Literatura y crítica
Hard Times
miércoles, 20 de noviembre de 2013
Hard Times
Hard Times. (WITH ENGLISH SUBTITLES) Adapt. and dir. Peter Barnes. Based on Charles Dickens's novel. Cast: Alan Bates, Bob Peck, Diana Fairfax, Peter Bayliss, Timothy Bateson, Bill Paterson, Richard E. Grant, Harriet Walter, Beatie Edney, Alex Jennings, Dilys Laye, Christien Anholt, Emma Lewis, Jonathan Butterell. Photog. Rex Maidment. Prod. des. Bruce Macadie. Ed. Robin Graham Scott. Music by Stephen Deutsch. Prod. Richard Langridge. YouTube (WeezyMovieVEVO) 4 Feb. 2013.*
http://youtu.be/HrO3GC_Rkb4
Que curiosa casualidad. Estaba yo viendo esta película sobre Hard Times, cuando llaman al teléfono y me pregunta un señor, un lector muy aficionado a Dickens, por mi tesina sobre esta novela—tesina que escribí hace casi treinta años, sin que nadie se haya interesado por ella entretanto.
Cuando le he comentado la casualidad, se ha debido pensar o bien que le tomaba el pelo, o que llevo treinta años a ritmo continuo dedicado en cuerpo y alma a Hard Times. Tanto no, es cierto, aunque algo sí me la trabajé en su momento. La casualidad aquí queda, y la tesina aquí:
Cuando le he comentado la casualidad, se ha debido pensar o bien que le tomaba el pelo, o que llevo treinta años a ritmo continuo dedicado en cuerpo y alma a Hard Times. Tanto no, es cierto, aunque algo sí me la trabajé en su momento. La casualidad aquí queda, y la tesina aquí:
Richard II with and without Shakespeare
miércoles, 20 de noviembre de 2013
Richard II with and without Shakespeare
From The History Today Companion to British History, ed. Juliet Gardiner and Neil Wenborn:
Richard II (1367-1400), King of England (1377-99). Son of EDWARD THE BLACK PRINCE and JOAN OF KENT, the fact that he was still a boy at his accession in 1377 evokes sympathy, even from historians. So does the image of Richard grieving over the death of his wife ANNNE OF BOHEMIA in 1394, as does the tragic finale portrayed in Shakespeare's Richard II. But most—though not all—historians follow FROISSART in criticizing the king while sympathizing with the man.
After displaying courage in the face of the PEASANTS' REVOLT, in the next few years the youthful king became difficult for the senior politicians around him, notably JOHN OF GAUNT, to deal with. In particular, his distribution of patronage, especially his generosity to Robert DE VERE, was ill judged. In 1386, he tried to defy PARLIAMENT, but was forced to yield and watch while his minister Michael DE LA POLE was impeached and a commission was appointed to control the following year's expenditure and patronage. His response was to elicit from a panel of judges a definition of the royal PREROGATIVE in terms that declared that the parliamentary proceedings of 1386 had been illegal and that those who had promoted them should be punished as traitors. When the judges' opinions were leaked, a brief civil war followed, culminating in the battle of RADCOT BRIDGE.
In consequence, Richard found himself at the mercy of the APPELLANTS, and had to endure the humiliation of the MERCILESS PARLIAMENT (Feb. 1388)—but at least he avoided deposition. In 1389, he formally resumed control of government and, with Gaunt's help, ruled peacefully for eight years; in 1396, he made a 28-year truce with Frnace. The war over, he set himself the task of making the crown independent of the COMMONS in Parliament. Some historians see this as a 'progressive' policy, but it went hand in hand with the pursuit of vengeance for what had happened in 1388. By 1399, he was indeed a very wealthy king, but he had dispossessed a third of the upper nobility and had hounded to death his old enemies (including his uncle THOMAS OF WOODSTOCK).
At this stage, having alarmed all his subjects, he went to Ireland, and when Bolingbroke (see HENRY IV) and the PERCYS struck, no one would lift a finger to save him. He lost two armies in two weeks and surrendered at Conway, perhaps hoping for a repeat of 1387-9. Instead he was coerced into abdicating on 29 Sept. 1399 and then imprisoned. The following Jan., a plot to rescue him only revealed how little support he had and probably precipitated Henry IV's decision to have him murdered. His body remained at King's Langley until HENRY V had it reburied in WESTMINSTER ABBEY.
