In Our Time: Samuel Beckett (NIVEL AVANZADO)

The Faerie Queene (Oxford Companion) (NIVEL AVANZADO)

 

From The Oxford Companion to English Literature, ed. Margaret Drabble.

The Faerie Queene, the greatest work of *Spenser, of which the first three books were published 1590, and the second three 1596.

The general scheme of the work is proposed in the author's introductory letter addressed to *Ralegh. By the Faerie Queene the poet signifies Glory in the abstract and *Elizabeth I in particular (who also figures under the names of *Britomart, *Belphoebe, *Mercilla, and *Gloriana). Twelve of her knights, the 'patrons' or examples of 12 different virtues, each undertake an adventure, on the 12 successive days of the queen's annual festival, and an account of their origins was to have been given in the last of 12 books. Prince Arthur symbolizes 'magnificence', in the Aristotelian sense (says the author) of the perfection of all the other virtues (he must have meant not 'magnificence' but 'magnanimity', or 'gentlemanliness'). Arthur has a  vision of the Faerie Queene and, determining to seek her out, is brought into the adventures of the several knights and carries them to a successful issue. This explanation, given in the introduction,does not appear from the poem itself, for the authors starts at once with the adventures of the knights; as we have it the poem does not conform to his scheme. Of the six books Spenser published, the subjects are:

I, the adventures of the *Redcrosse Knight of Holiness (the Anglican Church), the protector of the virgin *Una (truth, or the true religion), and the wiles of *Archimago and *Duessa.

the Redcrosse Knight, in Bk I of Spenser's *Faerie Queene, St. George, the patron saint of England. He is separated from *Una (the true religion) by the wiles of *Archimago (hypocrisy) and is led away by *Duessa (the Roman Catholic religion) to the House of Pride. He drinks of an enchanted stream, loses his strength, and is made captive by the giant *Orgoglio (pride). Orgoglio is slain by Prince *Arthur, and Una leads her knight to the House of Holiness, to learn repentance and be healed. The Knight and Una are finally betrothed, after he has killed the dragon which besieged her parents' castle.

Una, in Bk. I of Spenser's *Faerie Queene, typifies singleness of the true religion. She is separated from the *Redcrosse Knight of Holiness (the Anglican Church) by the wiles of *Archimago, but meets and is protected by a lion, until the latter is killed by *Sansloy, who carries Una off to a forest. She is rescued by fauns and satyrs, and is finally united to the Redcrosse Knight.

Archimago, or Archimage, in Spenser's *Faerie Queene, is the great enchanter, symbolizing Hypocrisy, who deceives *Una by assuming the appearance of the *Redcrosse Knight (I.i). His deceits are exposed and Archimago is 'layd full low in dungeon deepe' (I.xii.36). From this he emerges in Bk II to seek vengeance on Sir *Guyon for what he has suffered at the hands of the Redcrosse Knight, and employs *Braggadochio for the purpose. 

Duessa, in Spenser's *Faerie Queene, the daughter of Deceit and Shame, Falsehood in general, in Bk I signifies in particular the Roman Catholic Church, and in V.ix, Mary Queen of Scots.

Orgoglio (Italian, signifying haughtiness), in Spenser's *Faerie Queene (I. vii, viii) captures the *Redcrosse Knight, and is slain by Prince *Arthur.

Arthur, Prince, in Spenser's *Faerie Queene. He symbolizes 'Magnificence' (Magnanimity), in the Aristotelian sense of the perfection of all the virtues. He enters into the adventures of the several knights and brings them to a fortunate conclusion. His chief adventures are the slaying of the three-bodied monster *Geryoneo and the rescue from him of Belge (the Netherland) V. x, xi); and, jointly with *Artegall, the slaying of the *soldan (Philip II) in his 'charret hye' (the Armada) (V. viii).

Sansfoy, Sansjoy, and Sansloy, three brothers in Spenser's *Faerie Queene (I. ii. 25 et seq.). Sansfoy ('faithless') is slain by the *Redcrosse Knight, who also defeats Sansjoy ('joyless') but the latter is saved from death by *Duessa. Sansloy ('lawless') carries off *Una and kills her lion (I. iii). This incident is supposed to refer to the suppression of the Protestant religion in the reign of Queen Mary.

