lit britanica an2 sem2 burdescu 2009

8/12/2019 Lit Britanica An2 Sem2 Burdescu 2009

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Tema Nr. 1

THOMAS STEARNS ELIOT- THE WASTE LAND

• Mythological and religio! all!ion!• "o!t-#ar #a!teland• "hy!ical and $!ychological damage

• %ertility &er!! !terility- $agan creed!

O'iecti&ele temei:• Studenţii trebuie să înţeleagă felul în care T. S. Eliot a perceput lumea după primul război mondial

• Contrastează grandoarea trecutului cu prezentul corupt

• Apar mituri legate de fertilitate şi sterilitate

• Stilul este bazat pe eseurile autorului

Tim$l alocat temei( ) ore

*i'liogra+ie recomandat,( Eliot, T. S., Te !aste "and, !.!. #orton $ Co, %&&&

'ordon, "(ndall, T.S. Eliot: An )mperfect "ife, !.!. #orton $ Co, *+++

!illiamson, 'eorge, A eader-s 'uide to T. S. Eliot: A oem/b(/oem Anal(sis, *++0

1ood(, 2a3id, Te Cambridge Companion to T. S. Eliot, Cambridge 4ni3ersit( ress, *++5

Eliot 6as descended from a distinguis #e6 England famil( tat ad relocated to St. "ouis, 1o. 7is

famil( allo6ed im te 6idest education a3ailable in is time, 6it no influence from is fater to be8practical9 and go into business. rom Smit Academ( in St. "ouis e 6ent to 1ilton, in 1assacusetts;

from 1ilton e entered 7ar3ard in *+&<; e 6as graduated =.A. in *+&+, after tree instead of te usual four(ears. Te men 6o influenced im at 7ar3ard 6ere 'eorge Santa(ana, te pilosoper and te poet, and

te critic )r3ing =abbitt. rom =abbitt e deri3ed an anti/omantic attitude tat amplified b( is laterreadings of =ritis pilosopers .7. =radle( and T.E. 7ulme, lasted troug is life. )n te academic (ear*+&+/*& e 6as an assistant in te pilosop( at 7ar3ard.

)n te essa( 8Tradition and te )ndi3idual Talent9, appearing in te first critical 3olume, The SacredWood >*+%&? , Eliot asserts tat tradition, as used b( te poet, is not a mere repetition of te 6or@ of te

immediate past >8no3elt( is better tan repetition9, e said?; rater it comprises te 6ole of te European

literature from 7omer to te present. Tis point of 3ie6 is 8programmatic9 in te sense tat it disposes tereader to accept te re3olutionar( no3elt( of Eliot-s pol(glot uotations and serious parodies of oter poets-

st(les in te Wa!te Land. or Eliot poetr( is an indirect eBpression of te emotion or a series of sensations.All tese uman feelings can become poetr( onl( filtered troug a catal(tic agent tat is in fact te poet-s

mind. Te concept of 8pure poetr(9 is defined as te one tat presents te most commonl( sared feelings.

Tis concept is based on 8impersonalit(9, tat is 8depersonalization9 te poet does not eBpress is o6nindi3idual personalit( but tat of is o6n communit(.

Tis teor( so6s us tat te interest is focus on te poem and not on te poet and in tis 6a( te poem becomes autonomous; it can eBist in itself, but is also integrated in te literar( tradition. 7istor( is terefore

te lin@ bet6een te old and te ne6 on t6o senses: cronologicall( it represents a flo6 and forms a

simultaneous point of 3ie6, an accumulation of 3alues from te continuous flo6. Det, tradition is notmotionless, it canges e3er( moment. Tus te poet-s istoric feeling is li@e a miBture of past and present

consciousness. 7e sees te t6o concepts of past and present dialecticall(, tere is no pure past and no pure present.

)n te essa( The M!ic o+ "oetry Eliot states tat tecniue is bearer of signification. )n a poem, music

6itout meaning cannot eBist. A poem implies meaning and r(tm. E3en an ugl( 6ord can be poetical because music implies te capacit( of te 6ord to combine 6it oter 6ords in a gi3ing conteBt. =esides

6ords te same s(stem functions 6it temes and motifs. Te critic-s main occupation is to describe teindi3idual st(le troug t6o metods: anal(sis and analog(. Anal(sis is connected 6it te problems of te

*



6a( in 6ic te poet ma@es use of te 3ocabular( and s(ntaB. Comparison refers to te reference of te

6or@ to tradition. !it Eliot te aim of te critiue on te teBt is te participati3e reading. Eliot-s criticism and poetr( are so inter6o3en tat it is difficult to discuss tem separatel(. The Wa!teLand is Eliot-s most famous poem. )t consists of fi3e sections and proceeds on a principle of 8retoricaldiscontinuit(9. )t eBpresses te opelessness and confusion of purpose of life in te secularized cit(. =ut

The Wa!te Land is not a simple contrast of te eroic past 6it te degraded present; it is rater a timeless,

simultaneous a6areness of moral grandeur and moral e3il. Te recurrence of te teme of te failed seBuallo3e so6s te same despair, sustaining te burden of te poem: te couple in te (acint garden, te

cess/pla(ing, middle/class couple, te con3ersation of "il and er friend, te 8n(mps9 and teir friends>?, S6eene( and 1rs. orter, te t(pist and te circle, te tree 6omen in "ondon >? te isolated

consciousness 6o spea@s to 8m( friend9 of 8a moment-s surrender9 and to an unnamed companion of o6

8(our eart 6ould a3e responded9. Secondl(, tis idea is reinforced b( a common and recurring landscape,te 8dead land9 of April and te desert of 8ston( rubbis9 in The *rial o+ the Dead te 8ston( places9,

roc@, sand and mountains, 8eBausted 6ells9 and arid plain of successi3e moment in What the ThnderSaid; and te urban eui3alents in 8te bro6n fog of a 6inter da6n9, 8rat-s alle(9, te 8bro6n land9 of te

Tames-s 6inter ban@sTere are se3eral @e( 6ords around 6ic te 6ole is structured. or tis poem

te frame6or@ is made up of te stories, m(ts >Cristian and pre/Cristian? grouped on te ideas of fertilit(and sterilit(, deat and rebirt.

TEST DE EALARE

*. ro3ide an eBample as to o6 T.S. Eliot contrasts past and present.ăspuns:

In The Fire Sermon, T. S. Eliot shows how the Thames can be viewed both as a symbol of the glorious past

and decadent, corrupt present. The Thames witnesses Gloriana’s great defeat over the Spanish fleet only to

now become a filthy river bearing cigarette ends and empty bottles.

%. !at is te importance of propets at te le3el of te poem as a 6oleFăspuns:

/ntre',ri*. ro3ide an eBample of an ancient fertilit( creed.

ăspuns:The best nown e!ample is that of the "yacinth girl. #herever that girl sits, the ground becomes e!tremely

fertile. Similar instances occur with an upside down meaning with the Fisher $ing who is wounded in the

loins, thus as sterile as his lands.

%. !at is te religious output in te poemF

ăspuns:

RE0MATL TEMEI

Te !aste "and is a re3olutionar(, igl( influential GHG/line modernist poem b( T. S. Eliot. 2espite te alleged obscurit( of te poem its sifts bet6een satire and propec(, its abrupt and

unannounced canges of spea@er , location and time, its elegiac but intimidating summoning up of a 3ast anddissonant range of cultures and literatures te poem as noneteless become a familiar toucstone of

modern literature. Among its famous prases are IApril is te cruelest montI >its first line?; I) 6ill so6

(ou fear in a andful of dustI; and te Sans@rit ISanti santi santiI >its last line?.Te poem is di3ided into fi3e parts: Te =urial of

te 2ead, A 'ame of Cess, Te ire Sermon, 2eat b( !ater and !at te Tunder Said. Te unitingteme for te entire poem lies in te destruction left beind b( te irst !orld !ar, te inabilit( to bring

for6ard reconstruction and te lac@ of ope.

Tema Nr. )

WILLIAM *TLER EATS- LEDA AND THE SWAN2 SAILIN3 TO

%

http://en.wikipedia.org/wiki/Modernist_poetry_in_English

http://en.wikipedia.org/wiki/T._S._Eliot


http://en.wikipedia.org/wiki/Satire

http://en.wikipedia.org/wiki/Prophecy

http://en.wikipedia.org/wiki/Narrator

http://en.wikipedia.org/wiki/Setting_(literature)

http://en.wikipedia.org/wiki/Elegiac


http://en.wikipedia.org/wiki/History_of_modern_literature

http://en.wikipedia.org/wiki/Sanskrit

http://en.wikipedia.org/wiki/Shanti

http://en.wikipedia.org/wiki/Modernist_poetry_in_English


http://en.wikipedia.org/wiki/Satire

http://en.wikipedia.org/wiki/Prophecy

http://en.wikipedia.org/wiki/Narrator

http://en.wikipedia.org/wiki/Setting_(literature)


http://en.wikipedia.org/wiki/History_of_modern_literature

http://en.wikipedia.org/wiki/Sanskrit

http://en.wikipedia.org/wiki/Shanti



Peus ta@es te form of a s6an tat is te s(mbol of purit(, maNest( and grace. Tis s(mbol is stressed b(

te 6ite colour tat is connected 6it te sun, te messenger of te gods. "eda, on te oter and, iscaracterized b( te 6ord 8dar@9, suggesting er eartl( origin. Deats insists on te difference: se is

elpless and terrified 6ile Peus is po6erful and indifferent. E3er(ting is suggested: 8er elpless breast9,8tose terrified 3ague fingers9, 8featered glor(9, 8er loosening tigs9, 8brute blood of te air9.

Te tird stanza brea@s te poem. )t is a 3ision announced b( te present moment. Te 3iolence no6 and

ere 6ill destro( a ci3ilisation tere: 8A sudder in te loins engenders tereO Te bro@en 6all9

TEST DE EALARE

*. EBplain te use of contrasti3e epitets in "eda and te S6an.ăspuns:

Such epithets are used in order to e!press the difference between the compliant submissive, helpless mortal

and the glorious, great, superior gods. %eda cannot avoid being raped and &eus is pictured as being

almighty and grandiose.

%. EBplain te significance of te flas/for6ard in "eda and te S6an.ăspuns:

/ntre',ri*. resent te s(mbolism of te bird in Sailing to =(zantium.

