TEXTE LITERARE,

TEXTE LITERARE,
CONTEXTE
CONTEXTE
CULTURALE
CULTURALE

I
I
PREDAREA LOR
PREDAREA LOR
A.OBIECTIVE
A.OBIECTIVE


Candida
Candida

ii vor dovedi capacitatea de :

ii vor dovedi capacitatea de :


a
a

n
n

elege
elege

i analiza un text literar la prima vedere prin utilizarea

i analiza un text literar la prima vedere prin utilizarea
corect a termenilor
corect a termenilor

i conceptelor, no
i conceptelor, no

iunilor de teorie
iunilor de teorie

i critic
i critic
literar prin care un text se plaseaz
literar prin care un text se plaseaz

n context istoric
n context istoric

i cultural;
i cultural;


a con
a con

tientiza
tientiza

i transmite atitudini culturale (cultural awareness)

i transmite atitudini culturale (cultural awareness)
;
;


a adecva predarea termenilor
a adecva predarea termenilor

i a conceptelor de teorie
i a conceptelor de teorie

i critic
i critic
literar la diverse tipuri de clase
literar la diverse tipuri de clase
;
;


a selecta texte literare
a selecta texte literare

n predarea limbii engleze ca limb strin

n predarea limbii engleze ca limb strin
;
;


a aborda temele generale de mai jos cu referire la operele inclu
a aborda temele generale de mai jos cu referire la operele inclu
se
se

n bibliografie
n bibliografie
.
.
B.TEME GENERALE
B.TEME GENERALE

Power, identity, love in Shakespeare
Power, identity, love in Shakespeare

s plays
s plays
and sonnets
and sonnets

Enlightenment ideas reflected in the English
Enlightenment ideas reflected in the English
novel
novel

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

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

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

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


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

or or Emma Emma


Bronte, Emily: Bronte, Emily: Wuthering Heights Wuthering Heights


Carroll, Lewis: Carroll, Lewis: Alice Alice s Adventures in Wonderland s Adventures in Wonderland


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

sau sau

Lord Jim Lord Jim


Defoe, Daniel: Defoe, Daniel: Robinson Crusoe Robinson Crusoe


Dickens, Charles: Dickens, Charles: Great Expectations Great Expectations

sau sau

Oliver Twist Oliver Twist


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

sau sau

A Room With a View A Room With a View


Fowles Fowles, John: , John: The French Lieutenant The French Lieutenant s Woman s Woman

sau sau

The Magus The Magus


Golding Golding, William: , William: Lord of the Flies Lord of the Flies


Hardy, Thomas: Hardy, Thomas: Tess Tess

of the D of the D Urbervilles Urbervilles

sau sau

Jude the Obscure Jude the Obscure


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

sau sau

The Ambassadors The Ambassadors


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

as a Young Man as a Young Man

sau sau

Dubliners Dubliners


Shakespeare, William Shakespeare, William: Sonnets : Sonnets XVIII XVIII, CXXX; Romeo and Juliet, Julius Caesar, , CXXX; Romeo and Juliet, Julius Caesar, Hamlet Hamlet, , A A
Midsummer Night Midsummer Night s Dream s Dream. .


Swift, Jonathan: Swift, Jonathan: Gulliver Gulliver s Travels s Travels


Woolf Woolf, Virginia: , Virginia: Mrs. Dalloway Mrs. Dalloway

sau sau

To the Lighthouse To the Lighthouse
Literatura american
Literatura american


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

sau
sau

The Sound and The Fury
The Sound and The Fury


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


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


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

The Short Happy Life
The Short Happy Life
of Francis
of Francis
Macomber
Macomber


Melville, Herman.
Melville, Herman.
Moby Dick
Moby Dick


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

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


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


Twain, Mark.
Twain, Mark.
Huckleberry Finn
Huckleberry Finn


Vonnegut, Kurt.
Vonnegut, Kurt.
Slaughterhouse 5
Slaughterhouse 5
Oral Exam
Oral Exam

William
William
Falkner
Falkner

s
s

Absalom, Absalom
Absalom, Absalom

: from
: from
literary text to cultural context.
literary text to cultural context.
Written Exam
Written Exam

Consider the following text:
Consider the following text:

Contextualize it from a historical and cultural point
Contextualize it from a historical and cultural point
of view, and discuss its relevance with reference to
of view, and discuss its relevance with reference to
its author
its author

s literary canon (2 paragraphs).

s literary canon (2 paragraphs).


