Rise of the Novel Final

Caves of Montesinos p. 717- 727

"The episode of the cave of Montesinos has been called a compromise with reality. As an adventure it is unique in the book since it is a case not only of self-enchantment but of what appears to be deliberate self-enchantment on the part of our striped madman. We are never quite sure whether Don Quixote is or is not aware that he has invented the whole episode,* and the various allusions to his state of mind in this connection are very interesting." "Other fantastic episodes are always explained realistically by someone deceiving Don Quixote or by his rearranging impressions in such a way as to deceive himself. But here the time element and the space element are difficult to dismiss; and, after all, even Don Quixote ought to know if he dreams or not. This chapter begins with the translator's attempt to explain things." Cid Hamete Benengeli concludes: "You, wise reader, may decide for yourself. see notes for summary, and skim passages pointed out in notes

p. 407 : captive's story about how got in jail and then freed

- Autobiographical based on Cervantes' own experiences attempting to escape captivity in Algiers - more typical of 18th century novels - DQ disapears during this very long disruption. Its a very clear change in the style of storytelling. It is much more plot based and the reader finds themselves very invested. Cervantes makes us as readers reflect on our interests as readers, while possibly making us suspenseful as to DQ's story, since it is such a long break.

Don Quixote characters

- Don Quixote - Sancho Panza (DQ's squire) - Dulcinea Del Toboso (peasant woman whom Don Quixote envisions as his ladylove) - Benengeli: The fictional writer from whose manuscripts Cervantes supposedly translates the novel. - Cervantes - The supposed translator of Benengeli's historical novel - The priest and the barbor not sure if i need to go beyond that

Eugene Onegin characters

- Eugene Onegin - Lensky (onegin's friend he ends up killing in duel) - Tatyana (in love with romance books and Onegin) - Olga (T's sister who Lensky is in love with) - Pushkin

Austen lived during the Regency Period of England 1811-1820

- George III reigns from 1760-1820: - Associated with loss of American colonies and expansion of British Empire elsewhere, especially in India - was called The "mad" King—debilitating mental illness - Allows others to rule in his place - Regent= acting king= Prince of Wales, George III's oldest son : - Patron of the arts, profligate (wasteful, extravagant) - Famed for scandalous personal life: debts up to $100 million, drinking, mistresses. George III and his regent king, the prince of wales exemplified the general perception of the upper class being being seen as ill-minded and corrupt (Lady catherine satirizes this)

pride and Prejudice characters

- Mr. and Mrs. Bennet - Jane Bennet ----- Mr. Bingley ----- Darcy - Elizabeth Bennet - Lydia Bennet ---- ends up with Wickham - Lady Lucas (neighbor, mother) - Charlotte Lucas (neighbor BFF)--- Collins (Bennet's cousin) - Mr. and Mrs. Gardiner (Eliza's aunt and uncle) - Lady Catherine (Collins patron and Darcy's aunt) - Mary Bennet (a Bennet sister, bookish)

Irony

- Pride and Prejudice

The Enlightenment

- Siècle De Lumières - Aufklärung - European intellectual movement: life can be improved by applying human understanding to problems - Optimistic: believes in progress via reform -Casts off old hierarchies, superstitions, as scraps of primitive past (hence

Theatricality in CofO

- Structured in five acts - Dialogue is highly theatrical - Plot evokes Sophocles' Oedipus Rex - But Manfred is not quite a tragic hero--why not? - He is after his own selfish pursuits, rather than conflicted by one fatal flaw). - Walpole dosnt give him consequence throughout the novel for his wrong - He dosnt get a redeeming moment : there is no cathartic moment at the end - A tragic hero is usually chased by fate who catches up to them in the end, while Manfred experiences an event of fate, the death of his son, at the beginning and we watch as he reacts very badly to it.

