Up until about page 220(in the Bantam Classic Edition) I was believing every moment of Defoe's story. Yes, it was extreme at certain moments, but it certainly wasn't beyond belief. Who doesn't want to escape the mundane life? Crusoe is merely a person who acted on this feeling of wanderlust that we all experience. Although we all seem to have misgivings about his ability and good luck, I still believe that Defoe doesn't leave any questions unanswered. The details he provides makes it believable as I'm reading it because I know that this "castle" didn't just appear out of nowhere. It was a struggle, and it took years to complete.
Even the description of Friday's escape I'm buying because of the details. However, I get to the fantastical scene where Crusoe and Friday decide to confront the cannibals and I begin to doubt. This otherwise very realistic story suddenly becomes less real for me. This is what I would expect to see in a straight to dvd or made for television action movie. I think that most people would be too frightened to come to the rescue of strangers. It was more realistic earlier on in the story when Crusoe considered saving the victims from cannibals, and then after careful consideration realizes that it threatens his own life and decides not to. The fact that one of the victims turns out to be Friday's father makes me doubt even more(if it was a movie or sitcom--this is the moment when piano music would begin to play as the two hug each other). However, it still doesn't make me like the story any less. I haven't finished the book, so it's quite possible that Defoe will end up explaining this and putting my doubt to rest.
Saturday, September 8, 2007
Friday, September 7, 2007
What is “plain style”
Compare a few passages:
But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she.
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
This passage is from one of the most famous speeches in Shakespeare—Romeo’s speech to Juliet on her balcony. What do you take to be its basic meaning? On going through it again, try to identify some of the figures of speech Shakespeare uses. How does the figurative language inform the basic sense of the speech?
Of Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal taste
Brought Death into the World, and all our woe,
With loss of EDEN, till one greater Man
5 Restore us, and regain the blissful Seat,
Sing Heav'nly Muse, that on the secret top
Of OREB, or of SINAI, didst inspire
That Shepherd, who first taught the chosen Seed,
In the Beginning how the Heav'ns and Earth
10 Rose out of CHAOS: Or if SION Hill
Delight thee more, and SILOA'S Brook that flow'd
Fast by the Oracle of God; I thence
Invoke thy aid to my adventrous Song,
That with no middle flight intends to soar
15 Above th' AONIAN Mount, while it pursues
Things unattempted yet in Prose or Rhime.
These are the opening lines to Paradise Lost. Again, how does Milton use figurative language and, more importantly for our purposes, why and to what effect. Consider especially the ambition proclaimed in the last 4 lines.
Here are two passages from Robinson Crusoe.
Novel’s opening:
I WAS born in the year 1632, in the city of York, of a good family, though not of that country, my father being a foreigner of Bremen, who settled first at Hull. He got a good estate by merchandise, and leaving off his trade, lived afterwards at York, from whence he had married my mother, whose relations were named Robinson, a very good family in that country, and from whom I was called Robinson Kreutznaer; but, by the usual corruption of words in England, we are now called-nay we call ourselves and write our name-Crusoe; and so my companions always called me.
What do you notice about Defoe’s style in these opening lines? How does the style relate to the content? What does the style say about his priorities?
I picked this passage from early in the novel, somewhat arbitrarily:
The sixth day of our being at sea we came into Yarmouth Roads; the wind having been contrary and the weather calm, we had made but little way since the storm. Here we were obliged to come to an anchor, and here we lay, the wind continuing contrary-viz. at south-west-for seven or eight days, during which time a great many ships from Newcastle came into the same Roads, as the common harbour where the ships might wait for a wind for the river.
We had not, however, rid here so long but we should have tided it up the river, but that the wind blew too fresh, and after we had lain four or five days, blew very hard. However, the Roads being reckoned as good as a harbour, the anchorage good, and our ground-tackle very strong, our men were unconcerned, and not in the least apprehensive of danger, but spent the time in rest and mirth, after the manner of the sea; but the eighth day, in the morning, the wind increased, and we had all hands at work to strike our topmasts, and make everything snug and close, that the ship might ride as easy as possible. By noon the sea went very high indeed, and our ship rode forecastle in, shipped several seas, and we thought once or twice our anchor had come home; upon which our master ordered out the sheet-anchor, so that we rode with two anchors ahead, and the cables veered out to the bitter end.
How might you characterize it? What is the subject matter? Imagine how a well-read, classically educated eighteenth-century reader might react. How selective is Defoe in the information he gives his reader: put another way, why do you think Defoe includes the details he does?
Bottom line: what is the effect on the reader?
But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she.
