notatek z hla część dalsza

William Wordsworth (= Adam Mickiewicz in Poland) I Wandered Lonely As A Cloud (1802) (also known as Daffodils) I wandered lonely as a Cloud That floats on high o'er Vales and Hills, When all at once I saw a crowd A host of dancing Daffodils; Along the Lake, beneath the trees, Ten thousand dancing in the breeze. The waves beside them danced, but they Outdid the sparkling waves in glee: -- A poet could not but be gay In such a laughing company: I gazedand gazedbut little thought What wealth the show to me had brought: For oft when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude, And then my heart with pleasure fills, And dances with the Daffodils. oer = poetic over gay = joyful, marry jocund = gay I gazed = I looked oft = often pensive = full of thoughts bliss = joy solitude = being on your own, but in positive way twinkle = shine glance = quick look glee = joy death (hidden meaning) looking at nature gives peace and joy pay attention to beauty nature is a sign of spiritual order blurring of boundaries between the Earth and the Sky, man and nature affirming/embracing/celebrating the invisible/spiritual/organic bond between man and the rest of Creation (kwiaty tańczą, poeta spaceruje samotny, jak chmira, kwiatów jest tak wiele jak gwiazd na Ziemi, poeta zobaczył coś niebiańskiego) the eye stands probably for mans inborn spiritual potential inward (Bóg jest najbardziej samotną istotą) We Are Seven (1798) Romantyczność Mickiewicza 20 lat później CECHY BALLADY poeta pozostawia kwestię otwartą pytanie odpowiedź wstęp (np. rycerza) fabuła kreowana dialogiem (dialog - dramaturgia) tradycyjna ballada komponowana i przedstawiana (przekaz ustny) Alfred B. Lord The Singer of Tales Poetry & The Oral Tradition Yugoslav Peraci Oral poets/performers use so-called formulas. The poets memorizes the plot only and reconstructs the story using the formulas. A formula a lexical and rhythmical unit used to express a recurrent idea in a poem, or in other words its simply a group of words with the same rhythm with which you describe a situation what recurs in a poem (e.g. mounting a horse, raising a toast, challenging someone to a duel, etc.) Homeric epithet a formulaic word or phrase, it can be a part of formula (e.g. the wily Odysseus). In Homers Iliad the Trojans and Greeks are described in similar terms both are equally heroic. The World Is Too Much With Us (1806) The world is too much with us; late and soon, Getting and spending, we lay waste our powers; Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon, The winds that will be howling at all hours, And are up-gathered now like sleeping flowers, For this, for everything, we are out of tune; It moves us not. Great God! I'd rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathd horn. Late and soon: our fixation on materialism has been a problem in the past and will continue to be a problem in the future Sordid boon: shameful gain, tarnished blessing. This phrase is an oxymoron, a form of paradox that juxtaposes contradictory words Suckledoutworn: brought up in an outdated religion Proteus a sea God who could change shape, possessed the knowledge of the past, present and future ability of adapt, be flexible Triton had the body of a man and the tail of a fish a connection between man and nature Poet is standing on a shore and looking at the sea. He sees himself as a product of civilization, outside the sublime of nature. PROGRESS, INDUSTRY REVOLUTION made us richer with things, but poorer with spiritual life. Marshall McLuhan the electric age in the 1960s. The modern transition from spiritual to oral culture

William Blake „The Tyger his the most famous poem Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And waterd heaven with their tears: Did he smile his work to see? Did he who made the Lamb make thee? Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry? trochaic tetrameter = the meter of The Tyger trochaic rhythm 4 stresses per line (tetrameter) trochee 2 syllables, the first one is stressed Iambic rhythm 1 syllables, the second one is stressed tiger is compared to a killing machine tiger is perfectly beautiful and yet perfectly destructive tiger becomes the symbolic center for an investigation into the presence of evil in the world a reference to „The Lamb. Tiger created by demiurge, lamb as a creation of good God Blake recalls GNOSTICISM, a multi-faceted religious movement that has run parallel to mainstream Christianity. Unlike most other Gnosticizes, Blake considered our own world to be a fine and wonderful place, but one that would ultimately give way to a restored universe. The Gnostics believed in the inner power of wisdom which guides us. They also believed in two Gods. The first was the God who created material things: like the world, the animals and humans. The second was the God who created the things of the spirit: like the human soul. The first God is responsible for all the nasty things