The Chromotype of "The Road"

- The road is a particularly good place for random encounters. On the road ('the high road'), the spatial and temporal paths of the most varied people—representatives of all social classes, estates, religions, nationalities, ages—intersect at one spatial and temporal point. People who are normally kept separate by social and spatial distance can accidentally meet; any contrast may crop up, the most various fates may collide and interweave with one another. - The road is especially (but not exclusively) appropriate for portraying events governed by chance. This explains the important narrative role of the road in the history of the novel. " - time fuses together with space, which forms the road - "The road is what determined the plots of the Spanish picaresque novel of the sixteenth century... On the boundary line between the sixteenth and seventeenth centuries, Don Quixote sets on the road in order that he might encounter all of Spain on that road—from galley-slaves to dukes." (Bakhtin) - Don Quixote: DQ : pg. 201: SP and DQ dont "follow any determined course," because it is the tradition of Knight errants to "keep no certain road", this made it that they "travel at random." This allows Cervantes to have them meet people of different social classes and professions. During these random encounters of mixed types of people, Cervates can either reinforce or undermine stereotypes. The mash-pot of people the road allows cervantes to put different objects of satire into his novel-- without the road, they wouldnt be availble because it wouldnt make sense for them to be in the story. The road also allows for the episodic nature of the narrative, as well as the interpolated tales.

Sentimental Journey Characters

- Yorick: protag and narrator - - - La Fleur: becomes Yurik's servant

Sterne

- born in Ireland - after death of his father he lives with his uncle in Yorkshire - became an anglican priest after college - libertine reputation - author of tristam shandy: highly self-conscious fictional autobiography Endless digressions represent life as we experience it Influenced by empiricist philosophy of Locke and Hume Language is arbitrary; leads to misunderstandings Sentiment brings us together

significance of the goat story scene in dq

- metafictional - story teller / listener role reversal, as DQ is usually the one saying stories and SP listening. - As an author, Cervantes is making a statement about the act of storytelling, and how it relies on a mutual contract between the listener and speaker. When DQ cant particapate it SP's story by counting the goats, the storytelling breaks down. - the scene also highlights the definig qualities of their relationship, and how they contrast eachother, which also makes them compliment each other. Cervantes is mocking DQ throughout the rest of the novel for being so wrapped up in fantasy, but here he critiques how SP's commitment to concrete detail also becomes absurd.

Janeites

- until mid-twentieth century, Austen's most dedicated fans were men - she was so popular in the trenches that Rudyard Kipling wrote a short - story about it, "The Janeites" - Now refers to her dedicated fans more generally

pushkin's stanza form

-14 lines per stanza - ababccddeffegg - Iambic tetrameter

117- SJ

-Yorick holds the reader accountable for his / her own imagination--> tells you to imagine how they changed in the same room and if its inappropraite its ur fault

2 examples of 18th and 19th century Quixotes

1. "The Female Quixote" by Lennox 2. "Northanger Abbey" by Austen (protag is obsessed with gothic novels)

The Gothic

1. Feudal, Italian, Catholic context. 2. Action occurs in ancient castle. The claustrophobic interiors create a feeling of entrapment. Curious, brave heroine tries to escape the labyrinth of the castle. 3. Malevolent villain. 4. Terrible secrets—often involving taboos and transgressions—are exposed. 5. characterized by an Atmosphere of melancholy. 6. The narrative elicits suspense. 7. employs Supernatural "Machinery": unrealistic effects that enhance the intensity 8. theme of inheritance: things in the past have implications for future generations ( only need list like 5 of them on test) - Castle of Otranto: The first Gothic novel. 1. 2. The novel is literally called "The Castle of Otranto": there are dark secret passages that Isabella uses to try and get out of the castle. 3. Manfred, his temper at his daughter, and the sexual threat he imposes on Isabella. The need for her to escape from him (and get out of his castle) drives the plot, and makes it suspenseful and scary. (#6) 4. It is gradually revealed throughout the novel that Manfred wrongfully inherited the castle, and is not its true ruler. (#8) 5. 7. the play is filled with supernatural events and objects, like the huge helmet which kills Manfred's son, the sword which needed 100 men to carry it, the man coming out of his picture, the ghost sightseeing, the bleeding statue **taboo: shocking that Manfred wants to marry the girl that would have been his daughter in law

WOnder and compassion in CO

18th-century critic Henry Home, Lord Kames argued that when the genre of the novel displaced romance, so the appeal to compassion replaced the appeal to wonder "Walpole's innovation was to bring together wonder and compassion, broadening the parameters of sympathy to include experience of the miraculous and the terrible, and artfully extending the limits of what could be felt by the reader as 'real'" (E.J. Clery, The Rise of Supernatural Fiction,79).