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


Analyse
Analyse

the text with the above in view (3
the text with the above in view (3
paragraphs).
paragraphs).
Power, identity, love in Shakespeare
Power, identity, love in Shakespeare

s
s
sonnets and plays
sonnets and plays

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

Shakespeare
Shakespeare

s comic worlds: rhetoric and

s comic worlds: rhetoric and
personation
personation

in
in

Shakespeare
Shakespeare

s tragic hero: infringement and

s tragic hero: infringement and
identity in
identity in

Sonnet XVIII
Sonnet XVIII


Shall I compare thee to a summer's day?
Shall I compare thee to a summer's day?

Thou art more lovely and more temperate:
Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,
Rough winds do shake the darling buds of May,

And summer's lease hath all too short a date;
And summer's lease hath all too short a date;

Sometime too hot the eye of heaven shines,
Sometime too hot the eye of heaven shines,

And often is his gold complexion dimmed;
And often is his gold complexion dimmed;

And every fair from fair sometime declines,
And every fair from fair sometime declines,

By chance or nature's changing course untrimmed:
By chance or nature's changing course untrimmed:

But thy eternal summer shall not fade,
But thy eternal summer shall not fade,

Nor lose possession of that fair thou
Nor lose possession of that fair thou
ow'st
ow'st
,
,

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

in his shade,
in his shade,

When in eternal lines to time thou
When in eternal lines to time thou
grow'st
grow'st
.
.

So long as men can
So long as men can
breathe or eyes can see,
breathe or eyes can see,

So long lives this, and this gives life to thee.
So long lives this, and this gives life to thee.
A Midsummer Night
A Midsummer Night

s Dream, Act
s Dream, Act
V, Scene One
V, Scene One
PUCK: PUCK:
If we shadows have offended, If we shadows have offended,

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

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

here here

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

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

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

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

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

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

If we have unearned luck If we have unearned luck

Now to ' Now to 'scape scape

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

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

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

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

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

And Robin shall restore amends. And Robin shall restore amends.
Hamlet, Act III, Scene One
Hamlet, Act III, Scene One
HAMLET HAMLET

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

With a bare bodkin? who would With a bare bodkin? who would fardels fardels

bear, bear,

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

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

The The undiscover'd undiscover'd

country from whose bourn country from whose bourn

No No traveller traveller

returns, puzzles the will returns, puzzles the will

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

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

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

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

Is Is sicklied sicklied

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

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

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

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

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

Be all my sins Be all my sins remember'd remember'd. .
Enlightenment ideas reflected in the English
Enlightenment ideas reflected in the English
novel
novel

Swift, Jonathan:
Swift, Jonathan:
Gulliver
Gulliver

s Travels
s Travels

Defoe, Daniel:
Defoe, Daniel:
Robinson Crusoe
Robinson Crusoe

Austen, Jane:
Austen, Jane:
Pride and Prejudice
Pride and Prejudice
Neoclassicism
Neoclassicism


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


It dominated French literature during the 17
It dominated French literature during the 17
th th

and 18
and 18
th th

centuries.
centuries.


It had a significant influence in England from the Restoration u
It had a significant influence in England from the Restoration u
ntil
ntil
1798.
1798.


Characteristics:
Characteristics:


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


A sense of literature as art (i.e. A sense of literature as art (i.e. artificed artificed), hence the value put on ), hence the value put on rules rules , ,
conventions conventions , , decorum decorum , the properties of received genres; , the properties of received genres;


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


A concern for A concern for nature nature , i.e. the way things are and should be; , i.e. the way things are and should be;


A concern with pride (standing for individual self A concern with pride (standing for individual self- -assertion against the assertion against the
status quo). status quo).
Jonathan Swift (1667
Jonathan Swift (1667

1745)
1745)


Born in Ireland, of Anglo
Born in Ireland, of Anglo
-
-
Irish
Irish
parents
parents


Writings:
Writings:


satire satires s


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


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


Gulliver Gulliver s Travels (1726) s Travels (1726)


essays essays


Pamphlet Pamphlets s


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


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


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


poems poems


Characteristic style:
Characteristic style:


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


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


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


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

ad ad
absurdum absurdum

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


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

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

s Travels
s Travels


Both a Both a satire satire

on human nature and a on human nature and a parody parody

of the " of the "travellers travellers' tales" literary ' tales" literary
sub sub- -genre. genre.