ăspuns:The bird always accompanies the old man on his way to 'y(antium. It is sometimes viewed as a symbol of

putrefaction and death, when the elderly character is compared to a scarecrow. %ater on they stand for the

immortality of art.

%. !( does societ( reNect old peopleF

ăspuns:

RE0MATL TEMEI

Te sense of istor( and m(tolog( is present in bot "eda and te S6an and Sailing to =(zantium.

)n "eda and te S6an Deats presents te m(t of te Spartan Queen 6o is raped b( Peus disguised as as6an. "eda la(s t6o eggs out of 6ic Cl(temnestra, Castor, olluB and 7elen atc. )n te flas/for6ard

te reader sees o6 7elen is going to cange te course of istor( and lead to Agamemnon-s deat.

An old man decides to lea3e is countr( and tra3el to =(zantium in searc of a better life. Te to6nas 3er( man( attractions and e3en claims to be a place of immortalit(. Te rices and treasures of an old

empire lure te old man. 7is Nourne( is o3ersado6ed b( different s(mbolic occurrences suc as te birdunder 3arious forms.

Tema Nr. 5

DLAN THOMAS- %ERN HILL

• 6hildhood- the ha$$ie!t o+ all time!• Na7&e langage and !im$le de!cri$tion!• Idyllic !cenerie!• S#itching o+ narrati&e &oice!

O'iecti&ele temei:• Studenţii obser3ă importanţa temei copilăriei la 2(lan Tomas

• Rocile naratie se scimbă pe parcursul poeziei• )magini idilice, limbaN pueril şi descrieri simpliste

G




*i'liogra+ie recomandat,( Tomas, 2(lan, Te Collected Stories, #e6 2irections, *+0<

"(cett, Andre6, 2(lan Tomas: A "ife, K3erloo@ T, %&&5

2a3ies, eter, Student 'uide to 2(lan Tomas, 'reen6ic EBcange, %&&5

2(lan Tomas is one of te best/@no6n =ritis poets of te mid/%&

t

centur( 6o 6as remembered foris igl( original, obscure poems, is amusing prose tales and pla(s, and is turbulent, 6ell/publicized

personal life. 7e 6as born on % Kctober *+*G in S6ansea, a to6n in Soutern !ales.

2(lan Tomas is considered a 3er( difficult representati3e of post/ modernist poetr(. 1ost of is poemsare inspired from is cildood and (out, is temes being limited and con3entional. Te most freuent

temes are: lo3e of is cildood and of common e3ents connected to tis period, some pre/natal temes6ic combine uman bod( 6it te uni3erse in a searc for similarit( and continuit(, an interrelation

bet6een creation and destruction; deat is seen as a part of a c(cle, an obsessi3e concern 6it anatom( and

seB, a sacramental feeling of nature. Fern "ill is a poem tat mar@s te tresold of 2. Tomas-s career; it celebrates te glor( and No( of life

in spite of te ine3itable deat. ern 7ill 6as 6ritten in *+G5, terefore included in te larger poems; (et it is

a return to te poet-s innocent cildood nostalgicall( presented in a familiar frame. A first reading of te poem fills te reader 6it a feeling of appiness, li3eliness and colour, suggesting a continuous

simultaneous troug te freuenc( of 8and9. Te poem in all its aspects creates te impression of a cildisgame. 8Te poem is riddle 6it and-, suggesting a cild-s accumulati3e gusto in telling (ou 6at matters

most.9/ !alford 2a3ies Fern "ill is a poem of memor( 6ose 6riting does not allo6 te reader to establis a frontier bet6een te

adult and te cild. )t eBpresses a merging impression about a 8miBing 6orld9. 81erging impression9 refers

to te fact tat te images and te sensations percei3ed b( a cild are actuall( presented b( an adult, and asecond reading of te poem re3eals te alternation of te perception.

Te 3ocabular( used b( Tomas is reduced if 6e ta@e into account te lengt of te poem. !ords li@e8app(9, 8lo3el(9, 8green9, and 8golden ligt9 are repeated at least tree times. 7o6e3er te lines are not as

innocent as te( seem since sort ints to religion, deat, birt and rebirt are scattered less in te first treestanzas, more in te last part of te poem. 8Sabbat9, 8oll( streams9, 8blessed among stables9 proposeanoter perspecti3e.

2(lan Tomas-s poem so6s us tat te autor-s origin is reflected in is 6or@. 7is belonging to t6ocultures, is oscillation bet6een t6o languages/ on 8no man-s land9 made is poetr( difficult and

ambiguous a3ing as central pillar simultaneit(.

TEST DE EALARE

*. !ic is te difference of perspecti3e bet6een te t6o narrati3e 3oicesF

ăspuns: In the first part of the poem Thomas uses words and phrases, which re)create a child’s interpretation of the

world. *bsent from Fern "ill is the adult narrator, who views the past with a mi!ture of nostalgia and

cynicism.

%. !at is Tomas-s st(le caracterized b(F

ăspuns:

/ntre',ri*. resent te s6itc of mood present in ern 7ill.

ăspuns:

In the first four stan(as nothing is allowed to intrude on Thomas’s youthful paradise+ even Eve is referred toindirectly in her pre)fall innocent state as a maiden, but in the final stan(as the mood changes and we are

reminded about the passage of time and the theme of mortality.

%. !at is te r(me of te poemF

5



ăspuns:

RE0MATL TEMEI

Te spea@er in 2(lan TomasU Iern 7illI is a man loo@ing bac@ at is cildood. Te spea@er 6as

(oung and te place 6ere e frolic@ed 6as in a natural, countr( setting. Te poem consists of siB 3erse paragraps 6it nine lines eac. 2(lan Tomas as fasioned a remar@able drama, portra(ing is (out and

te farm 6ere e spent it. 7is colorful language use describes te setting in suc as 6a( tat it

communicates true feeling 6itout becoming sentimental in it eBecution or maudlin in its disco3er(.1an( images, s(mbols, and metapors increase te dept of te spea@erUs message to te reader. Te

last part of te poem is a @ind of coming bac@ to realit( for te spea@er. Te realization tat is (outfulda(s are o3er ma@es im loo@ bac@ to te No(ful past, fond memories of 6en e 6as (oung.

Tema Nr. 8

DAID HER*ERT LAWREN6E- SONS AND LOERS

• Ind!triali4ation a++ect! hman natre•

Oedi$! com$le9 a! &ie#ed in the relation!hi$ 'et#een "al and Mr!. Morel• "al i! na'le to e!ta'li!h normal 'ond! to #omen• Lo&e and !e9 are im$ortant theme!

O'iecti&ele temei:• Studenţii trebuie să se familiarizeze cu tematica abordată de 2.7. "a6rence

• aul 1orel poate fi 3ăzut ca un Kedipus modern

• )ndustrializarea afectează zonele rurale ale Angliei şi în acelaşi timp firea oamenilor


*i'liogra+ie recomandat,( "a6rence, 2. 7., sons and "o3ers, 1odern "ibrar(, *+++

Min@ead/!ee@es, 1ar@, Te Cambridge =iograp( of 2. 7. "a6rence, Cambridge 4ni3ersit( ress,*++<

!orten, Lon, 2.7. "a6rence: te "ife of an Kutsider, Counterpoint, %&&

"acapelle, 2olores, 2.7. "a6rence: uture rimiti3e, 4ni3ersit( of #ort TeBas ress *++<

As a no3elist "a6rence is considered 8a deliberate inno3ator in is metod9, (et e remains in part

traditional despite is interest in seB and te ps(ce. "a6rence-s modernism consists in is ma@ing use ofstream of consciousness as a modern tecniue.

)n te spirit of is contemporar( age e directs is interest to6ards 8anoter center of

consciousness.. be(ond tougt9, 6ic is dar@ness, irrationalit(, senses. 7is pilosop( is built up on teopposition ligt dar@ness, 6ic becomes te opposition bet6een order and caos, la6 and lo3e, male and

female and leads to reudian ps(colog(. According to Andre6 Sanders, "a6rence-s ne6 pilosop(, li@ereudian ps(colog(, is centered male te concept of 6elling, subterranean male consciousness and on te

liberation of seBualit( from inerited social repression9. "a6rence-s 6or@ is 6o3en round te concept of

lo3e.Sons and "o3ers is considered an autobiograpical no3el and "a6rence-s most

popular 6or@; it 6as publised in *+*H, te (ear of is moter-s deat. Te autor describes te life of a6or@ing class famil( starting 6it te marriage of Artur 1orel 6o is a miner, 6it a 6oman from a

iger social class. Tis incompatibilit( bet6een 1r. and 1rs. 1orel leads to te brea@ing off of teirrelationsips. Det, te no3el is centred on aul, te middle son of te famil(, it deals 6it is gro6ing upand also 6it is struggle to rise out of is fater-s social stratum; tis struggle is bec@ed b( is moter. aul

is also a representati3e of is generation 8caugt in te 6eb of modernit(9.

<



7o6e3er 6en !illiam dies se cannels er emotional attention and needs into aul to suc an

eBtent tat is relationsip 6it oter 6omen is Neopardised. !en 1rs. 1orel dies of cancer, aul istempted to commit suicide, but finds te strengt to carr( on li3ing.

Te principle subNects of is 6or@ 6ere relationsips, emotions and conflict. )n is no3els eeBplored suc temes as te effect of industrialism and rationalism n te common man, te role of 6omen in

modern societ(, te conflict bet6een pre3ailing moralit( and seB and te nature of te relationsip bet6een

moter and son.

Tema Nr. :

;OSE"H 6ONRAD < HEART O% DAR=NESS

• 6i&ili4ation &er!! !a&agery• The dar>ne!! o+ the land!ca$e $a!!e! to the !ol• =rt4 'ecome! the em'odiment o+ e&il• 6oloni4ation2 the #hite coloni!t! ta>e o&er nati&e land! and their riche!