walpole's 1st preface vs. second preface

1: its an accidental discovery. a historical artifact. 2. walpole takes credit. -It's no longer an accidental discovery but a deliberate experiment "to blend the two kinds of romance, the ancient and the modern" -Rejects neoclassical values, embraces originality

Romance

A Literary genre "relating the legendary or extraordinary adventures of some hero of chivalry" - Don Quixote : DQ becomes so consumed in his romance novels, that he assumes the role of a knight.

Romanticism / Realism

A balancing of the two genres. Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of the past and nature. Realism is committed to representing reality faithfully. It is filled with descriptions, details, and is set in the backdrop of a historical context. - Eugene Onegin: The novel has characteristics of romanticism in that it is a love story, as Lensky falls in love with Olga and Tatyana falls in love with and is heartbroken by Onegin. In the end of the book, Onegin even falls in love with tatyana. It also idealizes the countryside: the narrator goes to far lengths to say how much he prefers the country over the city. He also goes to far lengths to describe the change of seasons, and his love of winter and all its beauty, which shows a reverence of nature in the novel. It is characteristic of realism in that it is grounded in noble russian culture, and mentions real locations and details that would be recognizable to a russian audience. realism is specifically apparent in the novel's opening chapters when the narrator describes the details of Onegin's daily routine.

Embodied omniscience

A narrator who is a character within the story, but still has an omniscient position, and knows all of the thoughts and feelings of all of the characters. - Eugene Onegin:In the 2nd stanza of the novel, the narrator calls Onegin his "friend" and "brother." Later in the chapter the narrator says that they became friends because they had both "parted from convention" and how they planned to go on travel together. Unfortunately, the trip was canceled because Onegin's father died. Later, the narrator also talks about Tatyana like he knew her as well.

Digression

A temporary departure from the main subject - sterne's abundant use of digressions, that create disorder in the novel, suggests a refusal to idealize life by making it coherent - Sentimental Journey (because its a stream of Yurik's consciousness): Yurik says that time is moving fast "upon the loss of the lady" but then on the same page, before any action takes place, he starts talking about the adventures life can bring when someone is open to it: he then tells you about Smelfungus a traveler who can see the world and just be miserable and not see any beauty or adventure.

The Sentimental Novel

A type of novel popular in the eighteenth century that features characters who exhibit sensibility and which are devoted to dramatizing the emotions - often the plot is about love/ romantic pursuits - Sentimental Journey: The novel has different romantic pursuits interspersed throughout the novel, which bring out Yurik's sentimentality. Yurik is defined by his extraordinary capacity for sympathy (31) which is why he hires Le Fleur without knowing what he is capable of doing, because he pities a poor devil like himself. Also, when he is meeting the woman in the very beginning of the novel, she lets go of his hand , his heart "suffers a pain" (19). The excessive expression of feeling seems almost ridiculous, especially to a modern reader who isnt used to sentimental novels. Yorik also explains how he translates body language into expressions of feelings: like he is overly aware of not only his own feelings, but of the people's around him. It is very deliberate, like when he orchestrates his own sentimental journey by imagining a man in captivity in order to evoke sympathy out of himself .

Knight of the White Moon p. 1030

Alias used by Samson Carrasco (man from their town trying to get them to return home) when he disguises himself as a knight in his second combat with Don Quijote - see notes: contrasting debate between him and Don Antonio

Austen's financial situation compared to Bennetts: shows how the novel is somewhat autobiographical

Austen family's income: 900 pounds a year ($88,200) until 1805 when father dies. Then 200-510 pounds a year (20-49,000) Could afford 1-3 servants. Bennet family: richer, but still less comp to darcy and bingley Total assets: 50,000 pounds ($4.9 million) Income: 2000 pounds a year ($196,000) Could afford 12 servants (3-4 female house servants, 2-3 manservants, stableboy, bailiff, and farmhands)

Pride and Prejudice Author

Austen: - Born in Hampshire - Father rector at local Anglican church - Starts writing as a child, drafts novels in her early twenties, first in epistolary form - Father dies in 1805 leaving Austen, her mother, and her sisters in dire financial straits - Turns down marriage proposal - Lives with her mother and sisters, publishes novels in her 30s and early 40s - Dies age 41

Walpole's aesthetic

Breaks away from realism--Walpole consciously departs from "strict adherence to common life." In place of neoclassicism's regard for the general (views purpose of lit as portrayal of universal nature, not particulars), Walpole favors the curious, the odd, the singular.