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
This passage is from one of the most famous speeches in Shakespeare—Romeo’s speech to Juliet on her balcony. What do you take to be its basic meaning? On going through it again, try to identify some of the figures of speech Shakespeare uses. How does the figurative language inform the basic sense of the speech?
Of Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal taste
Brought Death into the World, and all our woe,
With loss of EDEN, till one greater Man
5 Restore us, and regain the blissful Seat,
Sing Heav'nly Muse, that on the secret top
Of OREB, or of SINAI, didst inspire
That Shepherd, who first taught the chosen Seed,
In the Beginning how the Heav'ns and Earth
10 Rose out of CHAOS: Or if SION Hill
Delight thee more, and SILOA'S Brook that flow'd
Fast by the Oracle of God; I thence
Invoke thy aid to my adventrous Song,
That with no middle flight intends to soar
15 Above th' AONIAN Mount, while it pursues
Things unattempted yet in Prose or Rhime.
These are the opening lines to Paradise Lost. Again, how does Milton use figurative language and, more importantly for our purposes, why and to what effect. Consider especially the ambition proclaimed in the last 4 lines.
Here are two passages from Robinson Crusoe.
Novel’s opening:
I WAS born in the year 1632, in the city of York, of a good family, though not of that country, my father being a foreigner of Bremen, who settled first at Hull. He got a good estate by merchandise, and leaving off his trade, lived afterwards at York, from whence he had married my mother, whose relations were named Robinson, a very good family in that country, and from whom I was called Robinson Kreutznaer; but, by the usual corruption of words in England, we are now called-nay we call ourselves and write our name-Crusoe; and so my companions always called me.
What do you notice about Defoe’s style in these opening lines? How does the style relate to the content? What does the style say about his priorities?
I picked this passage from early in the novel, somewhat arbitrarily:
The sixth day of our being at sea we came into Yarmouth Roads; the wind having been contrary and the weather calm, we had made but little way since the storm. Here we were obliged to come to an anchor, and here we lay, the wind continuing contrary-viz. at south-west-for seven or eight days, during which time a great many ships from Newcastle came into the same Roads, as the common harbour where the ships might wait for a wind for the river.
We had not, however, rid here so long but we should have tided it up the river, but that the wind blew too fresh, and after we had lain four or five days, blew very hard. However, the Roads being reckoned as good as a harbour, the anchorage good, and our ground-tackle very strong, our men were unconcerned, and not in the least apprehensive of danger, but spent the time in rest and mirth, after the manner of the sea; but the eighth day, in the morning, the wind increased, and we had all hands at work to strike our topmasts, and make everything snug and close, that the ship might ride as easy as possible. By noon the sea went very high indeed, and our ship rode forecastle in, shipped several seas, and we thought once or twice our anchor had come home; upon which our master ordered out the sheet-anchor, so that we rode with two anchors ahead, and the cables veered out to the bitter end.
How might you characterize it? What is the subject matter? Imagine how a well-read, classically educated eighteenth-century reader might react. How selective is Defoe in the information he gives his reader: put another way, why do you think Defoe includes the details he does?
Bottom line: what is the effect on the reader?
Wednesday, September 5, 2007
Following the earthquake and Robinson's illness, he has some sort of religious awakening. As the narrator of the text, he emphasizes greatly that prior to these events, what constituted of his religious association was his brief recollection of G-d following a miraculous/traumatic event, and his fogetting of G-d in quick succession. As he reflects upon G-d as the Master of the Universe, Robinson begins to query why such a fate has befallen him--which leads him back to his father's initial warning at the opening of the book. It would seem, as his father's words have remained with him, that he begins to take G-d's word a bit more seriously. Although he has neglected to perform as his father desired him to do so, instead, following his own passion for excitement, Robinson shows the possibility of combining both worlds; He has left home, a place of stability, and arrives on the island--characterized by disorder. Here, he imposes a new sense of order, and follows 'religion' according to his own principles. The excitement that Robinson desires is that of creation, and thus, he recreates religion by adapting it to his lively and active lifestyle--becoming engaged with religion, rather than simply following a dry route, cut out for him by his father. Tova Friedman
Robinson Crusoe
One of my questions is the use of viz throughout. Was this common at the time? I seem to remember that it was a sort of standard abbreviation, but couldn't find it in my dictionary. Other "weird words" were dub, searce (for sieve), and his continued use of the word "miserable" for his condition. Word usage/meanings change over time, but I still stumble a bit over that miserable thing.
I had wondered what happened to the cats when the one returned only to dispatched with a sentence or two! So much for plot continuity or kindness to animals. His attitude toward women doesn't seem to be very favorable nor of course, the Negroes or Indians. Such casual racism grates, but I know it was a common attitude.
One last question: What/where is Sallee? I didn't quite understand where he was held as a slave and my geography failed me.
I had wondered what happened to the cats when the one returned only to dispatched with a sentence or two! So much for plot continuity or kindness to animals. His attitude toward women doesn't seem to be very favorable nor of course, the Negroes or Indians. Such casual racism grates, but I know it was a common attitude.
One last question: What/where is Sallee? I didn't quite understand where he was held as a slave and my geography failed me.
Tuesday, September 4, 2007
Generic Issues and the novel
Some questions we will be asking ourselves:
In what ways is the novel popular?
How does it differ from more elite genres?
What were elite genres?
Prestigious literary works were the Greek and Latin classics and works influenced by or modeled on them. Many of these works were designed so that they could only be read or appreciated by those with a “classical” or “gentleman’s education.” Women and middle and lower class men rarely learned to read the classics.
Neo-classic aesthetics: most classically oriented readers and writers mistrusted innovation, and believed that the classics provided the most enduring, time-tested models of literary excellence. They also shared a belief that there were certain essential rules of literature, rules derived from classical models and aesthetic writings such as Horace’s Art of Poetry.
For our purposes the most important aspect of this is the concept of literary decorum and the hierarchy of genres. According to M. H. Abrams, decorum is “the propriety or fitness with which a literary genre, its subject matter, characters, and actions, and the style of its narration and its dialogue are matched to each other.”
According to these rules, tragedy and Epic are “high” and serious; as such, they should feature kings and other aristocratic characters, acting and speaking only in the most dignified, elevated manner. On the other hand, comedy should feature middle and lower class characters, often acting ridiculously. Serious literature should not represent non-elite characters.
Another belief was that literature should only focus on essential or timeless truths and should exclude what was mundane or ordinary as transitory and unimportant.
Most novel writers and readers had not had access to a classical education..
Question:
In what ways does Robinson Crusoe break from classical conventions and the rules of “decorum”?
In what ways is the novel popular?
How does it differ from more elite genres?
What were elite genres?
Prestigious literary works were the Greek and Latin classics and works influenced by or modeled on them. Many of these works were designed so that they could only be read or appreciated by those with a “classical” or “gentleman’s education.” Women and middle and lower class men rarely learned to read the classics.
Neo-classic aesthetics: most classically oriented readers and writers mistrusted innovation, and believed that the classics provided the most enduring, time-tested models of literary excellence. They also shared a belief that there were certain essential rules of literature, rules derived from classical models and aesthetic writings such as Horace’s Art of Poetry.
For our purposes the most important aspect of this is the concept of literary decorum and the hierarchy of genres. According to M. H. Abrams, decorum is “the propriety or fitness with which a literary genre, its subject matter, characters, and actions, and the style of its narration and its dialogue are matched to each other.”
According to these rules, tragedy and Epic are “high” and serious; as such, they should feature kings and other aristocratic characters, acting and speaking only in the most dignified, elevated manner. On the other hand, comedy should feature middle and lower class characters, often acting ridiculously. Serious literature should not represent non-elite characters.
Another belief was that literature should only focus on essential or timeless truths and should exclude what was mundane or ordinary as transitory and unimportant.
Most novel writers and readers had not had access to a classical education..
Question:
In what ways does Robinson Crusoe break from classical conventions and the rules of “decorum”?
The novel and popular culture
What conditions are necessary for popular culture to develop and thrive?
From your answers
Means of production: printing, industry
Talented writers who chose to write for middle class audience
Aspects of the audience:
“a society in which members are continually in contact to create, uphold, disseminate a trend”
“well-educated middle class”
sense of shared values—at least among sub-groups large enough to provide an audience
Social aspects:
several of you mentioned different aspects of security—peace, prosperity, strong military—note that the 18th century was an era of unprecedented peace and political stability.