O'iecti&ele temei:• Studenţii află amănunte legate de colonizarea diferitelor regiuni ale Africii şi cruzimea

colonizatorilor

• Ci3ilizaţia este 3ăzută ca opusul barbarismului

• Murtz de3ine eBponentul colonizatorului alb care pr3oacă acte de discriminare şi Nefuieşte zona de

toate bogăţiile ei; inima lui de3ine la fel de neagră ca şi Africa


*i'liogra+ie recomandat,( Conrad, Losep, 7eart of 2ar@ness, !.!. #orton $ Co, %&&5

Stape, L. 7., Te Cambridge Companion to Losep Conrad, Cambridge 4ni3ersit( ress, *++< Said, Ed6ard !., and ubin, Andre6 #., Losep Conrad and te iction of Autobiograp(,

Columbia 4ni3ersit( ress, %&&

Simmons, Alan 7., Losep Conrad, algra3e 1acmillan, %&&<

Losep Conrad-s fiction represents an intermediate stage in te transformation of te nineteent centur(

realistic no3el into a modernist one. Considered a great no3elist, uniue in Englis literature, e 6as bornLosef Teodor Monrad #alecz Morzenio6s@i in *05 in te ussian/ occupied olis 4@raine.

Conrad tries to a3oid con3entional epic narrati3e structures in te fa3our of an 8uncommon narrationaltecniue9. Te use of a narrator 6o is also a caracter of is o6n implies 1arlo6-s recollection of e3ents;

terefore teir succession is not a cronological one. A3oiding te cronological order, te autor actuall(

a3oids te artificialit( of is 6or@; an order determined b( memor(, associations and feelings seems morenatural.

7umanit(-s struggle 6it fate is one of te recurring temes in te no3els and is eBperience offers imric material. ate is generall( associated 6it 6eater and most of te dangers, of te situations on te edge

of life completed 6it te continuous treatening of deat are metaporicall( presented in te descriptions

of nature. 8Conrad-s essa(s and articles illustrate tat is interest is al6a(s in pilosopic issues rater tanmere p(sical details. 7e 6rote about te sea not simpl( as a penomenon e @ne6, but because it pro3ided

im 6it a perfect metapor for umanit(-s 3ulnerabilit(, and for its struggle against o3er6elming forces9/=rian Spittles.

Heart o+ Dar>ne!! is 8a cunning allegor( or ligt falling into dar@ness, a descent troug te eart ofAfrica into uman orror and te blac@ places of te soul9/ 1alcolm =radbur(. 1arlo6-s 3enture eBtendsfrom te ocean 3o(ages to te African Nungle 6ose 3irginit( can be compared to te 6ilderness of te sea.

1arlo6, te main caracter is also narrator of te stor(, a @ind of medium, 6ic allo6s te correspondence

0



IR3INIA WOOL%- TO THE LI3HTHOSE

• Inno&ati&e techni@e- !tream o+ con!cio!ne!!• Sym'ol!( the lightho!e the #a&e! matche! and cloc>!• Immortality o+ art < Lily *ri!coe 'ring! Mr!. Ram!ay 'ac> to li+e 'y com$leting her $ortrait• Li+e death and $a!!ing o+ time

O'iecti&ele temei:• Studenţii trebuie să înţeleagă noile tenici narati3e abordate de Rirginia !oolf

• Simboluri puternice precum farul, 3alurile, cibriturile şi cesurile arată faptul că 3iaţa este trecătoare

şi că totul se repetă ciclic într/un monoton cerc: 3iaţă, moarte, renaştere

• )mportanţa artei în căpătarea imortalităţii


*i'liogra+ie recomandat,( !oolf, Rirginia, To te "igtouse, 7ar3est =oo@s, %&&5

=riggs, Lulia, Rirginia !oolf: An )nner "ife, 7ar3est =oo@s, %&&<

Sellers, Sue oe and Susan, Te Cambridge Companion to Rirginia !oolf, Cambridge 4ni3ersit(

ress, %&&&

ran@, A. K., Te ilosop( of Rirginia !oolf, A@ademiai Miado, %&&%

P6erdling, AleB, Rirginia !oolf and te eal !orld, 4ni3ersit( of California ress, *+0

Adeline Rirginia Stepen 6as born on %5 Lanuar( *00% at %% 7(de ar@ 'ate,Mensington. 7er parents, "eslie Stepen and Lulia Lac@son, ad strong associations 6it literature 6ile er

moter ad also aristocratic connections. Lulia Lac@son 6as an associate of te re/apaelites 6ile er

fater 6as a Nournalist, biograper and istorian of ideas and e founded te 2ictionar( of #ational=iograp(.

To te "igtouse 6as publised in *+% and considered Rirginia !oolf-smasterpiece, and also an autobiograpical 6or@. Se succeeded in armoniousl( combining recollections of

er moter, er fater and er cildood 6it er poetic tecniue and te final result 6as a reconciliation

bet6een life and art. ran@ =radbroo@ stated tat te temes of te no3el are tose of Sa@espeare-s sonnets:time, beaut(, and te sur3i3al of beaut( troug te means of art, absence, and deat.

Te stream of consciousness ta@es different forms 6it different 6riters. or some of temconsciousness re3ealed te contingenc(, te caos, te stress, 6it Lo(ce stream of consciousness is 8in bot

aestetic >Stepen-s reflections? and subterranean >1oll(-s solilou(? 8, terefore intellectual and intuiti3e,

abo3e all painterli@e and aestetic te means b( 6ic art can enter te realm of intuition, imaginati3e pattern, eigtened responsi3eness, a re3erie of te ego rater tan an emancipation of te id.

Rirginia !oolf-s main caracters are 6omen connected in a 6a( or anoter to te auctorial process)n To te "igtouse !oolf8points out tat te t6o 6omen. >1rs. amasa( and "il(?, eac in er o6n 6a(,

are artists and calls attention to te fact tat te realization is important enoug to be termed re3elation 8.

7is statement is based on "il(-s memor( of te moment 6en 1rs. amsa( brougt tem all togeter and8ma@ing of te moment someting permanent- as se tries to clote someting in anoter spere is of te

nature re3elation-.Te ligtouse troug te alternation ligt and dar@ness e3o@es te alternation bet6een life and

deat. Altoug tis s(mbol is present in #igt and 2a(, in te no3el To te "igtouse it acuires te main

place since te 6or@ follo6s te succession ligt dar@ness, life deat. Te matces struc@ in te dar@

stress te idea of transience. Tese sort illuminations ma@e consciousness reac 8to te edge of eternalre3elation, to moments of 3ision9. "il( =riscoe remembers te same 3ision 8)n te midst of caos tere 6assape; tis eternal passing and flo6ing >se loo@ed at te clouds going and te lea3es sa@ing? 6as struc@

into stabilit(. "ife stands ere, 1rs. amsa( said9 To te "igtouse is a result of !oolf-s attempt to

*&



understand te nature of time and immortalit( since se is obsessed 6it te transience of life and te

obli3ion of deat. Te plot is a 3er( simple and structured on tree sections, 6ic correspond to differentmoments of ligt or dar@ness, life or deat consciousness or unconsciousness. Te first capter entitled The

#indow suggests ligt, life, and calmness. !oolf 6ea3es er monologues round te amsa(s- dinner on3acation. 1rs. amasa( is presented as moter, as ostess and as 6ife.; "il( =riscoe 6or@s at a painting; te

cildren pla(. Te autor reduces tis section to an afternoon and e3ening. )n tis section as 6ell as in te

tird one Rirginia !oolf-s tecniue relies on te interior monologue 6ic appears as a form of indirectspeec. )n er diar( te autor states tat 8indirect discourse, te consciousness of te narrator married to

te consciousness of te caracter and spea@ing for it.. To te "igtouse is a master6or@ of teeBploration of te consciousness of oters 6it te tool of indirect discourse9.

8Te first and te tird sections of To te "igtouse concentrate compreensi3el( on te subNecti3e

life of te mind; te second creates a st(le not so muc obNecti3e as adept in bringing obNects temsel3es tolife, dramatizing, euall( compreensi3el(, te domain be(ond consciousness 6ic ineBorabl( resists its

orderand ligt.-

Te second part is associated 6it a nigtmare, 6ic deepens te reader in terror, troug it life

becomes more meaningful as in terror, and troug it life becomes more meaningful as in te case ofSeptimus-s deat. Te unconscious le3el, including te 6ar, can be interpreted as a testament or as a

6arning, 6at is left 6en te uman e(e is subtracted from te sum of tings; matter drained of spirit, pure as a cair or table or flo6er 3ie6ed b( some Teutonic artist prescient of !ar and deat/camps9.Altoug te uman e(e loses its po6er being unable to see an( more te narrator @eeps 3igil te e(e

of te ligtouse 6ose t6in@le suggests rebirt. 7o6e3er te idea of rebirt is also suggested b( 3ioletsand daffodils, 6ic reappear e3er( (ear. Te( are al6a(s ne6 but teir presence is familiar.

Te succession of ligt and dar@ness, of life and deat implies a linear perception of te coeBistence

of life and deat. =ut tis temporal perspecti3e 6ic actuall( suggests motion is also created at amotionless le3el, te image of te island surrounded b( 6ater. Te sea as te same meaning as dar@ness

and at te same time te 6a3es 6ic are familiar and eBpected for tis frame suppose a reiterati3e c(cleand, of course, rebirt.

Te 6ole no3el is a reiterati3e document from facts to language. Te caracters 1r. and 1rs.

amsa( te representati3es of male and female are associated, te former 6it an anal(tic rationalist mindand te latter 6it an intuiti3e, olistic, creati3e imaginati3e mind9. Tis difference determines t6o 6a(s of

reacing te ligtouse in te tird section 1r. amsa( 6o is ancored in contingenc( goes to teligtouse accompanied b( is cildren 6ile 1rs. amsa(, 6o is dead, reaces te ligtouse from a

spiritual point of 3ie6 er memor( is transcendent and se remains in "il(-s painting as a sitter and as a

form of inspiration. Kn te oter and some critics relate 1rs. amasa( creation of armon( at te dinnertable to "il(-s searc for te final form of er creation.

TEST DE EALARE

*. !at inno3ati3e tecniue does Rirginia !oolf useFăspuns:She uses the stream of consciousness techni1ue and its particular form, that of the interior monologue. This

techni1ue presupposes the lac of plot and character analysis and emphasis being laid on thoughts,

feelings, memories and reactions to e!ternal factors. These are based on flash)bacs and flash)forwards.

%. 2escribe te relationsip bet6een "il( =riscoe and er art.