—oOo—
From The Penguin Shakespeare Dictionary, ed. Sandra Clark [with corrections]:
Richard II [full title, The Tragedy of King Richard the Second]. A historical play by Shakespeare, produced probably in 1595, and published in 1597. The deposition scene carried particular significance for Queen Elizabeth (whose right to the throne was questioned by a fair number of her subjects for most of her reign) and it was omitted in the first quarto (1597); however, by the time of the fourth quarto (1608) it was restored. It was probably this play which was given a special performance at the Globe Theatre on 7 February 1601, the day before Essex started his rebellion. It was paid for by Essex's supporters, but none of the actors was punished for putting it on. Shakespeare took material for the play from a number of sourdes but his main source was Holinshed's Chronicles (second edition, 1587), from which he took most of the names and events in his play, following, with certain alterations, Holinshed's account of the end of King Richard's reign from April 1398 to March 1400. In several instances he telescoped and rearranged the sequence of events for greater dramatic effect; the death of Gaunt, Richard's departure for Ireland, and the return of Bolingbroke from banishment all take place in a single scene (II.i) whereas in Holinshed they happen over a matter of months, and the events of Act IV are also compressed. The accusations of Bagot and Fitzwater were made on separate occasions in October [1398] after the actual abdication of the king, which was in September, and the Abbot of Westminster's plan for conspiracy was not formed until December. Other changes from Holinshed reflect on Shakespeare's planning of the characterization in his play. He omits an episode in which Northumberland tricked Richard into an ambush on the way to Flint Castle that might have reflected badly on Bolingbroke, and he totally changes the ages of Northumberland's son, Henry Percy (Hotspur) and Bolingbroke's son, the future Henry V. Hotspur was in fact two years older than both Richard II and Bolingbroke, whereas in Richard II he is a youth; and Bolinbroke's son was only twelve in 1399, where Shakespeare has Bolingbroke speak of him as a dissolute young gallant. He used another chronicle, The Union of the Two Noble and Illustre Famelies of Lancastre and Yorke (1548) by Edward Hall, for the point of departure of his play, since Hall's account of Richard II's reign also begins with the quarrel between Mowbray and Hereford, but for little otherwise. He knew the anonymous contemporary play, Woodstock, which deals with events from 1382 to 1899 and especially with the life of Richard II's uncle, Thomas of Woodstock, Earl of Gloucester, who is referred to several times in Richard II, although critics have differed as to how far this play influenced him. Shakespeare also knew A Mirror for Magistrates [1559] in which Richard II is presented as a proud and tyrannous king, a classic example of the idea that "lawles life, to lawles death ey drawes." Froissart's Chronicles, translated by Lord Berners in 1525, was also available to him, and from this he may have taken hints for the conception of Gaunt as a wise but rejected counsellor, for the important part Northumberland played in calling back Bolingbroke, and for Bolingbroke's popularity with the people, although he could have found these elsewhere. Two other French chronicles, the Chronique de la Traison et Mort de Richard Deux Roy Dengleterre and the Historie du Roy d'Angleterre Richard II by Jean Créton, both known to Holinshed and Hall, may have been used independently by Shakesepeare. The Traison is evidence of a tradition more favourable to Richard II than that of the Tudor chronicles, and it may have helped Shakespeare to form his relatively sympathetic portrait of Richard II, especially in the account of Richard's leave-taking from his Queen, although in the Traison this event takes place before Richard's departure for Ireland. From Créton may have come the comparison between Richard's betrayal and that of Christ. The Traison and Créton's account also influenced Samuel Daniel in his poem The First Fowre Bookes of the Civile Wars (1595), which is likely that Shakespeare knew and used. Many parallels between Richard II and Daniel's poem may be incidental, but Shakespeare seems to owe to Daniel the concpetion of the Queen—she was in fact a child of nine at the time—and he may also have used Daniel for the account of the contrasted entries of Richard and Bolingbroke into London (V.ii). Marlowe's Edward II may well have provided some ideas and inspiration in its treatment of the fall of a weak monarch.