in life: like suffering and pollution and dreadful industrialization. The second God is responsible for all the wonderful things in life: like salvation, the human spirit and Jesus Christ. Similar ideas Jewish kabbalists in the Middle Ages. Blake created his own demiurge Urizen, creator of the world, the great architect, the Fallen Aspect of primordial unity. Ancient of Days. THE FOUR ZOAS (4 ASPEKTY PIERWOTNEJ RZECZYWISTOŚCI) Urizen reason Urthona imagination Tharmas body Luvah passion Blakes mythopoeia: Vala, or The Four Zoas Albion (The Ancient Man) was originally fourfold but was self-divided into Tharmas, Urizen, Luvah and Urthona. Sources/Inspirations: 1.John Milton: Paradise Lost and Paradise Regained 2.Emanuel Swedenborg 3.Jacob Boehme 4.The Cabala 5.Druidism „Songs of Innocence & Experience „The Lamb Little Lamb, who made thee? Dost thou know who made thee? Gave thee life, and bid thee feed By the stream and o'er the mead; Gave thee clothing of delight, Softest clothing, woolly, bright; Gave thee such a tender voice, Making all the vales rejoice? Little Lamb, who made thee? Dost thou know who made thee? Little Lamb, I'll tell thee, Little Lamb, I'll tell thee: He is called by thy name, For he calls himself a Lamb. He is meek, and he is mild; He became a little child. I a child, and thou a lamb. We are called by his name. Little Lamb, God bless thee! Little Lamb, God bless thee! the lamb can be associated with Jesus Christ the tiger can be associated with the Old Testament God or Urizen the 2 poems represent 2 states of mind: childs innocence (lamb) and experience (tiger) The Tyger is a complement to The Lamb both states have their advantages and drawbacks; none of them is better than the other. The price of innocence is naivete; the price of experience is bitterness or cynism. Kiedy Jezus powróci, lew spocznie koło baranka The Sick Rose O rose, thou art sick! The invisible worm, * That flies in the night, In the howling storm * Has found out thy bed of crimson joy *** and his dark secret love does the life destroy. *** rhymes: joy-destroy author shows that joy and destroy always go together motives hinduism everything comes into being because of love, love is a basis of everything polemic with hiduism love and passion is destructive (wiatr nocą tarmosi kwiat) good, realistic poem is based on observation

T. S. Eliot The Waste Land (1922) kaleidoscopic sensibility, a medley of voices escaping from personality (or the lyric self) into a multiplicity of voices the central theme emotional sterility/barrenness and spiritual death the modern world is falling apart I. THE BURIAL OF THE DEAD A heap of broken images fragmentation of vision moments of insight do not add up no cumulative effect, no coherent spiritual order lexical repetition, anaphora blend repetition (Old Testament), desert Madame Sosostris, famous clairvoyante fake spirituality, the occult, fortune-tellers, gurus, spiritual conmen, religious fads fragments of truth are suspended is a cultural void, decontextualized and thus useless ironic contrast between cryptic/esoteric speech and social convention Unreal city London pedestrians as a crowd of zombies death is a metaphor for emotional barrenness and spiritual torpor (emocjonalna jałowość, duchowy letarg) Mylae naval battle (260 B. C.) between the Romans and the Carthaginians quote from Charles Boudelaires poem An Lecteur (To the reader) lacks of authenticity (people arent real) = being unreal/inauthentic = being spiritually dead (emotionally, etc.) = living like an automaton, a robot sex in the wasteland reality is automatic, described in mechanistic terms occasion rhymes in this fragment (rhymes = negative connotation, because they are automatic) shift of agency (przesunięcie podmiotowości) sighs, short, infrequent, were exhaled Speak to me. Why do you never speak? people cant communicate EMOTIONAL WASTELAND emotional inarticulateness lack of true communication between individuals inability to order ones immediate spiritual environment II. A GAME OF CHESS Hurry up, its time axiological wasteland collapse of traditional religious values (not only among the upper classes, but also among the simple folks) collapse of the institution of marriage in the traditional sense adultery is taken for granted Its them pills I took the wasteland women are barren in both senses of the word physiological and metaphorical abortion is taken for granted symbolic handling of realistic detail (hurry up, its time) (The Nymphs are departed) III. THE FIRE SERMON Buddhas Fire Sermon delivered to 1000 fire-worshipping ascetics (they all attended full Awakening as a result) Buddhas message: we are consumed by the fire of passions; we can only free ourselves by becoming dispassionate the ironic contrast between the mythic past and the sordid present (the modern nymphs, unlike their mythic counterparts, do not have trysts with heroes, but with yuppies) Musing upon the king my mothers wreck references to the Grail Legend (the Knights of the Rounded Table) The Fisher King wounded in the groin while hunting and afterwards ailing and impotent. His favorite past time was fishing. He could be cured only by a drink from the Holy Grail. the poems speaker sees himself as a modern incarnation of the Fisher King, surrounded by a modern Wasteland. RHYMES IN THE WASTE LAND HAVE IRONICAL CONNOTATIONS The human engine shift of agency the eyes and the back act as automatons agents. Man is not in full control of his body play on words the verb throb can be used both in reference to the human body (especially the heart) and to any vibrating machine. Both organic and mechanistic connotations human reactions are predictable; human beings are semi-automatons driven by powers beyond their control Tiresias (Greek mythology) a blind prophet whose prophecies were always gnomic but never wrong. (gnomic = difficult to understand) rhymes: the rest guest She smoothes her hair with automatic hand sterile sex automatic, unreflective, mechanistic, emotionally barren Here is no water but only rock Shantih the peace which passeth understanding a formal ending to a Upanishad open ending another desperate attempt (zaklinanie deszczu) or happy end (spokój wewnętrzny spadł deszcz) damyata to control data to give dayadvham to sympathize

D. H. Lawrence (1885-1930) 2 PERSPECTIVES OF LAWRENCES WORK In his lifetime immoral/amoral provocateur shocking the bourgeois audience, pornographer who wasted his literary talentsAfter his death great writer and visionary thinker, major representative of modernism, profound critic of modern western civilization MAJOR THEMES industrial civilization and its discontents dehumanizing effect of modern industrial civilization the hypocrisy of Victorian and Edwardian society (e.g. sexual restraint and prostitution) the need to cultivate your natural, wild self and ignore the limiting social norms holistic vision of man spiritual, emotional and intellectual growth go together FORMATIVE YEARS son of a miner and a former of schoolmistress grew up in the coalmining town of Eastwood, Nottinghamshare tension between his well-educated, sophisticated mother and working class father archetypal tension between feminine sophistication and masculine brute strength woman as a culture bringer (ambiguous figure) human psychology is often reduced to its archetypal, biological aspects DAVID AND FRIEDA David Herbert Lawrence and Frieda Weekley (nee von Richthofen) met in 1912. He was 27, she was 33. He was single, she was married and a mother of 3 children. Friedas husband was Lawrences former professor at University College, Nottingham. David and Frieda eloped to Germany and stayed at her parents home. Lawrence was suspended of being a British spy and arrested, then released after von Richthofens intervention. David and Frieda married in 1914 and spent the rest of their lives together, often travelling. Their first trip was a walk over the Alps from Germany to Italy. Sons and Lovers (1913) CENTRAL CHARACTERS Paul Morel a young artist William Morel Pauls older brother (dies prematurely) Gertrude Morel the refined mother of Paul and William. After marriage her affection shifted from her uncultivated husband to her sons Walter Morel the rough and tough, heavy-drinking miner, father of Paul and William. After work, he would go to the pub rather than home. MAJOR THEMES working-class life in a mining community mothers overwhelming influence on her sons emotional lives misalliance and class conflict interplay between class relations and early sexual experiences PAUL MORELS GIRLFRIENDS Miriam a farm girl who reads books and has intellectual conversations with Paul. He doesnt go any further because his mother disapproves of the girl. Pauls loyalties are torn between Miriam and his mother Clara a feminist separated from her husband more assertive and self-reliant than Miriam. She and Paul grow more intimate and Paul leaves Miriam for Clara. Then again, his loyalties are torn between Clara and his mother. Finally, Paul chooses his mother. When his mother dies, he is alone. LAWRENCES SUMMARY OF THE PLOT IN A LETTER TO HIS FRIEND AND EDITOR EDWARD GAVRETT It follows the idea: a woman of character and refinement goes into the lower class and has no satisfaction in her own life. She has had a passion of her husband, so her children are born of passion and have heaps of vitality. But as her sons grow up she selects them as lovers first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother urged on and on. But when they come to manhood, they cant love because their mother is the strongest power in their lives, and holds them. Its rather like Goethe and his mother and Frau von Stein and Christiana as soon as the young men come into contact with women, theres a split. William gives his sex to a fribble and his mother hold his soul. But the split kills him, because he doesnt know where he is. The next