“basic needs have been met: food shelter, education, health, for society to have the extra time”—people must have enough time and money for entertainment
Decline of measures of control:
“religion being accepting and supportive of it”—or at least unable to control it
lack of family control
lack of effective political or elite control of literature
Expanding on the class discussion:
Urbanization:
A new type of reader: the development of a distinct urban, middle-class culture in London, consisting of lawyers, clerks, skilled craftsman, traders, merchants, shop-keepers, upper servants like valets, housekeepers, butlers, ladies maids, large numbers of teenage apprentices living away from home
A new type of writer: GRUB STREET: highly distinctive literary culture associated with Grub Street in London; large class of professional and semi-professional writers, many of them barely scraping together a living. Both respected and disreputable writers were part of an essentially middle-class commercial culture. Some aspects of that culture:
Professional: they made a living by their writing, publishing and selling books; can be contrasted to older ideas of the aristocratic amateur writing for a court readership or a court writer under the direct patronage of an aristocrat. Most of the major writers of the period come from solidly middle class (Defoe, Richardson, Samuel Johnson) or genteel professional (Fielding, Pope, Swift) backgrounds.
ongoing conflict over need to write for money—similar to contemporary anxieties about “selling out,” sacrificing art to satisfy audience
Women writers: writing provided one of the few openings for women to make a living—although they still faced massive discrimination, significant numbers of women were able to break into publishing for the first time especially because of the popularity of fiction; some of the most successful and prolific novelists of the century were women
Publications for the new readership: Grub Street produced a wide range of literary material, much of it printed as cheaply as possible and now lost:
Some characteristic types of publication:
sensational news accounts: stories of criminals a la “true crime”, scandalous stories, shipwrecks
religious work, especially conversion stories, accounts of apparitions, didactic stories
Political work: parliamentary reporting, polemical political and religious pamphlets—Defoe got his start with this kind of writing
literary material in our sense of the word: poems, fiction, biographies and autobiographies—much of it “occasional”—e.g. a poem on the King’s birthday.
“serious” literature, often sold in expensive editions by subscription: theological and didactic works, science, philosophy, history, translations of classics, fancy editions of poetry, Johnson’s Dictionary;
The Novel: grew up in the nexus of this culture; as a new genre it lacked established conventions; in practice, and probably by its nature, it was eclectic--it proved malleable enough to be able to incorporate many different styles, genres, ideological positions.
From your answers
Means of production: printing, industry
Talented writers who chose to write for middle class audience
Aspects of the audience:
“a society in which members are continually in contact to create, uphold, disseminate a trend”
“well-educated middle class”
sense of shared values—at least among sub-groups large enough to provide an audience
Social aspects:
several of you mentioned different aspects of security—peace, prosperity, strong military—note that the 18th century was an era of unprecedented peace and political stability.
“basic needs have been met: food shelter, education, health, for society to have the extra time”—people must have enough time and money for entertainment
Decline of measures of control:
“religion being accepting and supportive of it”—or at least unable to control it
lack of family control
lack of effective political or elite control of literature
Expanding on the class discussion:
Urbanization:
A new type of reader: the development of a distinct urban, middle-class culture in London, consisting of lawyers, clerks, skilled craftsman, traders, merchants, shop-keepers, upper servants like valets, housekeepers, butlers, ladies maids, large numbers of teenage apprentices living away from home
A new type of writer: GRUB STREET: highly distinctive literary culture associated with Grub Street in London; large class of professional and semi-professional writers, many of them barely scraping together a living. Both respected and disreputable writers were part of an essentially middle-class commercial culture. Some aspects of that culture:
Professional: they made a living by their writing, publishing and selling books; can be contrasted to older ideas of the aristocratic amateur writing for a court readership or a court writer under the direct patronage of an aristocrat. Most of the major writers of the period come from solidly middle class (Defoe, Richardson, Samuel Johnson) or genteel professional (Fielding, Pope, Swift) backgrounds.
ongoing conflict over need to write for money—similar to contemporary anxieties about “selling out,” sacrificing art to satisfy audience
Women writers: writing provided one of the few openings for women to make a living—although they still faced massive discrimination, significant numbers of women were able to break into publishing for the first time especially because of the popularity of fiction; some of the most successful and prolific novelists of the century were women
Publications for the new readership: Grub Street produced a wide range of literary material, much of it printed as cheaply as possible and now lost:
Some characteristic types of publication:
sensational news accounts: stories of criminals a la “true crime”, scandalous stories, shipwrecks
religious work, especially conversion stories, accounts of apparitions, didactic stories
Political work: parliamentary reporting, polemical political and religious pamphlets—Defoe got his start with this kind of writing
literary material in our sense of the word: poems, fiction, biographies and autobiographies—much of it “occasional”—e.g. a poem on the King’s birthday.
“serious” literature, often sold in expensive editions by subscription: theological and didactic works, science, philosophy, history, translations of classics, fancy editions of poetry, Johnson’s Dictionary;
The Novel: grew up in the nexus of this culture; as a new genre it lacked established conventions; in practice, and probably by its nature, it was eclectic--it proved malleable enough to be able to incorporate many different styles, genres, ideological positions.
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