Dramatis Personae
King Richard II
John of Gaunt
Edmund of Langley, Duke of York
Henry Bolingbroke, Duke of Herefrod, later Henry IV
Duke of Aumerle
Thomas Mowbray, Duke of Norfolk,
Duke of Surrey
Earl of Salisbury
Lord Berkeley
Bushy
Bagot
Green
Earl of Northumberland
Henry Percy (Hotspur)
Lord Ross
Lord Willoughby
Lord Fitzwater
Bishop of Carlisle
Abbot of Westminster
Lord Marshal
Sir Stephen Scroop
Sir Pierce of Exton
Captain of a band of Welshmen
Queen to King Richard
Duchess of Gloucester
Duchess of York
Lady attending on the Queen
Lords, Heralds, Officers, Soldiers, Gardeners, Keeprs, Messenger, Groom, other Attendants
The Story. In the presence of the King, Bolingbroke accuses Mowbray of causing the death of the Duke of Gloucester. It is agreed that each man may defend his honour in a tournament, but just as each is about to attack the other, the king halts the proceedings and banishes them both. Sjhortly afterwards, upon the death of John of Gaunt (Bolingbroke's father), Richard seizes his estates in order to finance an Irish campaign. The additional evidence of Richard's disregard for the rights of his nobles arouses the ire of both York and Northumberland, and the latter, with other nobles, goes to join Bolingbroke (who has returned, despite his exile, to claim his dukedom). When Richard returns from Ireland, he learns that his army has dispersed and his favourites, Busby and Green, have been executed by Bolingbroke. Richard takes refuge in Flint Castle, and when Bolingbroke meets him there (ostensibly to claim his estates) submits to being taken as a prisoner to London. Before Parliament, he is forced to confess his crimes against the state, and despite the protests of the Bishop of Carlisle, he hands over his crown to Bolingbroke, who is already acting as King. Aumerle, the son of York, has meanwhile plotted against the new ruler. When York discovers this he hastens to inform Bolingbroke, but Aumerle and his mother, York's wife, plead for and are granted clemency. Richard is imprisoned in Pomfret Castle, where he is murdered by Sir Pierce of Exton (who believes that Bolingbroke wishes Richard's death). Bolingbroke expresses regret for the murder and vows to lead a crusade to ease his conscience. In its theme, the play explores an issue which was to tear England apart half a century later: the basis of royal authority, whether derived directly from God or from the consent of the people and the effective exercise of power.
—oOo—
From the Oxford Dictionary of Shakespeare, by Stanley Wells with James Shaw.
Richard II Shakespeare's history play was first published in *quarto in 1597. Richard's abdication (IV. i. 153-323) was omitted, doubtless because of the contemporary political situation, in this and the two subsequent reprints of the quarto (both in 1598). After the succession issue had been resolved, the episode was considered less contentious, and it appeared in the fourth quarto, of 1608, advertised as having 'new additions of the Parliament scene, and the deposing of King Richard; as it hath been lately acted by the King's Majesty's servants, at the Globe.' The First *Folio text (1623) includes a better version of the deposition scene based probably on a prompt-book.
The date of the play is uncertain, but is unlikely to be later than 1595. It is based mainly on *Holinshed, and possibly also on Samuel *Daniel's First Four Books of the Civil Wars (1595). It is the first play in Shakespeare's second tetralogy based on English history. Written entirely in verse, it is stylistically very different from the other three. The first recorded performance is one specially commissioned by the Earl of *Essex's supporters on 7 February 1601 as a gesture of support for his rebellion the following day. The players argued that it was 'so old and so long out of use' that they would have 'small or no company at it'. but performed it nevertheless. A court case ensued but the company was exonerated. An improbable performance on a ship captained by William *Keeling is recorded in 1607. It was also given at the *Globe on 12 June 1631.
Nahum *Tate's adaptation, as The Sicilian Usurper, appears to have been played twice only, in 1681. Lewis *Theobald's adaptation appeared at *Lincoln's Inn Fields in 1719, with some success. Shakespeare's play was given at *Covent Garden in 1738, with revivals in the two following seasons. It was neglected until Edmund *Kean played a version by Richard Wroughton at *Drury Lane in 1815, revived from time to time till 1828. W. C. *Macready came closer to Shakespeare in his performances. The most successful nineteenth-century production was Charles *Kean's at the Princess's in 1857, which had eighty-five performances. It was scenically spectacular, archaeologically respectable, and textually short. F. R. *Benson was a distinguished Richard at Stratford-upon-Avon and elsewhere at the turn of the century; C. E. Montague's review of his performance in the Manchester Guardian has become a classic of theatre criticism, often anthologized. Beerbohm *Tree's spectacular version at His Majesty's in 1903 included a new version of the pageant of Bolingbroke's entry into London which Charles Kean had introduced, and also a coronation for Henry IV. *Granville-Barker had played Richard in 1899 in a performance in Elizabethan style directed by William *Poel. *Gielgud, perhaps the greatest exponent of the role in the twentieth century, played it first at the *Old Vic (1954, etc.), and the *Royal Shakespeare Company production by John *Barton (1973-4) in which Richard *Pasco and Ian *Richardson alternated as Richard and Bolingbroke. Jeremy Irons played a Christ-like Richard in 1986 (Stratford-upon-Avon) and Fiona Shaw played Richard in Deborah *Warner's *Royal National Theatre production (1995, televised 1997).