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


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


Part II: A Voyage to Part II: A Voyage to Brobdingnag Brobdingnag


Part III: A Voyage to Part III: A Voyage to Laputa Laputa, , Balnibarbi Balnibarbi, , Glubbdubdrib Glubbdubdrib, , Luggnagg Luggnagg

and Japan and Japan


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


Themes: Themes:


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


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


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


Construction: Construction:


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


Gulliver's view between parts contrasts with its other coincidin Gulliver's view between parts contrasts with its other coinciding part. g part.
Part 2, Chapter 7
Part 2, Chapter 7
In hopes to ingratiate my self farther into his Majesty's In hopes to ingratiate my self farther into his Majesty's Favour Favour, I told him of an Invention discovered , I told him of an Invention discovered
between three and four hundred Years ago, to make a certain Powd between three and four hundred Years ago, to make a certain Powder, into a Heap of which the smallest Spark er, into a Heap of which the smallest Spark
of Fire falling, would kindle the whole in a Moment, although it of Fire falling, would kindle the whole in a Moment, although it

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

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

and Protection. and Protection.
The King was struck with Horror at the Description I had given o The King was struck with Horror at the Description I had given of those terrible Engines, and the f those terrible Engines, and the
Proposal I had made. He was amazed how so impotent and Proposal I had made. He was amazed how so impotent and grovelling grovelling

an Insect as I (these were his an Insect as I (these were his
Expressions) could entertain such inhuman Ideas, and in so Famil Expressions) could entertain such inhuman Ideas, and in so Familiar a Manner as to appear wholly unmoved at iar a Manner as to appear wholly unmoved at
all the Scenes of Blood and Desolation, which I had painted as t all the Scenes of Blood and Desolation, which I had painted as the common Effects of those destructive he common Effects of those destructive
Machines, whereof he said some evil Genius, Enemy to Mankind, mu Machines, whereof he said some evil Genius, Enemy to Mankind, must have been the first Contriver. As for st have been the first Contriver. As for
himself, he protested that although few Things delighted him so himself, he protested that although few Things delighted him so much as new Discoveries in Art or in Nature, much as new Discoveries in Art or in Nature,
yet he would rather lose half his Kingdom than be privy to such yet he would rather lose half his Kingdom than be privy to such a Secret, which he commanded me, as I valued a Secret, which he commanded me, as I valued
my Life, never to mention any more. my Life, never to mention any more.
Daniel Defoe
Daniel Defoe
(1660
(1660
-
-
1731)
1731)
Sometimes called the founder of the modern English novel, Defoe Sometimes called the founder of the modern English novel, Defoe established: established:


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


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


a middle class viewpoint a middle class viewpoint


Characteristics: Characteristics:


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


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


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


Defoe Defoe s self s self

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


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

their external their external
condition. condition.


His fictional autobiographies anticipate semi His fictional autobiographies anticipate semi

autobiographical novels such as autobiographical novels such as
Jane Eyre Jane Eyre . .
Robinson Crusoe
Robinson Crusoe


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


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


Interpretations: Interpretations:


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

colonist colonist the manly the manly
independence, the unconscious cruelty, the persistence, the slow independence, the unconscious cruelty, the persistence, the slow

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


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

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


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


Puritan Puritan

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


Protestant work ethic Protestant work ethic: :