Don Quixote author

Cervantes

48:

Differences between languages are profound gauges of "national characters" (48) gets more out of actually interacting with random common poeple than comparing french and eng governors: goes back to whatt kind of traveller he is

"...if anything seems imperfect, I affirm it must be owing to the fault of the infidel its author, rather than to any failure of the subject itself ..." (101)

Don Quixote, Cervante's narrator is speaking about the muslim author, Benengeli, from whose manuscripts Cervantes supposedly translates the novel. - beginning of book 2 - metafiction: by talking about this fictional author, and his faults, Cervantes makes his novel exhibit an awareness of its fictionality. The book about Don Quixote in fact is supposed to actually be circulating throughout the novel, so that characters recognize Don Quxote like he has become famous. There is also an added layer of metafiction, as Cervantes was actually upset in real life that someone tried to write a knock off second volume of DQ, and this can be seen as a jab at that author. ?

"Chance has conducted our affairs even better than we could either wish or hope for; look there, friend Sancho, and behold thirty or forty outrageous giants, with whom, I intend to engage in battle, and put every soul of them to death, so that we may begin to enrich ourselves with their spoils; for, it is a meritorious warfare, and serviceable both to God and man, to extirpate such a wicked race from the face of the earth." "What giants do you mean?" said in amaze? (88)

Don Quixote, DQ to SP This scene contrasts the hammer scene later on, in which they follow a sound only to find out it was a hammer, and and Don Quixote actually admits that it wasnt an enchantment. Here, he sticks to the story he has created from his imagination about the windmills to the very end. It is hard to tell in the novel when Don Quixote will be limited by his imagination, and when he will not be. Scenes like these also show a progression of Sancho Panzo and DQ's relationship; here, at the beginning of their travels, SP questions DQ saying "what giants?" asserting that DQ is making this up. However, as the novel progresses, SP learns to go along with DQ's stories. The question lies in whether it is good or bad that SP is an enabler of DQ's madness (which comes with how he hurts people, but also with the fantasy he creates in the world).

"I know very well, who I am, replied and that it is possible for me to be not only those whom I have mentioned, but also the whole twelve peers of France, and even the nine worthies, seeing that my achievements will excel, not only those of each of them singly, but even the exploits of them all joined together." (72)

Don Quixote, showing his madness

" ...I take the whole blame to myself, for not having informed your worship of my dear uncle's extravagances, that some remedy might have been applied, before they had proceeded to such excess; and that you might have burnt all those excommunicated books, which deserve the fire as much as if they were crammed with heresy." (73)

Don quixote, his niece is speaking to the curate and barber. - the books are seen as the cause of DQ's madness. - DQ launches long-standing discourse in which novels dramatize anxieties about the effects of their consumption upon readers. - this is also metafictional, as the readers are also reading a romance novel, even if its satirical, and seeing such books being critiqued in the novel.

Elizabeth was much too embarrassed to say a word . . . . Elizabeth feeling all the more than common awkwardness and anxiety of his situation, now forced herself to speak; and immediately, though not very fluently, gave him to understand, that her sentiments had undergone so material a change, since the period to which he alluded, as to make her receive with gratitude and pleasure, his present assurances . . . . . Had Elizabeth been able to encounter his eye, she might have seen how well the expression of heartfelt delight, diffused over his face, became him; but, though she could not look, she could listen, and he told her of feelings, which, in proving of what importance she was to him, made his affection every moment more valuable" (280).