ăspuns:

/ntre',ri*. 1ention te most important s(mbols in te no3el.ăspuns:

The most important symbols are connected to light and darness. The lighthouse is viewed as a fliceringlight in a sea of darness and that signifies the transience of human life. %ight and darness mae up the

**



natural cycle of birth, death and rebirth. The waves and the matches struc in the darness have similar

meanings.

%. 7o6 are te male and te female caracters contrasted in te no3elF

ăspuns:

RE0MATL TEMEI

To the %ighthouse follo6s and eBtends te tradition of modernist no3elists li@e 1arcel roust and

Lames Lo(ce, 6ere te plot is secondar( to pilosopical introspection, and te prose can be 6inding and

ard to follo6. Te no3el includes little dialogue and almost no action; most of it is 6ritten as tougts andobser3ations. Te no3el recalls te po6er of cildood emotions and igligts te impermanence of adult

relationsips. Kne of te boo@Us se3eral temes is te ubiuit( of transience. Altoug in te no3el teamsa(s are able to return to te ouse after te 6ar, te Stepens ad gi3en up te ouse b( tat time.

After te 6ar, Rirginia !oolf along 6it er sister Ranessa 3isited Talland 7ouse under its ne6 o6nersip,

and again later, long after er parents 6ere dead, !oolf repeated te Nourne(.

Tema Nr. B

;AMES HO6E- A "ORTRAIT O% THE ARTIST AS A ON3 MAN

• Stream o+ con!cio!ne!!• E$i$hany• =Cn!tlerroman - an arti!t! *ildng!roman• All!ion to 3ree> mythology

O'iecti&ele temei:• Studenţii trebuie să se familiarizeze cu noile tenici narati3e, în cazul de faţă stream of consciouness

• Lo(ce perfecţioneză epifania şi reduce rolul ei religios

• omanul de faţă este romanul desă3Jrşirii artistului

• robleme legate de tradiţia irlandeză, catolică de care Lo(ce 3rea să se dezică


*i'liogra+ie recomandat,( Lo(ce, Lames, A ortrait of te Artist as a Doung 1an, enguin Classics, %&&H

Ellmann, icard, Lames Lo(ce, KBford 4ni3ersit( ress, 4SA, *+0H

argnoli, A. #icolas and 'illespie, 1icael atric@, Lames Lo(ce A to P: Te Essential eferenceto 7is "ife and !ritings, KBford 4ni3ersit( ress, 4SA, *++<

Attridge, 2ere@, Te Cambridge Companion to Lames Lo(ce, Cambridge 4ni3ersit( ress %&&G

Lames Augustine Alo(sius Lo(ce >ebruar( %, *00% Lanuar( *H, *+G*?, )ris poet, dramatist and

no3elist 6as born in atgar, a suburb of 2ublin, te first born cild of Lon Stanislaus. A Noll(, bibulous,

pugnacious fello6, 6ell @no6n in 2ublin for is rec@less eBtra3agance, and is biting 6it, te fater 6as animpo3erised gentleman 6o, after a3ing failed in a distiller( business, turned to all @inds of professions,

including politics and taB collecting. Te first no3el 6ritten b(Lo(ce 6as considered an autobiograpical one since e3ents of Lo(ce-s life can be found in A. ortrait, but

te no3elist a3oids te personal impression b( using a fictitious narrator 6o can be identical 6it te main

caracter. )mpersonalit( is stresses b( te tird person narration, 6ic so6s tat A ortrait is a point of3ie6.

*%

http://en.wikipedia.org/wiki/Modernist_literature

http://en.wikipedia.org/wiki/Marcel_Proust


http://en.wikipedia.org/wiki/James_Joyce

http://en.wikipedia.org/wiki/Plot_(narrative)

http://en.wikipedia.org/wiki/Dialogue

http://en.wikipedia.org/wiki/Transience

http://en.wikipedia.org/wiki/Bildungsroman

http://en.wikipedia.org/wiki/Modernist_literature


http://en.wikipedia.org/wiki/James_Joyce

http://en.wikipedia.org/wiki/Plot_(narrative)

http://en.wikipedia.org/wiki/Dialogue

http://en.wikipedia.org/wiki/Transience

http://en.wikipedia.org/wiki/Bildungsroman



Anoter de3ice in Lo(ce-s s(mbolism is te use of personal names, generall( ta@en from m(tolog(.

Te main caracter in A. ortrait, Stepen 2edalus, bears tename of te Atenian arcitect 6om built te lab(rint for 1inos and made 6ings for imself and is son

)carus to escape from Crete. resent as a caracter in The 2ead and as an angel in A ortrait, 'abriel is te prince of fire and te angel of deat, 6ic is opposed to te cold atmospere outside. S(dne( =olt

interprets tis opposition as li3ing 8deat 3ersus life in deat9 since te caracters inside te ouse are ali3e

at te cost of teir spiritual deat.Te actualit( of A ortrait consists in is ambiguit(, 6ic pro3o@es a series of anton(mous

interpretations. eading te title 6e are someo6 tempted to read it as a more or less autobiograpicalno3el. )t is true tat te autor 6ea3es its 6eb using e3ents or is life as subNect but te no3el does not a3e

an autobiograpical purpose. eading te no3el te reader notices its capacit( of being interpreted eiter as

a no3el of an artist about an artist or as a no3el about a reader. icard =ro6n suggests te possibilit( ofcoosing bet6een Stepen as 2edalus or onl( as )carus, as an outcome of tis oscillation bet6een te

condition of te fater or te son. At te beginning of te no3el Stepen is introduced as a listener to isfater-s stor( and as a reader of te teBt of te 6orld.

Te tird paragrap, 6ic sould establis te identit( of te bo( and also of

Stepen-s, is as simple as ambiguous. 97e9 can be eiter te listener or te teller of te stor( terefore eiterte listener or te son, creator or creation endo6ed 6it creati3e po6er, too. =ro6n states tat 8it does at

an( rate locate im from te start as a reader in a 6orld tat is alread( full of teBts, 6o see@s for but doesnot (et possess a full meaning of te signs around im.9Stepen as )carus can be considered a prisoner of language; 2edalus 6as a prisoner of is maze, too

but te difference consists in te fact tat Stepen O )carus as to disco3er, penetrate and understand tealread( eBisting language. 7is personal life 6as a fligt a6a( of is 8dear 2ublin9, an attempt to escape it

materialised in a deliberate eBile to aris., Trieste and Puric. Tis interpretation so6s tat te main teme

is te seeing of is spiritual fater. )n Lo(ce-s s(mbolism te spiritual fater is 'od of te creation O 2edalus6o created te maze 6ile is main caracter is eiter Crist or "ucifer.

)ntroducing "ucifer as an eui3alent of Crist te autor leads to reabilitation of te profane O e3il6ic is paradoBicall( 9te ligtbringer9. 1aaffe( interprets tis li@e te 86a( of organising and

autorising perception, including 6at 6e no6 call logo centric or patriarcal logic. )n te deepl( di3ided

6orld of literar( studies as it is no6 constituted, tat ma@es im almost uniue. )nstead if instigates temonological model of autorit(, e instigates a dialogue bet6een te traditional- or logo centric metods of

interpretation and tose tat a3e been eBcluded; bet6een rational, scolastic logic and te unscooledappreension of compleB interconnection; bet6een an etos of indi3idualism and an etos of communit(;

bet6een te 6orld defined as male- and female- complement; bet6een te referentialit( of language and

its materialit(; bet6een conscious and unconscious desire- Ric@i 1aaffe( establises te eBistence oftree autorities in Lo(ce-s 6or@: te first is patriarcal, transcendental autorit(; te second is binar( and

paradoBical; te tird is collecti3e and unconscious. 2ouble autorit( refers to transcendental and materialautorities, altoug opposite te( cannot eBist separated, but te( suppose eac oter so tat te final result

is an autorit( combining bot. Te tird autorit( is te autorit( of an artist, of a creator 6o in te

process of creation embodies t6o eBtremes, being at te same time ol( and profane.

)n A ortrait tese tree @inds of autorit( are eBpressed b( te same caracter, Stepen, in different periods of is life from cildood to (out and again to is initial state of fater. Stepen oscillates bet6eenobedience and rebellion, bet6een good and e3il, ol( and profane. Actuall( te no3el is an initiation of a

(oung man 6it auctorial aspirations.

TEST DE EALARE

*. 'i3e one eBample of epipan(.

ăspuns:

3ne of the epiphanies in the novel consists in the meeting between the narrator and the beautiful girl on the

beach. That moment becomes an instance of revelation and enlightenment when he becomes aware of his

feelings.%. EBplain o6 )risness as come to be a 3er( important concept for Lames Lo(ce.

ăspuns:

*H



/ntre',ri*. !at is te connection bet6een Stepen and 2aedalus and )carusF

ăspuns:

In the conte!t of * -ortrait of the *rtist as a 4oung an, we can see Stephen as representative of both

2aedalus and Icarus, as Stephen5s father also has the last name of 2edalus. #ith this mythological

reference, 6oyce implies that Stephen must always balance his desire to flee Ireland with the danger of

overestimating his own abilities7the intellectual e1uivalent of Icarus5s flight too close to the sun.

%. !ic is te biograpical input in te no3elFăspuns:

RE0MATL TEMEI

Set in )reland in te late nineteent centur(, A ortrait is a semi/autobiograpical no3el about te

education of a (oung )risman, Stepen 2edalus, 6ose bac@ground as muc in common 6it Lo(ce-s. !e

see Stepen, o3er te course of te no3el, gro6 from a little bo( to a (oung man of eigteen 6o asdecided to lea3e is countr( for Europe, in order to be an artist.

At te center of te stor( is Stepen-s reNection of is oman Catolic upbringing and is gro6ingconfidence as a 6riter. =ut te boo@-s significance does not lie onl( in its portra(al of a sensiti3e andcompleB (oung man or in its use of autobiograpical detail. 1ore tan tis, A ortrait is Lo(ce-s deliberate

attempt to create a ne6 @ind of no3el tat does not rel( on con3entional narrati3e tecniues. ater tantelling a stor( 6it a coerent plot and a traditional beginning, middle, and end, Lo(ce presents selected

decisi3e moments in te life of is ero 6itout te @ind of transitional material tat mar@ed most no3els

6ritten up to tat time.