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

over capital. Defoe's point is that money has over capital. Defoe's point is that money has
no intrinsic value and is only valuable insofar as it can be use no intrinsic value and is only valuable insofar as it can be used in trade. d in trade.
CHAPTER IV
CHAPTER IV
WHEN I waked it was broad day, the weather clear, WHEN I waked it was broad day, the weather clear,
and the storm abated, so that the sea did not rage and swell and the storm abated, so that the sea did not rage and swell
as before. But that which surprised me most was, that the as before. But that which surprised me most was, that the
ship was lifted off in the night from the sand where she lay ship was lifted off in the night from the sand where she lay
by the swelling of the tide, and was driven up almost as far by the swelling of the tide, and was driven up almost as far
as the rock which I at first mentioned, where I had been as the rock which I at first mentioned, where I had been
so bruised by the wave dashing me against it. This being so bruised by the wave dashing me against it. This being
within about a mile from the shore where I was, and the within about a mile from the shore where I was, and the
ship seeming to stand upright still, I wished myself on ship seeming to stand upright still, I wished myself on
board, that at least I might save some necessary things for board, that at least I might save some necessary things for
my use. my use.
When I came down from my apartment in the tree, I When I came down from my apartment in the tree, I
looked about me again, and the first thing I found was the looked about me again, and the first thing I found was the
boat, which lay, as the wind and the sea had tossed her up, boat, which lay, as the wind and the sea had tossed her up,
upon the land, about two miles on my right hand. I upon the land, about two miles on my right hand. I
walked as far as I could upon the shore to have got to her; walked as far as I could upon the shore to have got to her;
but found a neck or inlet of water between me and the but found a neck or inlet of water between me and the
boat which was about half a mile broad; so I came back boat which was about half a mile broad; so I came back
for the present, being more intent upon getting at the for the present, being more intent upon getting at the
ship, where I hoped to find something for my present ship, where I hoped to find something for my present
subsistence. subsistence.
A little after noon I found the sea very calm, and the A little after noon I found the sea very calm, and the
tide ebbed so far out that I could come within a quarter of tide ebbed so far out that I could come within a quarter of
a mile of the ship. And here I found a fresh renewing of a mile of the ship. And here I found a fresh renewing of
my grief; for I saw evidently that if we had kept on board my grief; for I saw evidently that if we had kept on board
we had been all safe we had been all safe - -

that is to say, we had all got safe on that is to say, we had all got safe on
shore, and I had not been so miserable as to be left entirety shore, and I had not been so miserable as to be left entirety
destitute of all comfort and company as I now was. This destitute of all comfort and company as I now was. This
forced tears to my eyes again; but as there was little relief forced tears to my eyes again; but as there was little relief
in that, I resolved, if possible, to get to the ship; so I pulle in that, I resolved, if possible, to get to the ship; so I pulled d
off my clothes off my clothes - -

for the weather was hot to extremity for the weather was hot to extremity - -
and took the water. But when I came to the ship my and took the water. But when I came to the ship my
difficulty was still greater to know how to get on board; difficulty was still greater to know how to get on board;
for, as she lay aground, and high out of the water, there for, as she lay aground, and high out of the water, there
was nothing within my reach to lay hold of. I swam round was nothing within my reach to lay hold of. I swam round
her twice, and the second time I spied a small piece of her twice, and the second time I spied a small piece of
rope, which I wondered I did not see at first, hung down rope, which I wondered I did not see at first, hung down
by the fore by the fore- -chains so low, as that with great difficulty I got chains so low, as that with great difficulty I got
hold of it, and by the help of that rope I got up into the hold of it, and by the help of that rope I got up into the
forecastle of the ship. Here I found that the ship was forecastle of the ship. Here I found that the ship was
bulged, and had a great deal of water in her hold, but that bulged, and had a great deal of water in her hold, but that
she lay so on the side of a bank of hard sand, or, rather she lay so on the side of a bank of hard sand, or, rather
earth, that her stern lay lifted up upon the bank, and her earth, that her stern lay lifted up upon the bank, and her
head low, almost to the water. By this means all her head low, almost to the water. By this means all her
quarter was free, and all that was in that part was dry; for quarter was free, and all that was in that part was dry; for
you may be sure my first work was to search, and to see you may be sure my first work was to search, and to see
what was spoiled and what was free. And, first, I found what was spoiled and what was free. And, first, I found
that all the ship that all the ship s provisions were dry and untouched by s provisions were dry and untouched by
the water, and being very well disposed to eat, I went to the water, and being very well disposed to eat, I went to
the bread room and filled my pockets with biscuit, and ate the bread room and filled my pockets with biscuit, and ate
it as I went about other things, for I had no time to lose. I it as I went about other things, for I had no time to lose. I
also found some rum in the great cabin, of which I took a also found some rum in the great cabin, of which I took a
large dram, and which I had, indeed, need enough of to large dram, and which I had, indeed, need enough of to
spirit me for what was before me. Now I wanted nothing spirit me for what was before me. Now I wanted nothing
but a boat to furnish myself with many things which I but a boat to furnish myself with many things which I
foresaw would be very necessary to me. foresaw would be very necessary to me.
Jane Austen (1775
Jane Austen (1775
-
-
1817)
1817)


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


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


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


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


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


Characteristics: Characteristics:


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


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

and conduct. and conduct.


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


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

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


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

a social obligation. a social obligation.


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

Bronte, Emily:
Bronte, Emily:
Wuthering Heights
Wuthering Heights

Dickens, Charles:
Dickens, Charles:
Great Expectations
Great Expectations

Hardy, Thomas:
Hardy, Thomas:
Tess
Tess

of the D
of the D

Urbervilles
Urbervilles
Victorian Age
Victorian Age


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


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


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


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

like the like the Webbs Webbs

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


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


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


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


leading literary form leading literary form


publication of novels publication of novels


in in instalments instalments

( (serialisation serialisation): part ): part- -issue issue


serial publication in weekly newspapers serial publication in weekly newspapers


advantages: advantages:


keeping contact with the readers keeping contact with the readers

testing their opinion testing their opinion


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

to buy the next to buy the next instalment instalment


disadvantages: disadvantages:


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


Inconsistencies Inconsistencies


chronological presentation chronological presentation


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


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


narrative technique: narrative technique:


3rd person narration 3rd person narration

omniscient author omniscient author

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

in Shirley, in Shirley,
George Eliot George Eliot


1st person narration 1st person narration

autobiography autobiography

more subjective (Ch. more subjective (Ch. Bront Bront

in Jane Eyre) in Jane Eyre)


using narrators (E. using narrators (E. Bront Bront

in Wuthering Heights) in Wuthering Heights)


generations of writers generations of writers


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

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

popular at the time popular at the time


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

less popular during the age less popular during the age


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


Emily Bronte Emily Bronte


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


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

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


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


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


Heathcliff Heathcliff: :


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

genius of evil, genius of evil,


rules and manipulates rules and manipulates
everybody everybody

obsession obsession
for revenge for revenge


mythic dimensions mythic dimensions

principle of evil and principle of evil and
destruction destruction


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

dwelling. 'Wuthering' being a significant provincial dwelling. 'Wuthering' being a significant provincial
adjective, descriptive of the atmospheric tumult to which its st adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, ation is exposed in stormy weather. Pure,
bracing ventilation they must have up there at all times, indeed bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind : one may guess the power of the north wind
blowing over the edge, by the excessive slant of a few stunted f blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of irs at the end of the house; and by a range of
gaunt thorns all stretching their limbs one way, as if craving a gaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had lms of the sun. Happily, the architect had
foresight to build it strong: the narrow windows are deeply set foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with in the wall, and the corners defended with
large jutting stones. large jutting stones.
Before passing the threshold, I paused to admire a quantity of g Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and rotesque carving lavished over the front, and
especially about the principal door; above which, among a wilder especially about the principal door; above which, among a wilderness of crumbling griffins and shameless ness of crumbling griffins and shameless
little boys, I detected the date '1500,' and the name ' little boys, I detected the date '1500,' and the name 'Hareton Hareton

Earnshaw Earnshaw.' I would have made a few .' I would have made a few
comments, and requested a short history of the place from the su comments, and requested a short history of the place from the surly owner; but his attitude at the door rly owner; but his attitude at the door
appeared to demand my speedy entrance, or complete departure, an appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his d I had no desire to aggravate his
impatience previous to inspecting the impatience previous to inspecting the penetralium penetralium. .
One stop brought us into the family sitting One stop brought us into the family sitting- -room, without any introductory lobby or passage: they call it room, without any introductory lobby or passage: they call it
here 'the house' pre here 'the house' pre- -

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

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

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


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

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

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

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

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

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

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

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


Dickens Dickens


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


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


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


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


he is satirical he is satirical

satire satire
associated with caricature associated with caricature


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


Dickens Dickens s criticism is s criticism is
commonly directed against commonly directed against
institutions and not institutions and not
individuals. individuals.