Richard II is an uneven play, and the scenes of Aumerle's rebellion against Bolingbroke have frequently embarrassed actors and directors, but the role of Richard himself offers unequalled opportunities to actors who can command pathos and speak verse.
Oliver Twist BBC 2007
Profetas de la ciencia ficción: Mary Shelley
John Keats
unes, 18 de noviembre de 2013
John Keats
From The Oxford Companion to English Literature, ed. Margaret Drabble.
Keats, John (1795-1821), the son of the manager of a livery stables in Moorfields, who died when he was 8; his mother remarried, but died of tuberculosis when he was 14. The oldest of the family, he remained deeeply attached to his brothers George and Tom and to his sister Fanny. He was well educated at Clarke's school, Enfield, where he began a translation of the Aeneid, and in 1810 was apprenticed to an apothecary-surgeon. His first efforts at writing poetry appear to date from 1814, and include an 'Imitation of Spenser'; his school friend Cowden-*Clarke recorded the profound effect of early reading of *Spenser. In 1815 Keats cancelled his fifth year of apprenticeship and became a student at Guy's Hospital; to the same year belong 'Ode to Apollo' and 'Hymn to Apollo'. In 1816 he was licensed to practise as an apothecary, but in spite of precarious finances abandoned the profession for poetry. In 1816 he also met Leigh *Hunt, who published in the same year in the *Examiner Keats's poem, 'O Solitude', and in the course of a survey of young poets in the same journal he included Keats's sonnet 'On First Looking into Chapman's Homer'. Keats met *Shelley and *Haydon, began to plan *Endymion, and wrote 'I stood tiptoe upon a little hill' as a first effort towards that poem. His first volume of poems was published in March 1817. It included, among sonnets, epistles, and miscellaneous poems, 'I stood tiptoe upon a little hill' and 'Sleep and Poetry'. There were at first some pleasing reviews, but public interest was not aroused and sales were meagre; and in the autumn came the first of *Lockhart's harsh attacks in *Blackwood's, labelling Keats and his associates as members of the so-called *Cockney School. He finished the first draft of Endymion and during the winter of 1817-18 saw something of *Wordsworth and *Hazlitt, both of whom much influenced his thought and practice. In December Haydon gave his 'immortal dinner' whose guests included Wordsworth, *Lamb, and Keats. Endymion, dedicated to *Chatterton, whom Keats greatly admired, was published in the spring of 1818, and *'Isabella, or the Pot of Basil' finished in May. With his friend Charles Armitage Brown (1786-1842) Keats then toured the Lakes, spent July and August in Scotland, and included a brief visit to Northern Ireland. He had travelled frequently in southern England but he had never before seen scenery of rugged grandeur. It moved him deeply and he made full use of it when he came to write *Hyperion. Bitter attacks on Endymion came in the autumn from Lockhart in Blackwood's and from the *Quarterly Review. For the time being Keats concealed his pain and wrote to his brother George that, in spite of the review, 'I think I shall be among the English poets after my death', but his friends believe the wound was very deep. Meanwhile his brother Tom was vary ill and Keats spent much time with him. When Tom died in December Keats moved into his friend Brown's house in Hampstead, now known as Keats House. There, in the early winter, he met Fanny *Brawne, with whom he fell deeply in love, and with whom he remained in love until his death. During the course of the summer and autumn of 1818 his sore throats had become more frequent and persistent. Nevertheless September 1818 marked the beginning of what is sometimes referred to as the Great Year; he began Hyperion in its first version, abandoning it a year later; he wrote, consecutively, *'The Eve of St Agnes', 'The Eve of St Mark', the 'Ode to Psyche', *'La Belle Dame sans Merci', *'Ode to a Nightingale', and probably at about the same time the *'Ode on a Grecian Urn', 'Ode on Melancholy', and 'Ode on Indolence'; *'Lamia Part I', *'Otho the Great' (in collaboration with Brown); the second version of Hyperion, called The Fall of Hyperion, *'To Autumn', and 'Lamia Part II'. During this year he was beset with financial problems, both his own and those of his friends and relations, and intensely preoccupied with his love for Fanny, to whom he became engaged. In the winter of 1819 he began the unfinished 'The Cap and Bells', but he became increasingly ill with tuberculosis and his great creative work was now over. His second volume of poems, Lamia, Isabella, The Eve of St Agnes, and Other Poems, was published in July 1820, and included, as well as the title poems, the odes, Hyperion, 'Fancy', and other works. The volume was generally well received, gaining much praise in some quarters, with criticism from Blackwood's much muted, but the sales were very slow. Shelley invited Keats to Italy and in September, after sorting out his copyrights and financial affairs, Keats set off with his friend *Severn. They did not go to the Shelleys, but settled in Rome, where Keats died the following February.