Tema Nr.

ALDOS HFLE- "OINT 6ONTER "OINT

• The techni@e o+ conter $oint• Lac> o+ $lot• A no&el o+ idea! and inner analy!i!• Stereoty$ical character! arond #hom !'$lot! n+old

O'iecti&ele temei:• Studenţii se 3or acomoda cu stilul eBagerat de intelectual al lui 7uBle(

• Abundă discuţii pe teme spirituale

• ersonaNele apar izolate, fiecare constituind un alt ni3el de abordare în roman• Apare tenica numită contrapunct


*i'liogra+ie recomandat,( 7uBle(, Aldous, oint Counter oint, Curzon ress, %&&0

=edford, S(bille, Aldous 7uBle(: A =iograp(, )3an . 2ee, %&&%

1ec@ier, Lerome, Aldous 7uBle(: 1odern Satirical #o3elist of )dea, "it Rerlag, %&&

=irnbaum, 1ilton, Aldous 7uBle(: A Quest for Ralues, Transaction ublisers, %&&<

8)t 6as little 6onder tat 7uBle(-s no3els came to be seen as 6or@s of modern c(nicism. 7is caracters

appeared po6erless to act, teir relationsips incapable of ta@ing sape, teir ideas circular and pointing toe3entual futilit(. Tese are no3els of ideas tat set no store b( te sal3ation of ideas.

*G



Te structure of is no3els pro3ides te reader 6it te possibilit( of a similar interpretation since it

is caracterised b( a double ualit(: te eBistence of te ideal of unit( and te practical possibilit( to acie3etat ideal of unit( and te practical possibilit( to acie3e tat ideal. Te no3el point Counter oint offers te

reader an eBample of a perfectl( logical caos since paradoBicall(, innumerable fragments, 6ic tendto6ards union, represent 6oleness and completeness. Te contrapuntal tecniue consists of te

NuBtaposition of te parts, te subdi3isions of te capters, te sentences and of te points of 3ie6 of te

caracters.)t is ob3ious tat 7uBle( 6or@ed a lot to ma@e tis noel its teme at te le3el of te structure and of

te caracters, and at te same time to mirror its process of creation. oint Counter oint it also built on aconflict, tis time bet6een members of te opposite political parties: a fascist E3erard !eble(, a caracter

constructed on te base of te =ritis fascist leader of tat period and a communist te assistant of te

scientist "ord Ed6ard Tantamount. Te conflictual state degenerates in 3iolence and te fascist is murdered.Det, e3il is not appears as 8pure and gratuitous9 in te deat of ilip Quarles- cild. Kn te oter and,

3iolence and pessimism occur in seBual relationsips based on p(sical disgust: te scene in 6ic =urlapta@es a bat 6it is secretar( creating a feeling of sic@ness and disgust, te (oung =idla@e as a cruel

relation 6it "uc( Tantamount 6ose 8cold blooded sensualit( sends a si3er do6n te spine9.

!ile tese caracters are a @ind of monsters of te bod(, "ord Tantamount is a monster of spirit. )nspite of is cild li@e innocence, te impulses of te bod( a3e been stifling. Tis is suggested during te

concert 6en e is te onl( one tat realises tat te beaut( of music consists of te union bet6een materialand spiritual.

TEST DE EALARE

*. !at is te nature of relationsips establised bet6een caractersFăspuns:

The characters seem to be very superficial and they never actually create lasting bonds. Everything is based

on good conversation and lasts for short periods of time. -eople’s morality is always brought under

1uestion and they do not hesitate to start and end affairs on the spot.

%. Consider te tecniue of la(er upon la(er used in te no3el.ăspuns:

/ntre',ri*. !ic are te difficulties posed b( oint Counter ointF

ăspuns: First and foremost it is difficult to re)tell the story because it is made up of insignificant sometimes

disconnected events and another problem posed by the novel is the fact that it was conceived on multiple

levels.

%. )s te no3el considered to be igl( sensiti3e or igl( sensibleF

ăspuns:

RE0MATL TEMEI

oint Counter oint as no o3erarcing plot, te stor( being an intricate set of sub/plots re3ol3ing

around se3eral @e( caracters eac 6it a set of sub caracters. Eac caracter represents some aspect of lifeor is a stereot(pe of some sort from a rater 3apid group in te t6enties. Te 3arious caracter pats cross in

3ar(ing circumstances. !en actions are described, 7uBle( anal(zes e3er( moti3e and internal emotion indetail, sometimes e3en Numping into a caracterUs past to pro3ide conteBt. 7is caracters decr( te dangers

of sacrificing umanit( for intellectualism, and eBpress concern about te staggering progress of science and

tecnolog(.Tere are peraps t6o main issues / te first is class and te reactions of people as te barriers brea@

do6n. Te second is seB 6ere 3arious possibilities and relationsips are described. ilosopicall(, teentire boo@ pla(s on te dicotom( bet6een reason and passion.

*5



Tema Nr. G

WILLIAM 3OLDIN3- THE LORD O% THE %LIES

• De!trction 'roght a'ot 'y #ar• Rle! in !ociety• *ac> to !a&agery•

The dar> terri+ying !ide in hman 'eing! and trying to re-organi4e a re$lica o+ gro#n-$!!ociety

O'iecti&ele temei:• Studenţii trebuie să înţeleagă scimbările comportamentale care apara în rJndul copiilor eşuaţi pe o

insulă pustie

• oate fi considerată o analiză psiologică a reacţilor în condiţii limită

• K parte dintre copii aleg să se comporte ca nişte sălbatici în 3reme ce un alt grup încearcă să copieze

organizarea din societatea adulţilor

• ăul pare să acapareze minţile copiilor; în final niciunul nu mai poate rezista tentaţiei sale


*i'liogra+ie recomandat,( 'olding, !illiam, Te "ord of te lies, erigee Trade, %&&H

Tiger, Rirginia, !illiam 'olding: Te 4nmo3ed Target, 1arion =o(ars ublisers, %&&H

Min@ead/!ee@es, 1ar@ and 'regor, )an, !illiam 'olding: A Critical Stud(, aber and aber, %&&%

Moopmans, And(, understanding 'reat "iterature/ 4nderstanding "ord of te lies, "ucent =oo@s,%&&H

edpat, ilip, !illiam 'olding, o6man $ "ittlefield ublisers, *+0<

!illiam 'olding >*+** *++H? is considered a particular no3elist since tere can be noticed a

certain detacment from is 6or@, 6ic is a 3er( rare situation a more or less an( 6riter-s personalit( can be guessed at beind or bet6een te lines of is 6or@.

Te "ord of te lies proposes troug its title a puzzle for te reader, as tis is a literal translation of

=eelzebub, te 7ebre6 prince of de3ils, and because of te caracters cosen to illustrate ineBorable fall ofumanit(. Cildren are s(mbols of innocence and purit( (et, 6it 'olding innocence, sin and e3il are parts

of te same 6ole. 7e also suggests te latent eBistence of e3il in man 6ile cildood sould beconsidered an Eden stage. Te no3el offers a miBture of ideas starting 6it Cristian concepts, references to

m(tolog(, 2ar6inism, and pessimism on a bac@ground similar to .1. =allant(ne-s ad3enture stor( Te

Coral )sland >*05?.Te cildren-s arri3al on te island seems to be te result of an unspecific, ma(be atomic, 6ar. Teir

arri3al can be interpreted eiter as an attempt at a ne6 beginning, a return to te Eden stage since onl( bo(sare marooned on a 3irgin island, and te( are supposed to re/ establis te 6orld 6ere te( a3e come

from; or a fall from ci3ilisation to 6ilderness.

'olding offers onl( t6o images 6it a single end: 8d(ing 8 is onl( a stage in te 6a( to6ards deat,ere it becomes s(non(mous 6it 8li3ing9. 7o6e3er, e refers to infinit(; palm, beac and 6ater

armoniousl( coeBist in a continuous alternation bet6een life and deat. Te 6a( in 6ic te no3el beginscan be considered an anticipation of te follo6ing e3ents; te perfect frame for te original sin, te reader

can see te no3el mirrored in tis description of nature.

Ambiguit(, confusion, good and e3il reflected in nature confer a predominant feeling of fear and

opelessness to te stor(. Actuall( te cildren-s feelings and fears presented troug an empaticlandscape. Te e3ents alternate and interfere 6it freuent description of nature 6ic contribute to increase

*<



te passing from a seeming armon( to an una3oidable disorder. Te oppressi3e 3ie6 is intensified b( te

8oppressi3e9 silence and eat and at tis our of te da( tere 6as not e3en te 6ine of insects9.=( carging tese cildren 6it suc a great responsibilit( actuall( te responsibilit( of sur3i3ing

te autor ma@es te process loo@ li@e a pla(, life is a to( in te cildren-s ands 6ic are 3er( frail and3ulnerable. )n certain circumstances te( become te to(s of teir o6n to( Nust li@e te unters 6o felt as

if te( ad been unted b( teir game. Te reader can notice a @ind of minimisation of te processes

to6ards ci3ilisation and an increase of te outcomes.Tere is a bo( 6o does not belong to an( group, Simon and is condition elps im to see tings

differentl(, e is more appropriate for an obNecti3e obser3ation and presentation of te tings altoug ealso seems to be more sensiti3e. 7e foresees te follo6ing e3ents in te aspect of te island; 8As if it 6asn-t

a good island9 and realises tat teir fears are Nustified: 8As if te beastie, te beastie or te sna@e ting 6as

real9. Te omnipresent beastie, te bad ting tat treatens te bo(s is associated 6it te sna@e anob3ious reference to te =ible and te original sin. Te sna@e represents "ucifer-s embodiment after is fall

and te s(mbol of temptation. )t is at te same time te cause and te outcome 6ic means tat e3il andgood eBist one as a condition of te oter, and tis confers a c(cling aspect to eBistence.

eiteration is anoter aspect of te no3el. Kbsessi3e descriptions are repeated so often tat te

caracter-s presence is made indistinct, te( become parts of te bac@ground and teir actions and moods8armonize9 6it te en3ironment. Te idea of c(cle is suggested b( te unter-s feeling of being unted:

8)f (ou are unting someting (ou catc (ourself feeling as if (ou-re not unting, but being unted; as ifsometing-s beind (ou all te time in te Nungle9.2anger and fear actuall( are deepl( rooted inside tese cildren; te( can be a result of te bo(s-

imagination and associations: 8s@ull li@e cocoa nuts9, 8green candle li@e buds9. Teir inner terror isscattered e3er(6ere round tem troug strange associations, e3en paradoBical ones: green9 6ic is a

s(mbol of (out and suggests optimism and 8candle9 6ic leads te reader to 8deat9, e3en 8cildren9

6ic generall( means innocence and 8unters9 6o finall( become murderers.Te situation on te island is getting 6orse and 6orse and te bo(s tr( to do someting to cange it,

terefore te ead of te so6 is a gift for te beast. Teir attitude ta@es bac@ to te ancestral m(ts of3egetation. Te oblation of te pigs or of te so6, in some countries, is seen as an act tat protects te

communit( against magic and e3il. Te unters offer te ead of te so6 to te beast oping tat it 6ill let

tem li3e in peace, te( tr( to create a saint place but it turns out to be a bad one Nust li@e te 6ole island.)nstead of 6orsipping a god, te( 6orsip te prince of de3ils.

TEST DE EALARE

*. !at does te so6-s ead stand forFăspuns:

The sow’s head around which flies swarm becomes a totem and a frightening figure for the children. The

beginning of the corruption of their soul is triggered by the discovery of this symbol and of the dead

parachutist.

%. !( do te cildren coose e3il o3er goodF

ăspuns:

/ntre',ri*. !ic are te s(mbols of po6er in te no3elF

ăspuns:The conch is a shell used by the boys to tae turns while speaing. It is very important for the organi(ation

of meetings and it helps avoid the creation of chaos. #hoever holds the conch is entitled to spea freely.

-iggy’s glasses are a symbol of vision and foresight.

%. !( are te t6o leaders so different from eac oterF

ăspuns:

RE0MATL TEMEI

*



Elusi3eness is also suggested b( te epigraps tat open eac capter. An empirical reader 6ould be

tempted to consider tese epigraps pillars sustaining te illusion of a Rictorian no3el. Kn te contrar(, te(6ere selected because of teir latent meaning, 6ic can be a grill of reading and a mirror of te capter at

te same time. =( placing tem at te ead of eac capter o6les intends to guide te reader on is 6a(,e canges te orizon of eBpectation. Tese epigraps 6ic suppose a continuous cange of grid or point

of 3ie6 ma@e te autor o3erstep te fringes of is stated b( suggesting particular approaces of te teBt.

o6les, as a creator, places imself 8neBt to 'od9.Altoug is tecniue could anniilate te openness and te ambiguit( of te no3el, o6les does

not realise a decepti3e no3el from tat point of 3ie6. )n te final capter a rater foppis and rencified-figure, 6it more tan a touc of te successful impresario about im-, adNusts is 6atc and seems to

obliterate te second possible ending. Tis impresario dri3es bris@l( a6a(, supposedl( lea3ing Carles to

is freedom and is doubts, but e remains a 'od 6o as declined to stop interfering.9/ Andre6 Sanders.Te no3el is pro3ided 6it a structure tat assures its transcendence. Te autor actull( tric@ed te

reader into directing is reading since e final( offers tree possibilities. Terefore o6les onl( pretends to be building up a s(stem 6itin te narrati3e because e al6a(s suggests mo3ement, cange, double

meaning, and ambiguit(. At tis point, te autor rises against te traditional no3el, 6ic follo6s a s(stem

tat confers it rigidit( and limitation.o6les proposes te reader a game in 6ic e deconstructs and reconstructs 3ersions starting from

a Rictorian no3el. According to is statement 86riting fictional futures9 is an innate ualit(.eferring to 8fictional futures9 in te plural te autor actuall( ta@es into account a teBt 6ic 6ouldallo6 different approaces, 6ose articulations 6ould permit a cange of plan and impl( 3ariet(. Suc a teBt

is based on te self/refleBi3e po6er of te 6ord. A 6ord capable of an unlimited reflection in itself enNo(s acertain freedom in te 6ole conteBt. Te openness of a teBt depends on te freedom of te 6ords 6ic

become 8spectral 6ords9. =( creating suc a teBt an autor proposes a lot of mirrors 6ic impl( an

unlimited number of reflected images. eflection also means reiteration; (et, 6it o6les e3er( ne6 3ersionmeans progress. rom tis point of 3ie6 8arises9 and 8cease9 are t6o 6ords tat depend on eac oter. Te

old form must disappear to offer a room to te ne6 one.o6les realised tis progress b( putting togeter t6o moments of te istor( of literature. Kn te one

and e demonstrated tat a Rictorian no3el can transcend its period, and tis metod empasises te 3alue

of a 6or@ of art reflected in its openness. Kn te oter and e gi3es an eBample of deconstruction andreconstruction of te no3el obser3ing te rules O principles of modernism and @eeping untouced te details

specific to te Rictorian period.

TEST DE EALARE

*. 7o6 do social constraints influence te li3es of te caractersF

ăspuns:

Each character in the novel is constrained in some way by 8ictorian society. Tina has never been

encouraged to e!plore her se!uality and so she is afraid of any intimacy with harles. *s a result, harles

gravitates to Sarah, who e!hibits a more sensual nature. harles is caught up by his comfortable position asan English gentleman, which affords him the opportunity to leisurely dabble in his scientific pursuits and to

be in control of his romantic relationships.

%. !at is te st(le of te no3el li@eFăspuns:

/ntre',ri*. !at sort of tecniue does te autor emplo(F

ăspuns:The novel’s narrative is postmodern in that it focuses on the self)conscious act of the author telling a story.

Fowles discards the traditional, omniscient, 8ictorian narrator who nows everything about the characters

and shares this information with the readers.

%. !at is unusual about te ending of te no3elF

*+



ăspuns:

RE0MATL TEMEI

Te stor( traces te relationsip bet6een a 6oman, caugt bet6een te Rictorian and modern ages,

and a man dra6n to er independent spirit. Carles Smitson, a (oung Englis gentleman, becomes

fascinated 6it Sara !oodruff, a social outcast in te coastal to6n of "(me egis, 6o is @no6n asTraged(, or in a more peNorati3e sense as The French %ieutenant’s #oman. umors suggest tat se gazes

continuall( at te sea, 6aiting for te sailor 6o seduced er to return. Carles e3entuall( ris@s is o6nsocial ostracism 6en e brea@s off is engagement to a perfectl( respectable (oung 6oman to pursue

Sara. eaders are ne3er gi3en a definite conclusion to te stor( as te( are left to coose among tree

possible endings.o6les-s inno3ati3e narrati3e tecniue, 6ic allo6s readers to become an acti3e part in te

creation of is no3el, pro3ides te frame6or@ for a fascinating stor( of passion, te constraints of class, andte struggle for freedom.

Tema Nr. 11

OS6AR WILDE-THE "I6TRE O% DORIAN 3RA• eiled homo!e9ality• Dandyi!m• Ae!thetici!m < hedoni!m• Dorian- a modern Narci!!!• The do'le

O'iecti&ele temei:• Studenţii trebuie să îşi însuşească cunoştiinţe legate de dandism

•

emarcă influenţa esteticismului şi prezenţa conceptelor edoniste• 2orian poate fi 3azut ca un #arcis modern

• Tabloul de3ine oglinda sufletului său / dublul


*i'liogra+ie recomandat,( !ilde, Kscar, Te icture of 2orian 'ra(, =arnes $ #oble Classics, %&&G

Ellmann, icard, Kscar !ilde, Rintage, *+00

Me(es, alp, Te !it and !isdom of Kscar !ilde, 'ramerc(, *+++

MnoB, 1elissa, Kscar !ilde: A "ong and "o3el( Suicide, Dale 4ni3ersit( ress, *++G

ab(, eter, te Cambridge Companion to Kscar !ilde, Cambridge 4ni3ersit( ress, *++

Kscar !ilde 6as born in 2ublin in *05G and unfortunatel( for te literar( scene e died soon in*+&& but, altoug e did not p(sicall( o3erstep te fringe of te nineteent centur(, is 6or@s @eeps on

enNo(ing te t6entiet centur( readerVs mind and soul. 8'enius lasts longer tan beaut(9 "ord 7enr( said in!ildeVs no3el The "ictre o+ Dorian 3ray, 8=eaut(9 referring to te sitter or te obNect of inspiration

6ose appearance is accidental and sort.

Te no3el The "ictre o+ Dorian 3ray > *0+& ? is is most important 6or@ as a prose 6riter; inspite of its internal contradictions, te no3el is a masterpiece of te time. )n *0+* te autor 6rote a -reface

to te no3el 6ic is in contradiction 6it te no3el, at least 6it its end, since in te former e states tat

art and moralit( are separate 6ile te 6or@ ends as 8a moral lesson on te e3ils of self regardingedonism9.

According to Sanders 8Te narrati3e tat follo6s >te no3el? is a melodramatic, austiandemonstration of te notion tat art and moralit( are uite di3orced9. Seeing te picture 2orian 'ra( said:

%&



87o6 sad it isW ) sall gro6 old, and orrible, and dreadful. =ut tis picture 6ill remain al6a(s (oung. )t

6ill ne3er be older tan tis particular da( of Lune. )f it 6ere onl( te oter 6a( W )f it 6ere ) 6o 6as to beal6a(s (oung, and te picture tat 6as to gro6 old W or tat / for tat ) 6ould gi3e e3er(tingW Des, tere

is noting in te 6ole 6orld ) 6ould not gi3eW ) 6ould gi3e m( soul for tatW9 !it Sanders 82orian 'ra(is a traged( of sorts 6it te subteBt of a moralit( pla(: )ts self/destructi3e, dar@l( sinning central caracter

is at once a desperate suicide and a mart(r9.