Great Expectations Great Expectations

(1860 (1860- -1861) 1861)


based on his own based on his own
autobiographical experience autobiographical experience


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

"O no "O no - -

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

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

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

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

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

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

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

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

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

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

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

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

I cried out: I cried out:

"Estella!" "Estella!"


Hardy Hardy


he believed that modern he believed that modern
civilisation civilisation

corrupts and crushes corrupts and crushes
the individual the individual

man man s destiny is s destiny is
tragic tragic


he developed a philosophy of he developed a philosophy of
pessimism pessimism


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


of nature of nature


of hostile chance of hostile chance


of personal errors of personal errors


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


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


The city of The city of Wintoncester Wintoncester, that fine old city, aforetime capital of , that fine old city, aforetime capital of Wessex Wessex, lay amidst its convex and concave , lay amidst its convex and concave downlands downlands

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

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

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

One of the pair was Angel Clare, the other a tall budding creatu One of the pair was Angel Clare, the other a tall budding creature re-- --half girl, half woman half girl, half woman-- --a spiritualized image of a spiritualized image of
Tess Tess, slighter than she, but with the same beautiful eyes , slighter than she, but with the same beautiful eyes-- --Clare's sister Clare's sister- -in in- -law, ' law, 'Liza Liza- -Lu. Their pale faces seemed to Lu. Their pale faces seemed to
have shrunk to half their natural size. They moved on hand in ha have shrunk to half their natural size. They moved on hand in hand, and never spoke a word, the drooping of their nd, and never spoke a word, the drooping of their
heads being that of heads being that of Giotto's Giotto's

"Two Apostles". "Two Apostles".

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

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

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

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

The prospect from this summit was almost unlimited. In the valle The prospect from this summit was almost unlimited. In the valley beneath lay the city they had just left, its more y beneath lay the city they had just left, its more
prominent buildings showing as in an isometric drawing prominent buildings showing as in an isometric drawing-- --among them the broad cathedral tower, with its Norman among them the broad cathedral tower, with its Norman
windows and immense length of aisle and nave, the spires of St T windows and immense length of aisle and nave, the spires of St Thomas's, the pinnacled tower of the College, and, homas's, the pinnacled tower of the College, and,
more to the right, the tower and gables of the ancient hospice, more to the right, the tower and gables of the ancient hospice, where to this day the pilgrim may receive his dole of where to this day the pilgrim may receive his dole of
bread and ale. Behind the city swept the rotund upland of St Cat bread and ale. Behind the city swept the rotund upland of St Catherine's Hill; further off, landscape beyond herine's Hill; further off, landscape beyond
landscape, till the horizon was lost in the radiance of the sun landscape, till the horizon was lost in the radiance of the sun hanging above it. hanging above it.

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

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

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

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

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

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

knights and dames slept on in their tombs unknowing. The two sp knights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves eechless gazers bent themselves
down to the earth, as if in prayer, and remained thus a long tim down to the earth, as if in prayer, and remained thus a long time, absolutely motionless: the flag continued to wave e, absolutely motionless: the flag continued to wave
silently. As soon as they had strength they arose, joined hands silently. As soon as they had strength they arose, joined hands again, and went on. again, and went on.
Approaches to narrative and character in British and American li Approaches to narrative and character in British and American literature terature - -

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


Romantic: Romantic:


Bronte, Emily: Bronte, Emily: Wuthering Heights Wuthering Heights


Melville, Herman. Melville, Herman. Moby Dick Moby Dick


Edgar, Alan Poe, Edgar, Alan Poe,

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


Nathaniel Hawthorne, Nathaniel Hawthorne, The The
Scarlet Letter Scarlet Letter


Realist: Realist:


Daniel Defoe, Daniel Defoe, Robinson Crusoe Robinson Crusoe


Jane Austen, Jane Austen, Pride and Prejudice Pride and Prejudice


Charles Dickens, Charles Dickens, Great Expectations Great Expectations


Twain, Mark. Twain, Mark. Huckleberry Finn Huckleberry Finn
_____________________________ _____________________________
* See the information and the text * See the information and the text
selection in Michaela Praisler, selection in Michaela Praisler, On On
Modernism, Postmodernism and the Novel Modernism, Postmodernism and the Novel
(EDP, 2005). (EDP, 2005).


Modernist: Modernist:


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


Woolf Woolf, Virginia: , Virginia: Mrs. Dalloway* Mrs. Dalloway*

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


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


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


Postmodernist: Postmodernist:


Golding Golding, William: , William: Lord of the Flies Lord of the Flies


Fowles Fowles, John: , John: The French Lieutenant The French Lieutenant s s
Woman* Woman*
Romaticism
Romaticism


Romanticism
Romanticism

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


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


One strain of the Romantic is the
One strain of the Romantic is the
Gothic
Gothic

with its
with its
emphasis on tales of horror and the supernatural.
emphasis on tales of horror and the supernatural.
Romantic elements in
Romantic elements in
Wuthering Heights
Wuthering Heights
(
(
Robert
Robert
Kiely
Kiely
, The Romantic Novel in England)
, The Romantic Novel in England)


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

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


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

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

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


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

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

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


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


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

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


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

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

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

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

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

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

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

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

The Scarlet Letter

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

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

a microcosm of mid-

nineteenth century society; Ahabs hunt is symbolically a rage against God.

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

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

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


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


The work of realist art tends to eschew the elevated subject mat The work of realist art tends to eschew the elevated subject matter of tragedy in ter of tragedy in favour favour

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


Realism and the novel Realism and the novel: :


George George Levine Levine: : a a selfconscious selfconscious

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


Ian Ian Watt Watt: realism portrays : realism portrays all the varieties of human experience all the varieties of human experience

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

. .


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

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

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


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

century.
century.


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

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


Literary tactics and devices:
Literary tactics and devices:


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


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


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


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


The term
The term
postmodernism
postmodernism

implies a movement away from and
implies a movement away from and
perhaps a reaction against modernism.
perhaps a reaction against modernism.


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

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


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


playfulness with language playfulness with language


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


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


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


experimentation with point of view experimentation with point of view


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


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


interest in interest in metafiction metafiction, that is, fiction about the nature of fiction , that is, fiction about the nature of fiction
Narrative discourse (Gerard
Narrative discourse (Gerard
Genette
Genette
)
)


narrative narrative: :


story story

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

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


discourse discourse/ /narrative narrative

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


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

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


tense tense: the arrangement of events with respect to time; it involves th : the arrangement of events with respect to time; it involves the notions of e notions of order order

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

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

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

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

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

and in the narrative and in the narrative - -

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


mood mood: the atmosphere of the narrative which is created by the : the atmosphere of the narrative which is created by the distance distance

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

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


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


[1] [1]

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


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


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


first first- -person person

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


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


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


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


third third- -person: person:


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

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

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


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


UNINTRUSIVE (IMPERSONAL or OBJECTIVE) (i.e. describes, reports, UNINTRUSIVE (IMPERSONAL or OBJECTIVE) (i.e. describes, reports, or or shows shows

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


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

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

observer observer s awareness s awareness
Characterisation
Characterisation


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

character. character.


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


Key points to note: Key points to note:


we learn about individual characters from their own words and ac we learn about individual characters from their own words and actions; from what tions; from what
other characters say about them and the way others act towards t other characters say about them and the way others act towards them hem


characters help to advance the plot characters help to advance the plot


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


Types: Types:


protagonist protagonist: a story : a story s main character s main character


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


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


flat character flat character: a one : a one- -dimensional character, typically not central to the story dimensional character, typically not central to the story
James Joyce, A Portrait
James Joyce, A Portrait

Narration: Narration:


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


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

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


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


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


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


Stephen: archetypal hero of a Stephen: archetypal hero of a buildungsroman buildungsroman

with a with a
dissilusionment dissilusionment

plot plot


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


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


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

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


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


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


Literary devices: Literary devices:


stream of stream of conciousness conciousness


abrupt abrupt tranisions tranisions/lack of plot/ flashbacks /lack of plot/ flashbacks


mythical mythical Daedalus Daedalus

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


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


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


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

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

- -

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

( (A Portrait of the Artist as a Young Man A Portrait of the Artist as a Young Man, Chapter IV.) , Chapter IV.)
W.
W.
Golding
Golding
,
,
Lord of the Flies
Lord of the Flies

(1954)
(1954)
We We ll build a fire now. ll build a fire now.
The greatest ideas are the simplest. Now there was something to The greatest ideas are the simplest. Now there was something to be be
done, they worked with passion. Piggy was so full of delight and done, they worked with passion. Piggy was so full of delight and expanding expanding
liberty in J ack liberty in J ack s departure, so full of pride in his contribution to the good of s departure, so full of pride in his contribution to the good of
society, that he helped to fetch wood. The wood he fetched was c society, that he helped to fetch wood. The wood he fetched was close at lose at
hand, a fallen tree on the platform that they did not need for t hand, a fallen tree on the platform that they did not need for the assembly; he assembly;
yet to the others the sanctity of the platform had protected eve yet to the others the sanctity of the platform had protected even what was n what was
useless there. The twins realized they would have a fire near th useless there. The twins realized they would have a fire near them as a em as a
comfort in the night and this set a few comfort in the night and this set a few littluns littluns dancing and clapping hands. dancing and clapping hands.
The wood was not dry as the fuel they had used on the mountain. The wood was not dry as the fuel they had used on the mountain.
Much of it was damply rotten and full of insects that scurried; Much of it was damply rotten and full of insects that scurried; logs had to be logs had to be
lifted from the soil with care or they crumbled into sodden powd lifted from the soil with care or they crumbled into sodden powder. More er. More
than this, in order to avoid going deep into the forest the boys than this, in order to avoid going deep into the forest the boys worked near worked near
at hand on any fallen wood no matter how tangled with new growth at hand on any fallen wood no matter how tangled with new growth. The . The
skirts of the forest and the scar were familiar, near the conch skirts of the forest and the scar were familiar, near the conch and the and the
shelters and sufficiently friendly in daylight. What they might shelters and sufficiently friendly in daylight. What they might become in become in
darkness nobody cared to think. They worked therefore with great darkness nobody cared to think. They worked therefore with great energy energy
and cheerfulness, though as time crept by there was a suggestion and cheerfulness, though as time crept by there was a suggestion of panic of panic
in the energy and hysteria in the cheerfulness. They built a pyr in the energy and hysteria in the cheerfulness. They built a pyramid of amid of
leaves and twigs, branches and logs, on the bare sand by the pla leaves and twigs, branches and logs, on the bare sand by the platform. For tform. For
the first time on the island, Piggy himself removed his one glas the first time on the island, Piggy himself removed his one glass, knelt down s, knelt down
and focused the sun on tinder. Soon there was a ceiling of smoke and focused the sun on tinder. Soon there was a ceiling of smoke and a and a
bush of yellow flame. bush of yellow flame.
Values, symbols and myths in British
Values, symbols and myths in British
and American literature
and American literature


Bronte, Emily: Bronte, Emily: Wuthering Heights Wuthering Heights


Defoe, Daniel: Defoe, Daniel: Robinson Crusoe Robinson Crusoe


Golding Golding, William: , William: Lord of the Flies Lord of the Flies


Hardy, Thomas: Hardy, Thomas: Tess Tess

of the of the
D D Urbervilles Urbervilles


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

as a Young Man as a Young Man


Swift, Jonathan: Swift, Jonathan: Gulliver Gulliver s Travels s Travels


Woolf Woolf, Virginia: , Virginia: Mrs. Dalloway Mrs. Dalloway

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


Fowles Fowles, John: , John: The French Lieutenant The French Lieutenant s s
Woman Woman


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


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


Melville, Herman. Melville, Herman. Moby Dick Moby Dick


Twain, Mark. Twain, Mark. Huckleberry Finn Huckleberry Finn


Edgar, Alan Poe, Edgar, Alan Poe,

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


Nathaniel Hawthorne, Nathaniel Hawthorne, The Scarlet The Scarlet
Letter Letter