- <a href="https://litinglesa.blogspot.com/2020/11/philip-larkin-toads-revisited-analysis.html" target="_blank">Philip Larkin - An Analysis of 'Toads Revisited'</a><br />
</span></p>
<p><span style="font-size: large;">- El teatro inglés de los 50 - <a href="https://litinglesa.blogspot.com/2020/01/mirando-hacia-atras-con-ira-de-john.html">Los
Angry Young Men (NIVEL AVANZADO)</a><br />
</span></p>
<p><span style="font-size: large;"><span><a href="https://litinglesa.blogspot.com/2020/10/beckett-and-osborne.html" target="_blank">- Beckett and Osborne (<i>Short Oxford History)</i><br />
</a><br />
<a href="https://litinglesa.blogspot.com/2019/12/autores-de-ciencia-ficcion-seccion-b.html">-
Autores de ciencia ficción - NIVEL AVANZADO</a></span></span></p>
<p><span style="font-size: large;"><span style="font-size: large;"> <br />
</span>
<big>_____________________<br />
</big></span></p>
<p><br />
</p>
<p style="text-align: right;">Tema 6: <a href="https://litinglesa.blogspot.com/search/label/6.%20SECCI%C3%93N%20B" target="_blank">Literatura inglesa y norteamericana 1900-1960.</a><br />
</p>
<br />
<br />JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0