Keats has always been regarded as one of the principal figures in the *Romantic movement, and his stature as a poet has grown steadily through all changes of fashion. *Tennyson considered him the greatest poet of the 19th cent., and Matthew *Arnold commended his 'intellectual and spiritual passion' for beauty,; in the 20th cent. he has been discussed and reconsidered by critics from T. S. *Eliot and *Leavis to *Trilling (The Opposing Self, 1955) and Christopher Ricks (Keats and Embarrassment, 1974).
His letters, published in 1848 and 1878, have come to be regarded with almost the admiration given to his poetry, to which many of them act as a valuable commentary. He wrote fully and revealingly to Fanny Brawne, to his brothers and ssiter, to Shelley, Leigh Hunt, Haydon, Severn, and many others, mixing the everyday evens of his own life with a lively and delicate interest in that of his correspondents, and displaying wit and high spirits as well as his profoundest thoughts on love, poetry, and the nature of man. T. S. Eliot described the letters as 'certainly the most notable and most important ever written by any English poet' (The Use of Poetry and the Use of Criticism, 1933). The major biographies are by W. J. Bate (1963), R. *Gittings (1968), and Andrew *Motion (1997).
Endymion, a poem in four books, by *Keats, written 1817, published 1818. The poem tells, with a wealth of epithet and invention, the story of Endymion, 'the brain-sick shepherd-prince' of Mount Latmos, who falls in love with Cynthia, the moon, and descends to the depths of the earth to find her. There he encounters a real woman, Phoebe, and giving up his pursuit of the ideal he falls in love with her. She, however, turns out to be none other than Cynthia, who, after luring him, weary and perplexed, through 'cloudy phantasms', bears him away to eternal life. With the main story are woven the legends of Venus and Adonis, of Glaucus and Scylla, and of Arethusa. The poem includes in Bk I the well-known 'Hymn to Pan', and in Bk IV the roundelay 'O Sorrow'.
In his preface Keats describes the work as 'a feverish attempt, rather than a deed accomplished'. It is a work, rich in luxuriant imagery, of an immature genius, the product of sensation rather than thought. The allegory, which is sometimes obscure, appears to represent the poet pursuing ideal perfection, and distracted from his quest by human beauty. The work was violently attacked in the *Quarterly Review and in *Blackwood's, in which *Lockhart described the poem as one of 'calm, settled, imperturbable drivelling idiocy'.
Hyperion: A Fragment and The Fall of Hyperion, fragments of epic poems by *Keats written 1818-19. Hyperion was published 1820, The Fall of Hyperion not until 1856. In 1818 Keats gave up the effort to finish Hyperion, then began to rewrite and recast it as The Fall of Hyperion, but once again the effort was abandoned.
In the first version, written as direct narrative, the tremendous figure of the fallen Saturn, conquered by Jove, mourns the loss of his kingdom, and debates with his fallen fellow Titans, in their craggy lair, how he may regain his kingdom. They conclude that only the magnificent Hyperion, who is still unfallen, will be able to help them. In Bk III the golden Apollo, god of music, poetry, and knowledge, speaks to the goddess Mnemosyne of his inexplicable anguish; hen, at the moment of his deification, the fragment ends. In the second version, the poet is in a luxuriant garden, where he drinks an elixir which induces a vision. He finds himself in a vast domed monument, then proceeds with pain and difficulty to climb the stair to the shrine of the priestess Moneta. Together they find the agonizing fallen Saturn, and with Mnemosyne and Thea they speak to him of his pain and loss. In despair he leaves with Thea to comfort his fellow Titans, while the poet and Moneta watch the magnificent, but much troubled, Hyperion blaze into the west. The precise meaning of the allegory is not always clear, but both poems have as their general theme the nature of poetry and the nature and development of the poet. It is not known why Keats abandoned what was to have been his great work, but one of his fears, expressed in a letter to his friend *Reynolds, was that his writing was too Miltonic.