Elizabeth response to second proposal

"So much in love as to wish to marry her in spite of all the objections which had made him prevent his friend's marrying her sister, and which must appear at least with equal force in his own case—was almost incredible! It was gratifying to have inspired unconsciously so strong an affection. But his pride, his abominable pride—his shameless avowal of what he had done with respect to Jane—his unpardonable assurance in acknowledging, though he could not justify it, and the unfeeling manner in which he had mentioned Mr. Wickham, his cruelty towards whom he had not attempted to deny, soon overcame the pity which the consideration of his attachment had for a moment excited."

Elizabeth, free indirect discourse, pride and prejudice: getting intimate look at her response, but also sort of mocking her for being so shocked. her thought patterns are more naive than she thinks of herself

sensibility

Exquisite sensitivity to external stimuli as evidenced by blushing, crying, fainting etc. Being sensible was a sign that a person has an overall moral delicacy, is naturally more virtuous. - Sentimental Journey: Yurik's character : Yorick is defined by his extraordinary capacity for sensitivity and sympathy (31) which is why he hires Le Fleur without knowing what he is capable of doing, because he pities a poor devil like himself. His excessive sympathy leads him to do this kindness: using reason he would have interviewed somebody that can do more than drumming. he also favors nature, farm-life and people over fashionable urban-life and people. Yorik also explains how he translates body language into expressions of feelings: like he is overly aware of not only his own feelings, but of the people's around him. It is very deliberate, like when he orchestrates his own sentimental journey by imagining a man in captivity in order to evoke sympathy out of himself .

Last scene/ line of SJ The novel's last line: "so that when I stretch'd out my hand, I caught hold of the fille de chambre's"

How is this moment typical of Sentimental Journey? - interconnectedness between sympathy and the body: since sympathy is only done out of desire for pleasure Communications occurs via the body, without words (19, 20, 21, 22, 50, 54, 55) Touch renders words unnecessary (22, 27) notes

18th-century ideas about feelings

Hume V. Smith: Contagion (feelings passed between people because feeling sympathy feels pleasurable) vs. "In your shoes model" (consult you "impartial spectator" to decide how to feel if u were in that position)

78: "allow me to relate another our of order"

Narrative coherence is more important than chronological coherence

66-67 SJ

Narrative echoes structures of the mind rather than objective reality Apparent randomness is actually methodical 66, 67: alludes to what Yorick is leaving out of his narrative

The novel

No clear definition: - "A novel is a piece of prose fiction of a reasonable length." - it can be thought of as a prodcut of its time, hence it was called the "noevl/ something new" when it was emerging as a completely new literary genre. - 18th century Novels are characterized by conscious experimentation. Therefore the most typical novel may also be the strangest. - Scholars most often locate the inception of the novel as a genre in the late seventeenth or early eighteenth century - Ian Watt, The Rise of the Novel (1957): the novel emerges from: 1. empiricist philosophy 2. Capitalist / Protestant focus on individual 3. Increased prominence of middle class 4. Growth of literacy, libraries, leisure - "formal realism" = charecterizes 18th century novel (but this excludes don quixote which is foundational novel) Bakhtin: - The novel's essence is heteroglossic—multi-tongued. - The novel is essentially dialogic in structure, and comically subversive "The novel as a whole is a phenomenon multiform in style and variform in speech and voice ... the style of the novel is to be found in the combination of its styles"

Eugene Onegin Author

Pushkin: - 1799-1837 - Born into Russian nobility - Exiled by Tsar Alexander I for writing controversial poem, "Ode to Liberty" - Eugene Onegin first published serially between 1825 and 1832 - Pushkin died in a duel when he was 38. - Influences: (read their works in french) Alexander Pope Laurence Sterne Byron

The body: Why does Cervantes include so much bodily humor in Book 3? ex. Ch 3, when in the inn DQ first drinks the healing potion he vomits. When Sancho drinks it he "unloads at both ends" (109 in Kindle) ex. Ch 4, when Sancho and DQ vomitting on each other after the battle with Shepards (120 in Kindle) ex. Ch 6 when Sancho is holding to Rozinante in the dark he "freed himself from the load which had given him so much uneasiness" (136 in Kindle).

Rabelais and the grotesque In Rabelais and his World, Bakhtin argues that representations of basic bodily functions (sex, eating, drinking) is a democratizing impulse: its a way of taking ppl of a pedastol, humanizing them - takes away ideallization, romance, of DQ's character and the novel as a whole

interpolated tales

Random stories that are interwoven, embedded into the larger plot. They stand on their own, and don't actually relate to the plot as a whole. -Don Quixote: When DQ's horse is injured, he decides him and SP will take a break from travelling for the night. SP comforts him by entertaining him with a story. He tells him an "ancient tale" about a shepherd who leaves his town with all his goats. SP wants to tell over how he got every single goat past the river, and wants DQ to keep track of them. Through tales like this, Cervantes can show other voices and perspectives. For example, this story shows a different form of storytelling than what we have seen from DQ.

Sentimentalism

Sentimentalism asserted that over-shown feeling was not a weakness but rather showed one to be a moral person. sentimentalism set "untouched" nature against (courtly) civilization The literary work often featured scenes of distress and tenderness, and the plot was arranged to advance emotions rather than action. - Sentimental Journey: Yorick is defined by his extraordinary capacity for sympathy (31) which is why he hires Le Fleur without knowing what he is capable of doing, because he pities a poor devil like himself. His excessive sympathy leads him to do this kindness: using reason he would have interviewed somebody that can do more than drumming. he also favors nature, farm-life and people over fashionable urban-life and people.

Sentimental Journey Author

Sterne

consanguinity

The condition of being of the same blood; relationship by descent from a common ancestor; blood-relationship. - since we are all share blood, come from the same source, our blood can communicate with each other - suggests a oneness of nature Sentimental Journey: when the fill de' chambre of Madame R comes to his hotel room, there is a lot of sexual tension in the air. Yurik says that he blushed, but divests his own responsibility by saying that the sun reflected through the crimson curtains onto her face, which made it look like she was blushing, which made him blush: "the blood is more at fault than the man": like their blood is coversing, so that his blushing is instinctual.

Castle of Otranto author

Walpole: - remodelled his own home, Strawberry hill, in the gothic style * he released first edition as translated by Marshall

Psychological Realism

When The inner life of the characters is plausible even if the external life and events are not. - Castle of Otranto: In the opening scene, Manfred's son is killed by a very supernatural cause: a giant-sized helmet falls out of the sky and crushes him. Manfred's discovery of this super-natural event is psychologically very realistic, as Manfred is completely shocked at the sight of his dead son, a response any father would have. Even his anger here, and the way he turns away his daughter, seems realistic. Yes, he is an exagerated villian character, but wouldnt any father who cherished their one and only son lose control if that son died?

free indirect discourse

When the 1st person and 3rd person point of view merge together in the narration, so that the inner thoughts of the character is not directly attributed to them, but assumes their point of view, voice and tone. -It is instinctually clear that it is the character's thoughts and not the narrators. - Pride and Prejudice: Austen uses free indirect discourse throughout the novel, sometimes to allow the reader a closer, more intimate look at the character, but sometimes to make fun of the character and their thought patterns. The narrator assumes Lady Lucas's beliefs, voice and tone in chapter three saying "nothing could be more delightful!" when she hears that Mr. Bingley will be coming to the next assembly with a large party. We know the narrator doesnt actually agree with that statement.

Marriage plot

When the major plot events and stakes relate to marriage - the plot includes: 1. courtship rituals 2. questions about eligibility, fortune, and suitability 3. framed by an over-arching financial imperative to marry. Pride and Prejudice: 1st line of the play is about marriage and tells you that the goal of this plot is going to be getting married. 1. The balls allow us to see this society's courting rituals. Getting to know someone in order to see if the marriage match is fitting happens in a public, social setting. 2. The tension in the play surrounds Elizabeth and Jane Bennet not being of high enough class to marry Bingley or Darcy. Darcy explicitly tells Elizabeth this in his proposal scene, and she is also threatened by Lady Catherine not to marry Darcy for this reason. Mrs. Hurst also tells Bingley that she wishes him and Jane could work out, but shes just from too low of a class for their family. 3. primogeniture, and the entail on the Bennet estate making it extra stressful that they need to get married. Still, Elizabeth is disappointed in her friend Charlotte for marrying out of mere financial pragmaticism. Austen demonstrates the strain of this financial imperative to get married, but also critiques and satirizes it.