II, the adventures of Sir *Guyon, the Knight of Temperance, his encounters with *Pyrochles and *Cymochles, his visit to the Cave of *Mammon and the House of Temperance, and his destruction of *Acrasia and her *Bower of Bliss. Canto x of this Book contains a chronicle of British rulers from *Brut to Elizabeth;

Guyon, Sir, in Spenser's *Faerie Queene, the knight of Temperance. His various exploits, the conquest of *Pyrochles, the visit to the cave of *Mammon, the capture of *Acrasia, and the destruction of her *Bower of Bliss, are related in II. v-xii.

Braggadochio, in Spenser's *Faerie Queene, the typical braggart. His adventures and final exposure and humiliation occur in II. iii; III. viii, x; IV iv, v, ix; V. iii. Cf. *Trompart.

Trompart, in Spenser's *Faerie Queene (II. iii),

wylie witted, and growne old

In cunning sleights and practick knavery.

attends *Braggadochio as his squire, and with him is finally exposed and beaten out of court.

Pyrochles, in Spenser's *Faerie Queene, symbolizes rage. He is the brother of *Cymochles, the son of 'old Acrates and Despight' (II. iv. 41). On his shield is a flaming fire, with the words 'Burnt do I burne'. He is overcome by Sir *Guyon (II. v), and tries to drown himself in a lake to quench his flames. He is rescued and healed by *Archimago (II. vi. 42-51), and finally killed by Prince *Arthur (II. viii).

Cymochles, in Spenser's *Faerie Queene (II. v, vi, and viii), 'a man of rare redoubted might', given all to lust and loose living, the husband of *Acrasia and brother of *Pyrochles. He sets out to avenge on Sir *Guyon the supposed death of his brother, but *Phaedria intervenes. He is finally slain by Prince *Arthur

Phaedria, in Spenser's *Faerie Queene (II. vi), the Lady of the Idle Lake, symbolizing immodest mirth.

Mammon, theCave of, described in Spenser's *Faerie Queene (II. vii). It is the treasure-house of the god of wealth, visited by Sir Guyon. Milton in his *Areopagitica uses the example of Spenser making Guyon visit the cave of Mammon, 'that he might see and know, and yet abstain'.

Acrasia, in Spenser's *Faerie Queene, II. xii, typifies Intemperance. She is captured and bound by Sir *Guyon, and her *Bower of Bliss destroyed.

Bower of Bliss, the, in Spenser's *Faerie Queene (II. xii), the home of *Acrasia, demolished by Sir *Guyon.

 

III, the legend of Chastity, exemplified by *Britomart and *Belphoebe;

Britomart, the heroine of Book III of Spenser's *Faerie Queene, the daughter of King Ryunce of Britain and the female knight of chastity. She has fallen in love with *Artegall, whose image she has seen in a magic mirror, and the poet recounts her adventures in her quest for him. She is the most powerful of several types of Queen Elizabeth in the poem. 

Belphoebe, in Spenser's *Faerie Queene, the chaste huntress, daughter of the nymph Chrysogone and twin sister of *Amoret; she partly symbolizes Queen Elizabeth. Belphoebe puts *Braggadochio to flight (II. iii), finds herbs to heal the wounded *Timias ('whether it divine Tobacco were, / Or Panachae, or Polygony', III. v), and rescues Amoret from *Corflambo (IV. vii).

Artegall, Sir, in Spenser's *Faerie Queene, V, the champion of Justice. *Britomart, to whom his image has been revealed by a magic mirror, is in love with him, and her quest of him ends in their union. Representing Lord Grey de Wilton, he undertakes the rescue of Irena (Ireland) from the tyrant Grantorto. Jointly with Prince *Arthur he slays the *soldan (Philip II of Spain). His name perhaps signifies 'equal to Arthur'.

Timias, in Spenser's *Faerie Queene, Prince *Arthur's squire, may represent *Ralegh. When wounded (III. v), he is healed by *Belphoebe. The incident of Timias and *Amoret, in IV vii. 35 and 36, may allude to Ralegh's relations with Elizabeth Throckmorton.

Amoret, in Spenser's *Faerie Queene, III. vi, xii and IV. vii, daughter of the nymph Chrisogone and twin sister of *Belphoebe. She is 'Of grace and beautie noble Paragone', and has been married to Sir *Scudamour, but carried off immediately after by the enchanter *Busirane and imprisoned by him until released by *Britomart. *Timias loves her, but being reproved by Belphoebe leaves her. This incident refgers to the displeasure of Queen Elizabeth at the relations of  *Ralegh with Elizabeth Throckmorton.

Busirane, in Spenser's *Faerie Queene (III. xi and xii) the 'vile Enchaunter' symbolizing unlawful love. He is struck down by *Britomart in his castle and forced to release *Amoret. On the door of one of the rooms of the castle was written:

Be bold, be bold, and every where Be bold.

But on another iron door,

Be not too bold.

 

IV, the legend of *Triamond and *Cambell, exemplifying Friendship; together with the story of *Scudamour and *Amoret.

Triamond, in Spenser's *Faerie Queene (IV. iii, iv), the Knight of Friendship. After an inconclusive fight with *Cambello  in the contest to decide which of her suitors *Canacee (Cambello's sister) is to be awarded, Triamond and Cambello swear eternal friendship. IN the tournament arranged by *Satyrane, Triamond, though wounded, returns to rescue Cambello. He marries Canacee.

Cambell, or Cambello, the name given by Spenser in The Faerie Queene, IV. iii, to *Cambalo, whose tale he borrows from 'Dan Chaucer, well of English undefyled', and completes. Cambell is brother of *Canacee, for whom there are many suitors. It is arranged that the stronges of these, three brothers, shall fight with Cambell and the lady be awarded to the victor. Two of the brothers are defeated: the contest between the third, *Triamond, and Cambell is undecided, each wounding the other.They are reconciled by Cambina, Triamond's sister; Canacee is awarded to Triamond and Cambell marries Cambina. The magic ring of Canacee in the 'Squire's Tale' reappears in the Faerie Queene, with the power of healing wounds.

Canacee, the daughter of King Cambuscan in Chaucer's 'Squire's Tale' (see CANTERBURY TALES, 11) and in Spenser's *Faerie Queene, Bk IV. 

Cambalo, one of the two sons of King Cambuscan, in Chaucer's 'Squire's Tale': see CANTERBURY TALES, 11; see also *Cambell for the continuation of his story in Spenser's *Faerie Queene.

V, the adventures of *Artegall, the Knight of Justice, in which allegorical reference is made to various historical events of the reign of Queen Elizabeth: the defeat of the Spaniards in the Netherlands, the recantation of Henry IV of France, the execution of *Mary Queen of Scots, and the administration of Ireland by Lord Grey de Wilton;

soldan (from the Arabic sultan). The soldan or souldan, in Spenser's *Faerie Queene (V. viii) represents Philip II of Spain. He is encountered by Prince *Arthur and Sir *Artegall with a bold defiance from Queen *Mercilla (Elizabeth), and the combat is undecided until the prince unveils his shield and terrifies the soldan's horses, so that they overturn his chariot and the soldan is torn 'all to rags'. The unveiling of the Shield signifies divine interposition.

Geryoneo, in Spenser's *Faerie Queene (V. x and xi), a three-bodied giant who represent's Philip II's power which controlled Spain, Portugal, and the Low Countries.

Mercilla, in Spenser's *Faerie Queene (V., viii), 'a mayden Queene of high renowne' (Queen *Elizabeth I), whose crown the *soldan seeks to subvert.

VI, the adventures of Sir *Calidore, exemplifying Courtesy. 

Calidore, Sir, the Knight of Courtesy, the hero of Bk VI of Spenser's *Faerie Queene. He pursues and chains the *Blatant Beast. One of Keats's earliest poems, the fragment 'Young Calidore is paddling o'er the lake' (1816) was inspired by him.

Blatant Beast, in Spenser's *Faerie Queene, Bk VI, a monster, the personification of the calumnious voice of the world, begotten of Envy and Detraction. Sir *Calidore pursues it, finds it despoiling monasteries and defiling the church, overcomes it, and chains it up. But finally it breaks the chain, 'So now he raungeth through the world againe.' Cf. *Questing Beast. (Glatysaunt Beast, the creature in Malory's *Morte D'Arthur which is the original of *Spenser's 'blatant beast'. The word is from an Old French term meaning 'baying', 'barking'. In Malory it is pursued by Palomydes the Saracen).

There is also a fragment on *Mutabilitie, being the sixth and seventh cantos of the legend of Constancie, which was to have formed the seventh Book. This fragment contains a charming description of the seasons and the months.

'Mutabilitie Cantos', name given to the fragmentary 'Book VII' of Spenser's *Faerie Queene: two cantos only, first published with the folio edition of The Faerie Queene in 1609. They describe the challenge of the Titaness Mutabilitie to the cosmic government of Jove. (The first canto includes the charming topographical fable of Faunus and Molanna, which reflects Spenser's affection for his Irish home.) The goddess Nautre vindicates Jove's rule, displaying its orderly beauty in a procession of Seasons and Months, asserting finally that natural things 'are not changed from their first estate / but by their change their being doe dilate'. The cantos can be seen as an epilogue to The Faerie Queene, ending with the poet's prayer. 

The work as a whole, modelled to some extent on the *Orlando furioso of Ariosto, suffers from a certain monotony, and its chief beauties lie in the particular episodes with which the allegory is varied and in descriptions, such as those of the Cave of Mammon and the temptation of Sir Guyon by the Lady of the Idle Lake, in Bk. II. The meaning of many of the allusions, which must have added to the interest of the work for contemporaries, is now lost. The poem is written in the stanza invented by Spenser (and since utilized by James *Thomson, *Keats, *Shelley, and *Byron), in which a ninth line of twelve syllables is added to eight lines of ten syllables, rhyming  a b a b b c b c c.

Edmund Spenser

—oOo—

W. H. Auden

 

(From the Oxford Companion to English Literature, ed. Margaret Drabble):

AUDEN, W[ystan] H[ugh] (1907-73), the youngest son of a doctor, brought up in Birmingham and educated at Gresham's School, Holt. He began to be taken seriously as a poet while still at Christ Church, Oxford, where he was much influenced by Anglo-Saxon and Middle English poetry, but also began to explore the means of preserving 'private spheres' (through poetry) in 'public chaos'. 

Among his contemporaries, who were to share some of his left-wing near-Marxist response to the public chaos of the 1930s were MacNeice, Day-Lewis, and Spender, with whom his name is often linked (See PYLON SCHOOL).  After Oxford, Auden lived for a time in Berlin; he returned to England in 1929 to work as a schoolteacher, but continued to visit Germany regularly, staying with his friend and future collaborator Isherwood. 

His first volume, Poems (including some previously published in a private edition, 1928) was accepted for publication by T. S. Eliot at Faber and Faber and appeared in 1930; it was well received and established him as the most talented voice of his generation. The Orators followed in 1932, and Look Stranger! in 1936. In 1932 he became associated with Rupert Doone's Group Theatre, which produced several of his plays (The Dance of Death, 1933; and, with Isherwood, The Dog Beneath the Skin, 1935); these owe something to the early plays of Brecht. (See also EXPRESSIONISM). Working from 1935 with the GPO Film Unit he became friendly with Britten, who set many of his poems to music and later used Auden's text for his opera Paul Bunyan. 

In 1935 he married Erika Mann to provide her with a British passport to escape from Nazi Germany. A visit to Iceland with MacNeice in 1935 produced their joint Letters from Iceland (1937); Journey to a War (1939, with Isherwood) records a journey to China. 

Meanwhile in 1937 he had visited Spain for two months, to support the Republicans, but his resulting poem 'Spain' (1937) is less partisan and more detached in tone than might have been expected, and in January 1939 he and Isherwood left Europe for America (he became a US citizen in 1946) where he met Chester Kallman, who became his lifelong friend and companion. 

Another Time(1940), containing many of his most famous poems (including 'September 1939' and 'Lullaby'), was followed in 1941 by The Double Man (1941), published in London asNew Year Letter), a long transitional verse epistle describing the 'baffling crime' of 'two decades of hypocrisy', rejecting political simplifications, accepting man's essential solitude, and ending with a prayer for refuge and illumination for the 'muddled heart'. 

From this time Auden's poetry became increasingly Christian in tone (to such an extent that he even altered some of his earlier work to bring it in line and disowned some of his political pieces); this was perhaps not unconnected with the death in 1941 of his devout Anglo-Catholic mother, to whom he dedicated For the Time Being: A Christmas Oratorio (1944). This was published with The Sea and the Mirror, a series of dramatic monologues inspired by The Tempest. The Age of Anxiety: A Baroque Eclogue (1948) is a long dramatic poem, reflecting man's isolation, which opens in a New York bar at night, and ends with dawn on the streets.

Auden's absence during the war led to a poor reception of his works in England at that period, but the high quality of his later work reinstated him as an unquestionably major poet; in 1956 he was elected professor of poetry at Oxford, and in 1962 he became a student (i.e. fellow) of Christ Church. 

His major later collections include Nones (1951, NY; 1952, London), The Shield of Achilles (1955), which includes 'Horae Canonicae' and 'Bucolics' and is considered by many his best single volume; and Homage to Clio (1960), which includes a high proportion of light verse. Auden had edited The Oxford Book of Light Verse in 1938, and subsequently many other anthologies, collections, etc.; his own prose criticism includes The Enchafèd Flood (1950, NY; 1951, London), The Dyer's Hand (1962, NY; 1963, London), and Secondary Worlds (1968, T. S. Eliot Memorial Lectures). He also wrote several librettos, notably for Stravinsky's The  Rake's Progress (1951, with Kallman).  

About the House (1965, NY; 1966, London), one of his last volumes of verse, contains a tender evocation of his life with Kallman at their summer house in Austria. Auden spent much of the last years of his life in London, and died suddenly in Vienna. His Collected Poems, edited by Edward Mendleson, were published in 1991. A volume of Juvenilia, edited by Katherine Bucknell, appeared in 1994.

Auden's influence on a succeeding generation of poets was incalculable, comparable only with that, a generation earlier, of Yeats, to whom Auden himself pays homage in 'In Memory of W.B. Yeats' (1939). His progress from the engaged, didactic, satiric poems of his youth to the complexity of his later work offered a wide variety of models—the urbane, the pastoral, the lyrical, the erudite, the public, and the introspective mingle with great fluency. He was a master of verse form, and accomodated traditional patterns to a fresh, easy, and contemporary language. 

A life by Humphrey Carpenter was published in 1981. See also The Auden Generation by S. Hynes (1976).

Memento Auden-Spender

—oOo—

The Metaphysical Poets and the Metaphysical Conceit

 

En literatura inglesa no se suele emplear el término "barroco" (baroque). El estilo que aquí llamaríamos barroco o exageradamente complicado y alambicado lo llaman allí "metaphysical": the metaphysical poets, los poetas metafísicos o conceptistas; el "concepto" o juego de ideas conceptista o barroco es el "metaphysical conceit":

 

 Conceit,  an elaborate metaphor comparing two apparently dissimilar objects or emotions, often with an effect of shock or surprise. The *Petrarchan conceit, much imitated by Elizabethan sonneteers and both used and parodied by Shakespeare, usually evoked the qualities of the disdainful mistress and the devoted lover, often in highly exaggerated terms; the *Metaphysical conceit, as used by *Donne and his followers, applied wit and ingenuity to, in the words of  Dr. *Johnson, 'a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike' e.g. Donne's famous comparison of two lovers to a pair of compasses.

 

Metaphysical  Poets. Poets generally grouped under the label include *Donne (who is regarded as founder of the 'school'), George *Herbert, *Crashaw, *Henry Vaughan, *Marvell and *Traherne, together with lesser figures like *Benlowes, *Herbert of Cherbury, Henry *King, Abraham *Cowley and *Cleveland. The label was first used (disparagingly) by Dr. *Johnson in his 'Life of Cowley' (written in 1777). *Dryden had complained that Donne 'affects the metaphysics', perplexing the minds of the fair sex with 'nice speculations of philosophy'. Earlier still William *Drummond censored poetic innovators who employed 'Metaphysical Ideas and Scholastical Quiddities'. The label is misleading, since none of these poets is seriously interested in metaphysics (except Herbert of Cherbury, , and even he excludes the interest from his poetry). Further, these poets have in reality little in common: the features their work is generally taken to display are sustained dialectic, paradox, novelty, incongruity, 'muscular' rhythms, giving the effect of a 'speaking voice', and the use of 'conceits', or comparisons in which tenor and vehicle can be related only by ingenious pseudo-logic.

With the new taste for clarity and the impatience with figurative language that prevailed after the *Restoration, their reputation dwindled. Their revival was delayed until after the First World War when the revaluation of metaphysical poetry, and the related downgrading of *Romanticism and *Milton, was the major feature of the rewriting of English history  in the first half of the 20th cent. Key documents in the revival were H. J. C. *Grierson's Metaphysical Lyrics and Poems of the Seventeenth Century (1921) and T. S. *Eliot's essay 'Metaphysical Poets', which first appeared as a review of Grierson's collection (TLS, 20 Oct. 1921). According to Eliot these poets had the advantage of writing at a time when thought and feeling were closely fused, before the *'dissociation of sensibility' set in about the time of Milton. Their virtues of difficulty and togh newness were felt to relate them closely to the modernists—*Pound, *Yeats, and Eliot himself.

(From The Concise Oxford Companion to English Literature)

 

Fotocopias (Lecturas)

 

Lecturas para la asignatura 30432: Introducción a la literatura inglesa
3º de Grado en Lenguas Modernas -

 José Angel García Landa

 

SECCIÓN A (hasta 1900)

 

Este  bloque de fotocopias contiene selecciones de textos de:

 

Beowulf,

- The Fight with Grendel / Celebration at Heorot (Norton, pp 35-43)

 

Sir Gawain and the Green Knight,

- Norton, pp. 114-23

 

Chaucer,

- The Canterbury Tales (The General Prologue - Norton, 170-190)

 

Spenser,

- The Faerie Queene (Introd.; I.i-xxviii)

 

Sidney,

- Astrophil and Stella (1 and 45)

 

Shakespeare,

- Sonnets (60, 77, 116)

- Richard II (4.1)

- Henry IV (2.4, 340-436, Norton 1186-87)

- Henry V (3.0, 3.1)

- Hamlet (from 2.2, 3.2)

- As You Like it (from 2.7)

- Twelfth Night (1.5, 137-266)

- Macbeth (5.1)

- The Tempest (from Act IV, from Act V)

 

Jonson,

- To the memory of … Shakespeare

 

Donne,

- The Good-Morrow

- The Canonization

- Heroicall Epistle: Sapho to Philaenis

- Sonnet XIX

 

Marvell,

- To His Coy Mistress

 

Milton,

- Methought I saw my late espoused saint

- Paradise Lost (from Book I and III, beginning; IV, Satan's soliloquy)

 

Rochester,

- The Fall

 

Dryden,

- Annus Mirabilis (On the Great Fire of London)

- Absalom and Achitophel (Beginning 1-36; Achitophel, 134-85)

 

Egerton,

- The Emulation

 

Pope,

- Essay on Man (I.iii, iv, v; II.i)

 

Defoe,

- Robinson Crusoe (1-9, pp. 214-23)

 

Swift,

- Gulliver's Travels (1.7, 173-79; 4.5, pp. 290-97)

 

Richardson,

- Pamela (letters i-xii, pp. 43-57)

 

Fielding,

- Tom Jones  (I.1-5, pp. 51-61; I.9-10, 144-49; VII.1-3, 299-305)

 

Sterne,

- Tristram Shady (I.1-7, pp. 5-11)

 

Gray,

- An Elegy Written in a Country Churchyard

 

Johnson,

- The Preface to Shakespeare (Shakespeare as a classic)

- Lives of the Poets (Life of Cowley)

 

Blake,

- The Clod and the Pebble

- London

- Auguries of Innocence

 

Wollstonecraft,

- A Vindication of the Rights of Woman (Norton, pp. 166-85)

 

Austen, 

- Mansfield Park, I-IV

 

Scott,

- Woodstock, II

 

Wordsworth,

- The Solitary Reaper

- Expostulation and Reply

- The Prelude (from X, XI)                                                    

- The World Is Too Much with Us

- Steamboats, Viaducts, and Railways

- A Slumber Did My Spirit Seal

- Intimations of Immortality (I, II, V, IX, X, XI)

 

Keats,

- Ode on a Grecian Urn

 

Byron,

- Darkness

 

Mary Shelley,

- Frankenstein (IV, V)

 

Dickens,

- Great Expectations (I-IV)

 

George Eliot,

- Middlemarch (Prelude, I.1, I.2)

 

Tennyson,

- In Memoriam AHH  (5, 7, 22, 24, 71, 130,

- Song from The Princess

 

Hopkins,

- No worst, there is none

 

Wilde,

- The Decay of Lying

 

Wells,

- The Time Machine (I, XI, XII)

 

Irving,

- Rip Van Winkle

 

Cooper,

- The Last of the Mohicans (33)

 

Poe,

- Dreamland

- The Fall of the House of Usher

 

Emerson,

- The Poet

 

Thoreau,

 - Walden (Solitude)

 

Hawthorne,

- The Scarlet Letter (I, II, III)

 

Melville 

- Moby Dick (1, 59, 61, 64, 79)

 

Dickinson,

- A light exists in spring

- Because I could not stop for Death

 

Whitman,

- O Captain! My Captain!

- Whoever You Are Holding Me Now in Hand

- Years of the Modern       

 

Mark Twain,

- Huckleberry Finn (X, XI)

 

Stephen Crane,                  

- The Red Badge of Courage (4, 5, 11)

- The Black Riders (I Stood upon a high Ppace; In the desert; A man saw a ball of gold)

 

Henry James.

- The Middle Years

 

Los textos completos pueden encontrarse en Project Gutenberg

http://www.gutenberg.org/

 

Lecturas para la asignatura 30432: Introducción a la literatura inglesa
3º de Grado en Lenguas Modernas -

José Angel García Landa

 

 

SECCIÓN B (desde 1900)

 

 

Este  bloque de fotocopias contiene selecciones de textos de:

 

Yeats,

- An Irish Airman foresees his death

- Easter 1916

 

Joyce,

- Ulysses (Bloom's first chapter, p. 53-55;  Molly Bloom's monologue, p. 647-649)

 

Frost,

- The Road Not Taken

- An Old Man's Winter Night

 

T. S. Eliot,

- The Waste Land, lines 1-122

 

Woolf,

- A Room of One's Own (ch. 6, p.1976-81)

 

Hemingway,

- Hills Like White Elephants

 

Cummings,

- so many selves

 

Auden,

- Spain 1937

 

Faulkner,

- A Rose for Emily

 

Beckett,

- Krapp's Last Tape

 

Nabokov,

- Signs and Symbols

 

Larkin,

- Aubade

- Toads Revisited

 

Pinter,

- Night

 

Stoppard,

- Rosencrantz and Guildenstern Are Dead (Act 2)

 

Rushdie,

- The Satanic Verses (The Angel Azrael I, 397-419)

Barth,

Life-Story

 

Sexton,

- The Abortion

- Cripples and Other Stories

 

Oates,

- Secret Observations on the Goat-Girl

 

Roth,

- The Human Stain (1, Everyone Knows, 1-75)

 

Morrison,

- Beloved (ch. 3, 239-75)

 

—y una reseña sobre DeLillo. (Toby Litt, The Guardian)

 

 

 

 

Introducción a la Literatura Inglesa

 

 

—oOo—

Macbeth (NIVEL AVANZADO)

Nuestra selección: 1.36.50

Shakespeare (NIVEL AVANZADO)

SECCIÓN A, NIVEL AVANZADO:

- Unas notas sobre Shakespeare del Oxford Companion.

-  William Shakespeare (audio de la BBC, In Our Time).

- Una introducción a la literatura de la época isabelina:
Lee, Sidney. "The Elizabethan Age of English Literature." In Cambridge Modern History. Online: http://www.uni-mannheim.de/mateo/camenaref/cmh/cmh311.html
 

- UNA EXCELENTE SERIE DE LA BBC SOBRE SHAKESPEARE: IN SEARCH OF SHAKESPEARE: https://www.dailymotion.com/video/x5nu0oj  

- Uno de los sonetos que comentamos se puede examinar más despacio aquí: Soneto, espejo, reloj, bloc y libro.
 
-  "La reforma protestante y la cultura inglesa (1550-1800)." Conferencia de Tim Blanning, en inglés y español, en la Fundación Juan March.
    http://www.march.es/conferencias/anteriores/voz.aspx?id=2893&l=1


- Quizá la mejor versión fílmica de Macbeth de Shakespeare sea la de Roman Polanski, si la podéis localizar. 

- Una versión teatral reciente:


 

 (Nuestra selección: min. 1.36.52)

Y en YouTube también podéis encontrar la versión de TVE (Estudio 1) en español.

(1.17.25)

Una versión cinematográfica de La Tempestad (The Tempest, dir. Julie Taymor).

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A quien le interese el tema shakespeareano de la teatralidad de la vida, o el mundo como teatro, puede seguir un blog que llevo sobre la cuestión, El Gran Teatro del Mundo: https://thishugestage.blogspot.com/

Aquí unas notas sobre un sociólogo, Erving Goffman, que comparte esta visión dramatística de la vida social: The Dramaturgic Analogy.

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