'Isabella, or The Pot of Basil' ["Isabella, o la maceta de albahaca"], a narrative poem by *Keats, written 1818, published 1820.
The poem is based on a story in Boccaccio's *Decameron. The worldly, ambitious brothers of Isabella intend that she shall marry a nobleman. When they discover her love for the humble Lorenzo they lure him away, murder him, and bury his body in a forest. His ghost then appears to Isabella and tells her where he is buried. With the help of her old nurse she finds his body, severs the head, and places it in a pot with a plant of basil over it. Her brothers, observing how she cherishes the plant, steal the pot, discover the mouldering head, and fly, conscience-stricken, into banishment. Pathetically Isabella mourns her loss, pines away, and dies. The poem reflects a contemporary fashion for the macabre, and *Lamb pronounced it the best work in the volume of poems of 1820, but Keats himself very soon came to dislike it.
'The Eve of St Agnes', a narrative poem in Spenserian stanzas by *Keats, written 1819, published 1820.
The poem is set in a remote period of time, in the depths of winter. Madeline has been told the legend that on St Agnes's Eve maidens may have visions of their lovers. Madeline's love, Porphyro, comes from a family hostile to her own, and she is herself surrounded by 'hyena foemen, and hot-blooded lords'. Yet he contrives to steal into the house during a ball on St Agnes's Eve, and with the aid of old Angela is secreted in Madeline's room, where he watches his love prepare for sleep. When she wakes from dreams of him, aroused by his soft singing, she finds him by her bedside. Silently they escape from the house, and fly 'away into the storm'. With its rich and vivid imagery, its heightened atmosphere of excitement and passion, the poem is generally regarded as among Keats's most successful works.
'La Belle Dame sans Merci', a ballad by *Keats, written 1819, published 1820, which describes a knight fatally enthralled by an elfin woman. Although Keats himself spoke of it lightly, critics and biographers have written of it at length, many concurring with Robert *Graves (The White Goddess, 1948) that 'the Belle Dame represented Love, Death by Consumption . . . and Poetry all at once'. It was much admired by the *Pre-Raphaelites and William *Morris asserted that 'it was the germ from which all the poetry of his group had sprung.'
La Belle Dame sans mercy is also the title of a poem translated from *Chartier, attributed at one time to *Chaucer, but now thought to be the work of Sir Richard Ros.
'Ode on a Grecian Urn', a poem by *Keats, written 1819, published 1820.
While he describes the various pastoral scenes of love, beauty, and joy illustrated in the urn, the poet reflects on the eternal quality of art and the fleeting nature of human love and happiness. The last two lines are particularly well known and their meaning much debated:
'Beauty is truth, truth beauty'—that is all
Ye know on earth, and all ye need to know.
'Ode to a Nightingale', a poem by *Keats, written 1819, published 1820.
Keats's friend Charles Brown relates that a nightingale has nested near his house in Hampstead (now known as Keats House), and that on e morning Keats sat under a plum-tree in the garden composing his ode on 'some scraps of paper'. Briefly, the poem is a meditation on the immortal beauty of the nightingale's song and the sadness of the observer, who must in the end accept sorrow and mortality.
'To Autumn', a poem by *Keats, written Sept. 1819, published 1820. It was his last major poem, and although usually included in a discussion of the Odes (see under ODE), it was not so labelled by Keats himself.
The poem, in three stanzas, is at once a celebration of the fruitfulness of autumn (lightly personified as a figure in various autumnal landscapes) and an elegy for the passing of summer and the transience of life, and its mood has been generally taken to be one of acquiescence. The association of autumn and early death in the mind of Keats is poignantly revealed in a letter to Reynolds (21 Sept. 1819), written immediately after the composition of the poem, in which he says, 'I always somehow associate Chatterton with the autumn'.
Recursos en Internet para teoría literaria, crítica y filología
sábado, 16 de noviembre de 2013
Recursos en Internet para Teoría Literaria, Crítica y Filología
Arresting Deconstruction
viernes, 15 de noviembre de 2013
Arresting Deconstruction
This is a paper I wrote in the 80s, and in America, shortly after the publication of Gayatri Chakravorty Spivak's In Other Worlds: