I want to give just a slight indication of the influence the book has had. I knew that George Orwell, in his second novel, A Clergyman's Daughter , published in 1935, had borrowed from Joyce for his nighttime scene in Trafalgar Square, where Deafie and Charlie and Snouter and Mr. Tallboys and The Kike and Mrs. Bendigo and the rest of the bums and losers keep up a barrage of song snatches, fractured prayers, curses, and crackpot reminiscences. But only on my most recent reading of Ulysses did I discover, in the middle of the long and intricate mock-Shakespeare scene at the National Library, the line 'Go to! You spent most of it in Georgina Johnson's bed, clergyman's daughter.' So now I think Orwell quarried his title from there, too.
Christopher HitchensTags: literary-criticism literature influence james-joyce george-orwell a-clergyman-s-daughter trafalgar-square ulysses-novel
There is some relationship between the hunger for truth and the search for the right words. This struggle may be ultimately indefinable and even undecidable, but one damn well knows it when one sees it.
Christopher HitchensTags: truth literary-criticism literature language doris-lessing
At first I was glad for the help. My freshmen English class, "Mythology and Archetypal Experience," confounded me.
I didn't understand why we couldn't just read books without forcing contorted interpretations on then
Tags: literary-criticism english university
If you love my work, you are a good critic. If you do not love my work, you are a 'not good' critic.
Roman PayneTags: literary-criticism criticism critics roman payne
As long as people believe in the written word and a good story.. They will believe in me.
Solange nicoleTags: inspirational literary-criticism
A book is a machine to think with, but it need not, therefore, usurp the functions either of the bellows or the locomotive.
Ivor A. RichardsTags: literary-criticism
However, Hardy's relationship with nature is a dialectical one. While he indicates that he recognizes how human perception shapes nature, he nevertheless accepts nature as possessed of its own agency, as working through its cycle regardless of human perception, understanding, or attempted control. In essence, it claims a power apart from that with which humans may have imbued it. Even when humanity has lost faith in the possibility of renewal through nature, nature as Hardy describes it fights back, attempting to force human consciousness to acknowledge her power, her ability to transform life.
Shirley A. StaveTags: literary-criticism
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
Joseph BrodskyTags: literary-criticism
All Renaissance drama, especially the works of Marlowe and Shakespeare, is profoundly concerned with shifting power relations within society. The individual was a new force in relation to the state. The threat of rebellion, of the overturning of established order, was forcefully brought home to the Elizabethan public by the revolt of the Earl of Essex, once the Queen's favourite. The contemporary debate questioned the relationship between individual life, the power and authority of the state, and the establishing of moral absolutes. Where mediaeval drama was largely used as a means of showing God's designs, drama in Renaissance England focuses on man, and becomes a way of exploring his weaknesses, depravities, flaws - and qualities.
Ronald CarterTags: literary-criticism
In the humanist world following Erasmus, man is at the centre of the universe. Man becomes largely responsible for his own destiny, behaviour and future. This is the new current of thought which finds its manifestation in the writing of the 1590s and the decades which follow. The euphoria of Elizabeth's global affirmation of authority was undermined in these years by intimations of mortality: in 1590 she was 57 years old. No one could tell how much longer her golden age would last; hence, in part, Spenser's attempts to analyse and encapsulate that glory in an epic of the age. This concern about the death of a monarch who - as Gloriana, the Virgin Queen - was both symbol and totem, underscores the deeper realisation that mortality is central to life. After the Reformation, the certainties of heaven and hell were less clear, more debatable, more uncertain.
Ronald CarterTags: literary-criticism
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