Te firs capter is a 3er( interesting poetic teBt.=asil 7all6ard eBpounds is ideas about te connection bet6een artist, 6or@ of art and sitter in a

con3ersation 6it is friend "ord 7enr(. )nitiall( =asil stated tat e 6ould not eBibit 2orian 'ra(Vs picture because 8tere 6as too muc of im in it9, statement tat amused "ord 7enr( 6o considered it

cildis. Te trut is tat =asil puts te essence of te process of art in it, tat special transformation placing

te artist in is creati3e state: 8e3er( portrait tat is painted 6it feeling is a portrait of te artist, not of tesitter. Te sitter is merel( te accident, te occasion. )t is not e 6o is re3ealed b( te painter; it is rater

te painter 6o, on te coloured can3as, re3eals imself. Te reason ) 6ill not eBibit tis picture is tat )am afraid tat ) a3e so6n in it te secreat of m( soul9.

irst =asil eBplains tat a 6or@ of art is based on te reaction of is soul and not of is mind, it

brings into ligt tat idden incompreensible part of te artist. Te artist becomes a medium troug 6icfeelings are materialised on can3as. Te sitter is te app( accident, te unpredictable tat tortures te artist

until e finises is creation. Te 6ord 8accident9 used b( !ilde 6ill become te starting point for a 6oleteor( concerning te process of creation and te role of te accidental O azard tat ma@es te process startand continue.

!en =asil eBplains o6 te sitter-s absence ma@es im e3en more present te reader souldremember o6 "il( =riscoe succeeded in finising amsa(Vs portrait, after te latter-s deat.

Te picture is a reflection of te image proNected in te artist, 6en te sitter is not tere te painter

gi3es more of im, e implies more and also alienates te image more. Tose cur3es and 8subtitles ofcolours9 tat suggest 2orian are te impulses of te 6or@ of art tat imposes itself, tat creates itself b(

influencing te artist.

The "ictre o+ Dorian 3ray announces te modern no3el and eBpresses some of te main ideas tat

are te base of te litarar( teor( in te beginning of te t6entiet centur(. Te no3el allo6s an approac

from te point of 3ie6 of te classical austian teme, 6ic in its turn can be led to6ards interpretationssuggesting te process of creation. =ut te no3el remains a document of !ildeVs social en3ironment.

TEST DE EALARE

*. !at is te interrelation bet6een 2orian and is portraitFăspuns:

2orian maes a mad wish of remaining forever young and beautiful, which has often been viewed as a

Faustian pact. 3n the other hand the portrait which bears the mars of his debauchery will in the end

regain its initial shape, thus art is immortal and people are ephemeral and wea.

%. !o launces edonist ideas in te no3elF

ăspuns:

/ntre',ri*. !( does 2orian call te painting 8te most magical of mirrors9F

ăspuns: 2orian calls it as such because the painting reflects the most hidden aspects of his personality and becomes

the mirror of his soul and consciousness. #henever he commits a sin, the portrait changes and this hints at

the changes that occur within his personality.

%. !( does 2orian abandon S(billF

ăspuns:

RE0MATL TEMEI

%*



As a pla(6rigt e remains faitful to old stage traditions. Te temes e deals 6it in is pla(s are:

slum landlordism in Wido#er!K Ho!e! *0+%; prostitution in Mr!. WarrenK! "ro+e!!ion *+&%;masculine eroism in Arm! and the Man ( An Anti-Romantic 6omedy *0+G; is ne6 drama refers to

)reland, te )ris and teir problem in ;ohn *llK! Other I!land *+&; te reconstruction of societ( b(manipulation in Maor *ar'ara and "ygmalion *+*H. Sa6Vs dramatic action feeds itself from traditions

of musical teatre, and especiall( from 1ozart and !agnerian opera, for instance Man and S$erman> *+&5 ? leading te reader to Don 3io&anni b( 1ozart.

Sa6Vs intention to soc@ te audience becomes realit( 6it Mr!. WarrenK! "ro+e!!ion publised

in *0+H, a pla( 6ose impact on te spectators is accuratel( mirrored in te press of te time: it is called8illuminated cangrene9 , 8morall( rotten9 , a limit of indecenc(; 8it defends immoralit(. )t glorifies

debaucer(. )t besmirces te sacredness of a clerg(manVs calling9 Sa6 considered te reaction of te

critics a triump, but unfortunatel( it led to te ban of te pla( b( te "ord Camberlain 6o could censorstage performances at te time.

Te performance of te pla( in #e6 Dor@ in *+&5 6as immediatel( follo6ed b( te proibition of te pla( 6ile te compan( tat produced it 6as arrested. 7o6e3er Sa6 tried to demonstrate te moralit( of

Mr!.WarrenK! "ro+e!!ion in te preface to te pla(. 7e 6anted to 8dra6 attention to te trut tat

prostitution 6as caused, not b( female depra3it( and male licentiousness, but simpl( b( underpa(ing,under3aluing, and o3er6or@ing 6omen so samefull( tat te poorest of tem are forced to resort to

prostitution to @eep bod( and soul togeter9. Te man 6o cannot see tat star3ation , o3er6or@, dirt, anddisease are as anti/social as prostitution tat te( are te 3ices and crimes of a nation , and not merel( itsmisfortunes is a opelessl( ri3ate erson >6ic means 8idiot9, from te 'ree@ idiotes , a pri3ate

person ?.Te 6ord 8prostitution9 does not appear in te pla(, it is ne3er uttered altoug it can be felt beind

e3er( 6ord, it is te bac@groung of te pla(, te painful silence supporting and feeding te pla(. Te pla( is

also recei3ed as a 8moral stud( of economies of prostitution9, and from tis point of 3ie6 it is 3er( 6ellunderstood b( 6omen; o6e3er it is not so eas( 6it men since it does not seem to treat teir problem.

Te main caracters of te pla( are te 6omen Ri3ie and er moter 1rs. !arren 6o seem to beunited in teir indifferences. Te( are li@e t6o pillars gro6n up from te same soil, facing eac oter,

al6a(s a cain of brotels; er efforts and immoral acti3it( are directed to6ards er daugter 6o enNo(s an

eBpensi3e education at Cambridge. Ri3ie 6as to become an idependent 6oman able to earn mone( as mendo. 1rs !arren is not a 3illainous caracter, se 6ants to protect er daugter.

Sanders comments tat Mr!. WarrenK! "ro+e!!ion 8confronts t6o contemporar( 6omenVs issues:te future professional careers of educated, 6ould be independent 6omen, and te oldest profession, female

prostitution9. Te internal tension leads to a brea@ing off bet6een moter and daugter, te latter tr(ing to

built er future on 6or@ and 8sounder principles9.Sa6 couldnVt stop to tis @ind of pla(s and created a ne6 group of pla(s called 8pla(s pleasant9

6ic be6ildered is critics. !it tese pla(s e announces te modern teatre since e uses te 8metod ofte clo6n and te absurdist9. A pla( li@e Arm! and the Man, a comed( using te burlesue and te

masculine eroism to deal 6it its anti/6ar teme, 6as 3er( 6ell recei3ed b( te audience and ran fift(

nigts 6ic put te critics in confused position.

Sa6Vs contemporar( critics seize te meaning of is pla(s and praise is courage to face teautorities of te time and bring someting ne6 in literature. Among te features e preser3es as a

pla(6rigt, tere is an 8unpredictable9 feature also sustained b( te impact of is pla(s on is critics and

audience. 7is status is still debatable since tere are critics 6o 6onder 6eter e 6as dealing in realism

or some Sa6ian No@es about te t6o sides of te trut.

TEST DE EALARE

*. !ic 6ere te conseuences of po3ert( in Rictorian societ(Făspuns:

Shaw new well the conse1uences of poverty in 8ictorian England, the hypocrisy of the wealthy, and theinterdependence of the rich and poor. 9Good9 society re0ects her but overloos, as rofts points out, the

corruption involved in the upper class5s ac1uisition of its own wealth.

%H



eter 'riffit comments tat =ec@ett goes be(ond temporal and spacial limits: 8Carni3al,

utternace, dialogue, struggle: tese are terms tat appl( to drama as muc as te( do to te anal(sis ofdiscourse, and it is time to appl( tem in tis 6a(. Kne of te resons 6( =ec@ett and inter a3e often

brac@eted togeter is tat te( are bot freuentl( seen as 6riting ermeticall(/sealed dramatic teBts 6icdeliberatel( and 6illfull( bear no relation to te 6orld outside te pla(; anoter 3ersion of tis criticism is

tat te( create a spurious and a istorical picture of Te 7uman Condition 6ic neglects eBisting social

conditions and processes9.Tis caos and ambiguit( ma@e of =ec@ett a representati3e of te absurd literature. Te set is 3er(

simple and s(mmetrical: Waiting +or 3odot reuires a tree and a countr( road in frant of it; Endgame is placed in a bare interior and te set of Ha$$y Day! is reduced to maBimum of simplicitl( and s(mmetr(

6it !innie in te centre of a mound of eart. Terefore te audienceVs interst is directed to6ards te

dialogue.

Waiting +or 3odot is =ec@ettVs most representati3e pla(; it 6as publised first in renc in *+5%

and t6o (ears later in Englis in #e6 Dor@, but te definiti3e teBt appeared at aber and aber in *+5<.Te plot is eBtremel( simple and consists in turning noting into someting since te main

caracters a3e noting else to do but 6ait for 'odot, 6o 6ill ne3er come, and pla( 6it tougts. Starting

from setting to caracters, e3er(ting is s(mmetrical in te pla(, e3er(ting is separated in couples, te pla(is structured in t6o acts. =ec@ett indicates onl( t6o elements on te stage a tree and a road, and tree

paires of caracters Rladimir and Estragon, ozzo and "uc@(, 1r.'odot and a bo(. Te caracters in a pair are opposite, complementar( and doomed to be togeter but sometimes te autor creates a certainconfusion 6ic ma@es tem cange teir places, te( are te embodiment of te same situation at different

le3els.Estragon and Rladimir are bot comic eroes, teir first appearance as clo6ns speculating on te

strangeness of language, of tings turns into a couple of tragic caracters 6ose situation is elpless. Te(

seem to be @ept togeter b( te tree 6ic could be a s(mbol for ope. )n te line of =ec@ettVs oppositionsRladimir migt be associated 6it te mind or te spirit, 6ile Estragon migt be te bod(. Teir dialogues

de3iate into a suggesti3e game reminding us of te deca( of umanit(.Rladimir as a mediati3e nature so6ing a great preoccupation 6it te =ible and especiall( 6it

te stor( about sal3ation and damnation. EBcept tis obsessi3e preoccupation 6it te =ible, Rladimir is te

3oice of reason, e is te tin@er 6o tries to gi3e eBplanations, 8 to bring dar@ tings into te ligt of da(9 ,to protect Estragon 6o is a 3er( sensiti3e person and te prisoner of is nigtmares. EstragonVs

sensiti3eness seems to a3e its roots in te 6arVs orrors, is reactions int at traumatic appenings: 8 2onVttouc meW 2onVt uestion meW 2onVt spea@ to meW Sta( 6it meW9

Te oter caracters, ozzo and "uc@(, are reall( tied but teir relationsip is more unpleasant.

Te contrast bet6een ozzo and "uc@( is more po6erful, te split bet6een mind and bod( is not 3er( firmsince it implies coeBistence suggested b( te rope. "uc@(, 6o in te first act is te 8good angel9 , as an

a6ful aspect, is a miserable figure and cannot e3en tin@ 6itout an order. )n te second act, e is dumb, eis a fallen angel but e dri3es ozzo b( a sorter rope.

ozzo is a caracter built up on contradictions, described as 8t(rannical, confident, self/satisfied,

e is also cildisl( dependent, ner3ous and elpless, unable e3en to sit do6n on occasion 6itout a signal

from outside9. ozzo is an eBample of selfisness, al6a(s preoccupied 6it is comforts, e doesnVt e3entin@ of saring is food 6it an( of te caracters.

)n te second act, ozzo canges, becomes a more serious person, because of is blindness e is

supported b( "uc@(. )n spite of tis ne6 situation, communication is still impossible since tis time "uc@( is

dumb.Te main caracter of te pla( is also al6a(s absent and te a6aited 'odot 6o could be 'od or

future but 8#oting is certain9. 7o6e3er tere is a relation bet6een 'odot and te caractersV opesustained b( RladimirVs preoccupation 6it CrucifiBion and te sal3ation.

Tere are some ints at te relation bet6een Crist and 'odot in RladimirVs 6ords since e

belie3es tat if 'odot comes te( 6ill be sa3ed from ell and deat.)n Waiting +or 3odot te 6ords acuire te most important place because r(tm, repetition,

pauses impl( a greater attention on te part of te reader. Certain de3iations of te teBt b( 3irtue of amusicalit( are not accidental or meaningless, te( can suggest at least te opposition life deat, ligt

dar@: 8lea3es9 and 8ases9.

%5



*i'liogra+ie recomandat,( inter, 7arold, Te Careta@er and te 2umb !aiter, 'ro3e ress,*++G

E(re, icard, 7arold inter: A Celebration, aber $ aber, %&&*

eacoc@, 2. Meit, 7arold inter and te =ritis Teatre, 'reen6ood ress,*++

'rimes, Carles, 7arold inter olitics: A Silence =e(ond Eco, airleig 2ic@inson 4ni3ersit(

ress, %&&5

7arold inter 6as born at 7ac@ne(, East "ondon, in *+H&, and belie3ed tat teir famil( 6as ofLe6is origin since te name inter occurred among 7ungarian Le6s. interVs first poems 6ere publised as

6ritten b( 7arold inter a name of Spanis origin, Separdic Le6s. interVs memories about is cildood

are connected 6it a 86or@ing/class area9 6it Rictorian ouses and a soap factor( 8 6it a terrible smell9.7is literar( beginning too@ place in oetr( "ondon in *+5& 6it t6o poems signed b( 7arold int.

7e eBcelled as a pla(6rigt starting 6it is first pla( The Room 6ic 6as 3er( successful and impressed7arold 7abson, a drama critic of te Sunday Times, 6o 6rote about it. Te same (ear e 6rote t6o furter

pla(s: The *irthday "arty and The Dm' Waiter. 7o6e3er interVs neBt pla( The 6areta>er, performed

in *+<&, succeeded in anniilating te pre3ious bad commentaries, it proclaimed inter one of te best pla(6rigts of te time, comparable to =ec@ett.

4neBpectedl( real, interVs 6or@ is 6o3en around is eBperience, it is te embodiment of sometingordinar(, a real situation closel( obser3ed 6ic allo6s im to point out certain elements of setting and

language. )n is earlier pla(s sin@s and food are obsessi3el( present. 2espite tis, Esslin does not consider

inter a naturalistic pla(6rigt but paradoBicall( e empasises te m(ster( and te ambiguit( of interVs6or@: Te firt de3iation from te realisticall( constructed pla( lies in te element of uncertaint( about te

moti3ation of te caracters, teir bac@grounds, teir 3er( identit(.Te ambiguit( of te caracters lies in te lac@ of biograpical information, 6e do not @no6 te

names of te caracters. or instance, in The 6areta>er te old man is called 2a3ies, but also Len@ins.

inter claims tat is caracters are similar to us 8ineBpressi3e, gi3ing little 6a(, unrealible, elusi3e,e3asi3e, obstructi3e, un6illing9 but te( are a @e( to te dramatistVs metod because te( increase te

dramatic tension.

Te atmospere of uncertaint(, ambiguit(, m(ster( is te outcome of manVs eBistential fear, 6itinter menace is outside but it also lur@s inside e3er( caracter suggesting a p(cological approac.

The 6areta>er is a pla( 6ic allo6s a comparison 6it =ec@ettVs Waiting +or 3odot as eter'rifft states: te reader can compare 8te absence of a stable social milieu; te caractersV a3( reliance

upon te eBercise of memor(, coupled 6it considerable problems in acie3ing tis feat; te absence of6omen; e3en, at a peraps tri3ial le3el, te recurrent difficult( in matcing feet to appropriate foot6ear9.

Te structure of te pla( is a result of interVs interest in s(mmetr(; it contains tree acts and tree

caracters. Te t6o broters are different but te( complete eac oter: Aston is a good person 6o caresabout oter uman beings in need and tries to elp tem but e is slo6 and clums(; 1ic@ seems to be a

successful businessman 6o bougt an old ouse for is broter. Te tird caracter, 2a3ies, is te intruder6o comes in AstonVs ouse and because of is bea3iour e as to lea3e is temporar( ome and Nob.

Te problem of identit( appears in tis pla(, too: 2a3ies states tat is name is not 2a3ies but

Len@ins, (et e returns to 2a3ies: 81ac 2a3ies. Tat 6as before ) canged me name9. Te confusion created b( te t6o names and te caracterVs oscillation bet6een tem so6 te reader a person 6o oscillates

bet6een te t6o broters: Aston 6o elped im and 1ic@ 6o seems superior. 2a3ies, a omeless6anderer, tries is sortcomings eBploited b( 1ic@ 6o finall( succeeds in ma@ing im so6 is real face.

2a3ies is unable to resists 8te satisfaction of glor(ing in is superiorit( o3er te eB/inmate of an as(lum 8 ,

e also intends to pla( one broter off against te oter.!ile AstonVs gesture can be interpreted as a searc of a fater, 1ic@Vs reNection of te fater figure

is an arcet(pe of te conflict bet6een gererations, bet6een te sons and te fater. 1ic@Vs reaction in teend of te pla( is 3iolent and ironical and lea3es no possibilit( of return for te old man: 8 E3er since (ou

came into tis ouse tere as been noting but trouble. 7onest. ) can ta@e noting (ou sa( at face 3alue.E3er( 6ord (ou spea@ is open to an( number of different interpretations. 1ost of 6at (ou sa( is lies.DouVre 3iolent, (ouVre erratic, (ouVre Nust completel( unpredictable. DouVre noting else but a 6ild animal,

%



6en (ou come do6n to it. DouVre a barbarian. And to put te old tin lid on it, (ou stin@ from arse/ole to

brea@fast time.9Aston and 1ic@ are similar to Estragon and Rladimir: one of tem is a poetic nature 6ile te oter

is rational. Te( can also be seen as different sides of te same personalit(, idea sustained b( interVsstatement tat 8 e3er( caracter an autor brings to life can be regarded as an emanation of one aspect of is

personalit(9. Aston is a 3er( sensiti3e person 6it a 3i3id imagination, terefore an artistic personalit(

6ic ad to be adNust to realit( >troug electric soc@ treatment?. 1ic@ 6o is more ancored in realit(tries to protect im.

The 6areta>er is considered a tragic/comed( according to interVs statement: 8As far as )Vmconcerned, The 6areta>er is funn(, up to a point. =e(ond tat point it ceases to be funn(, and it 6as

because of tat point tat ) 6rote it9 >Te Sunday Times, "ondon, *G August *+<&?. )n spite of some readersV

reactions >in fa3our of a 8laugable farce9? te comic and te tragic are inter6o3en and tis ma@es of it anopen pla(.

TEST DE EALARE

*. !ic are te main features of te language used in te pla(Făspuns:

The aretaer is filled with long rants and non)se1uiturs, the language is either choppy dialogue full ofinterruptions or long speeches that are a vocali(ed train of thought. *lthough, the te!t is presented in a

casual way there is always a message behind its simplicity.

%. !ic are te tragicomic elements present in te pla(Făspuns:

/ntre',ri*. 7o6 are manipulation and lac@ of communication reflected in te pla(F

ăspuns: *ll are, to some e!tent, deceptive, twisting reality in order to manipulate one another and to delude

themselves. The character who is the most deceptive is probably 2avies. From the beginning, it is clear that

he is a liar, first attempting to win *ston5s respect by pretending to a past that rings false.%. 7o6 important is te setting for te structure of te pla(F

ăspuns:

RE0MATL TEMEI

Te Careta@er 6as te first of interUs pla(s to bring im artistic and commercial success as 6ell as

national recognition. Te real/6orld origins of te pla( lie in interUs acuaintance 6it t6o broters 6oli3ed togeter, one of 6om brougt an old tramp to te ouse for a brief sta(.

Troug te stor( of te t6o broters and te tramp, Te Careta@er deals 6it te distance bet6een

realit( and fantas(, famil( relationsips, and te struggle for po6er. )t also touces on te subNects of mental

illness and te pligt of te indigent. inter uses elements of bot comed( and traged( to create a pla( tatelicits compleB reactions in te audience. Te compleBit( of te pla(, interUs masterful use of dialogue, andte dept and perception so6n in interUs temes all contribute to Te Careta@erUs consideration as a

modern masterpiece.

lit britanica an2 sem2 burdescu 2009

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