son gets a woman who fights for his soul his mother. The son loves his mother all the sons hate and are jealous of the father. The battle goes between the mother and the girl, with the son as object. The mother gradually proves stronger because of the ties of blood. The son decides to leave his soul in his mothers hands and, like his elder brother goes for passion. He gets passion. Then the split begins to tell again. But, almost unconsciously, the mother realizes what is the matter and begins to die. The son casts off his mistress attends to his mother dying. He is left in the end naked of everything, with the drift towards death. Lady Chatterleys Lover MAJOR CHARACTERS Constance Chatterley an upper-class lady Clifford Chatterley Constances husband, paralyzed and impotent Oliver Mellors the local gamekeeper (married) who becomes Constances lover SUMMARY The story concerns a young married woman, Constance (Lady Chatterley), whose upper-class husband, Clifford Chatterley, has been paralyzed due to a war injury, in addition to Clifford's physical limitations, his emotional neglect of Constance forces distance between the couple. Her sexual frustration leads her into an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel which is the unfair dominance of intellectuals over the working class. SOURCES OF SCANDAL Lady Chatterleys Lover was banned in the UK until 1960 violation of class divisions an affair between a working-class man and upper-class woman adultery not explicitly condemned explicit sexual scenes use of unprintable words The description of Constances and her sister Hildas tentative love affairs in their youth: So they had given the gift of themselves, each to the youth with whom she had the most subtle and intimate arguments. The arguments, the discussions were the great thing: the love-making and connexion were only sort of primitive reversion and a bit of anti-climax. Neuro-psychoanalyst Mark Blechner identifies the Lady Chatterley phenomenon in which the same sexual act can affect people in different ways at different times, depending on their state of mind. And this time the sharp ecstasy of her own passion did not overcome her; she lay with hands inert on his striving body, and do what she might, her spirit seemed to look on from the top of her head () And it seemed she was like the sea, nothing but dark waves rising and heaving, heaving with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass. woman = water

Charles Dickens (1812 - 1870) most popular Victorian writer creator of iconic characters primarily concerned with social reform in Britain praised by George Gissing and Leo Tolstoy for realism and mastery of prose criticized by Henry James and Virginia Woolf for sentimentality and implausibility serialized form - many Victorian novels were published in installments in magazines most authors would complete their novels before serialization, but not Dickens Dickens often created episodes as they were being serialized a particular rhythm narration punctuated by cliffhangers Dickens novels and short stories have never gone out of the print The Pickwick Papers (1836) series of loosely-related adventures Mr Samuel Pickwick (central character) is wealthy old gentleman, idealistic and unworldly, founder and perpetual president of the Pickwick Club club members travel to remote places in England and later report on their adventures many famous characters, comically-drawn, with exaggerated personalities (e.g. Sam Weller, the comic cockney) MAIN CHARACTERS OF THE PICKWICK PAPERS Samuel Pickwick the main protagonist and founder of the Pickwick Club. A round-faced, clean shaven, partly gentleman wearing spectacles Nathaniel Winkle a young friend of Pickwicks and his travelling companion; he consider himself a sportsman, though he turns out to be dangerously inept when handling horses and guns Augustus Snodgrass another young friend and companion. He consider himself as a poet, though there is no mention of any of his own poetry in the novel Tracy Tupman the 3rd travelling companion, a fat and elderly man who nevertheless considers himself a romantic lover Sam Weller Mr Pickwicks valet, and a source of idiosyncratic proverbs and advice Alfred Jingle a strolling actor and charlatan, noted for telling bizarre anecdotes in a distinctively extravagant, disjointed style Oliver Twist (1838) as a consciousness-raising social novel Parish Boys Progress (progress, nie jako postęp, ale droga życia) The subtitle reference to the 17th-century classic The Pilgrims Progress (a Christian allegory by John Bunyan) and to popular 18th-century caricature series by painter William Hogarth (A Rakes Progress and A Harlots Progress) Calls the publics attention to various social evils: 1) the poor law, 2) child labour, 3) dreadful living conditions in workhouses, 4) recruitment of children as criminals unromantic portrayal of criminals and their sordid lives Oliver Twist escapes to London where he unwittingly joins a gang of juvenile pickpockets the large number of orphans in the Victorian Era the novel raised public consciousness and increased international concern A Tale of Two Cities (1859) a love triangle novel inspired by Thomas Carlyles The French Revolution: A History (1836) set in London and Paris before and during the French Revolution a bestseller (over 200 mln copies sold) oppression of the French peasantry by the aristocracy before the revolution brutality of the revolutionaries toward the former aristocrats the class struggle in London (similarities to the social conflicts in France) the plot follows the lives of several protagonists published in 32 weekly installments in a literary periodical 2 central characters, both of them in love with Lucile Manette who eventually becomes Darneys wife Charles Darney an assumed name of Charles Evrmonde, a French aristocrat who emigrates to England because he cannot stand social injustices of Pre-Revolutionary France. A men of outstanding honesty, honor and courage, he rejects his uncles snobbery and cruelty. Put on trial for treason against the Kingdom of Great Britain, Darney is acquitted. When he returns France, he is arrested by the revolutionaries and sentenced to death for being an aristocrat. Sydney Carton an English lawyer, sloppy but brilliant. A drunkard and, as it eventually turns out, a hero. He looks so much like Darney that he manages to trade places with him when Darney is to be executed by guillotine in France. This final act of unparalleled courage changes entirely the readers perspective on Carton. He sacrifices his life for Darney (Lucilles husband) because of his love for Lucile. Great Expectations (1861) a bildungsroman depicting the growth and transformation of Pip written in the 1st person, from the point of view of the orphan Pip (narrator-agent) adapted for stage and screen over 250 times the first meeting between Philip Pirrip, nicknamed Pip and an escaped convict (Magwitch) that had a lasting influence on the rest of Pips life. Pip steals some food and a file for the criminal. Pip feels guilty. Pip is an orphan raised by his older sister and her husband as a young boy he is sent by his uncle to Miss Harishams house. He meets Estella there and falls with the girl Pip the protagonist and narrator of Great Expectations, Pip begins the story as a young orphan boy being raised by his sister and brother-in-law in the marsh country of Kent, in the southeast of England. Pip is passionate, romantic, and somewhat unrealistic at heart, and he tends to expect more for himself than is reasonable. Pip also has a powerful conscience, and he deeply wants to improve himself, both morally and socially. Estella Pips unattainable dream throughout the novel. He loves her passionately, but, though she sometimes seems to consider him a friend, she is usually cold, cruel, and uninterested in him. As they grow up together, she repeatedly warns him that she has no heart. Miss Havisham the wealthy, eccentric old woman who lives in a manor called Satis House near Pips village. She is manic and often seems insane, flitting around her house in a faded wedding dress, keeping a decaying feast on her table, and surrounding herself with clocks stopped at twenty minutes to nine. As a young woman, Miss Havisham was jilted by her fianc minutes before her wedding, and now she has a vendetta against all men. She deliberately raises Estella to be the tool of her revenge, training her beautiful ward to break mens hearts. Abel Magwitch a fearsome criminal, Magwitch escapes from prison at the beginning of Great Expectations and terrorizes Pip in the cemetery. Pips kindness, however, makes a deep impression on him, and he subsequently devotes himself to making a fortune and using it to elevate Pip into a higher social class. Behind the scenes, he becomes Pips secret benefactor, funding Pips education and opulent lifestyle in London through the lawyer Jaggers.

British Imperialism Discourse and its critics Two dominant 19th-century imperialist discourses Abolitionist Propaganda (1800-1830s) Africans as Noble Savages 1.Romantic poets: William Blake (And I am black, but O! my soul is white), William Wordsworth (the traffickers in Negro Blood), Robert Southney (To Horron) 2.The Leeds Anti-Slavery Society pamphlets depicting the antrocities of slave tradeVictorian Civilizing Mission (1840-1890s) Africa as the Dark Continent 1.European/Christian interference is necessary (a moral cause) 2.1833 abolition of slavery 3.The British as saviors of the savages 4.The shift of guilt from colonizers to colonized VICTORIAN EXPLORATION: COMMERCE & CHRISTIANITY 1850s quinine as a prophylactic against malaria Travelers journals & reports become bestsellers, e.g. David Livingstones Missionary Travels (1857), Henry Stanleys In Darkest Africa (1890) VICTORIAN STEREOTYPES OF AFRICAN SAVAGERY: cannibalism, fetishism, witchcraft, human sacrifice, devil worship