28-29 SJ: digression about smelfungus

You can't separate a person's experiences from their self; Smollett's negative experience reflects his own close-mindedness. (28) Yorick's openness contrasts with Smollett's blinkered perspective (29) The reader is on his / her own sentimental journey read notes ALSO earlier on page: time expands and contracts according to the intensity of experience (28): he says he never finished a bargain so expediously: time felt heavy on the loss of the lady: the intensity is making time seem like its moving faster. --> the novel overall defies linear time through having digressions, by not directly following a plot line

Picaresque

a genre of narrative fiction which deals episodically with the adventures of an individual, usually a roguish and dishonest but attractive hero (OED) - Don Quixote: As DQ and SP travel, they encounter different people and situations. The novel isnt based around one plot, but rather follows their travels, creating episodes of plot. For example, there is the episode when they hear about the captive's tale, the episode of the Caves of Montesinos.

Pastiche

an artistic work that incorporates different styles that imitates that of another work, artist, or period. - Don Quixote: He eats Hodge podge and salmagundi in chapter one, dishes which contain mixtures of ingredients: "a confused assemblage"--> this represents satire which puts a variety of subjects in which opposing follies or vices are assailed with ridicule or with serious denunciation. Pastiche mixes a genre with its own in order to satirize it.

pride and prejudice writing / publishing dates

began writing in 1796, and published it in 1813

96: decides to allow la fleur (his servant) to spend the day alone in paris

being in tune with nature fosters a more egalitarian (all ppl equal and deserve equal rights/ opportunities) percpective

compare chapter 24 about how he got in with the high people of france, and how he feels like a "prostitute" and inauthentic, to chapter 29 when he meets the family who lives in a simple farm house: "honest welcome"

being in tune with nature makes yorik privilege/favor the rustic over fashionable urban society

69 SJ: sees the bird in the cage:

being in tune with nature trumps reason this scene also leads him to go home and imagine a person in a jail in order to imagine himself in jail nature--> sympathy--> self indulgence

81: tells gov official he is more interested in the nakedness of people's hearts than tourist sites

being in tune with nature trumps the value of prestigious cultural sights

p. 26 and 49 sj

chance determines his adventures

Coverture

common law during the regency period under which the husband and wife become one person in law. Essentially, the wife becomes a subpart of her husband when they get married. She becomes legally void as an individual, and cannot take any legal action, or legally own anything on her own. She is completely under the "protection" and the umbrella of her husband. - Pride and Prejudice: This makes the stakes of marriage all the higher in the novel's marriage plot. The Bennet girls feel pressured to get married because of the entail on their father's property, but they also know that they really have to trust the person they marry, since that person will take all legal and financial control over them. If a reader feels that Elizabeth is naively un-pragmatic by rejecting proposals and hoping to find a man she wants to marry for love, than the knowledge of this common law should subverse some of that critique. It is pragmatic to marry a man with good character who she has a loving, trusting relationship with her, because otherwise it wont even help her family's primogeniture precidament (if the man dosnt chose to help her sisters and mother financially).

The fulling hammers 193-4

comp with windmill scene: both ordinary objects he tries to believe are enchanted, one he acknowledges is ordinary and one doesn't.

E.g. 65, 88, 66-67 SJ

consanguinity - mixing of sympathetic virtue with eroticism-- its never clear with yurik

Satire

critique using humor, exaggeration, irony - Pride and Prejudice: Austen uses over-the-top characters like Mrs. Bennet to satirize the values they represent. (expand) .

74-5 SJ: mentally prepping himself to speak to gov official

divided nature of consciousness: Smith's agent / spectator: he will observe the tone and nature of the official and then will know what he should say.

"From the very beginning, from the first moment, I may almost say, of my acquaintance with you, your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form that groundwork of disapprobation on which succeeding events have built so immoveable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry" (148).

elizAbeth response to darcys first proposal

ending of CofO

ends in melencholy (notes)

Metafiction

fictional writing which self-consciously and systematically draws attention to its status as an artefact in order to pose questions about the relationship between fiction and reality" - Don Quixote: Cervantes's narrator often mentions the "arabian and manchegan author" named Benangeli who he claims wrote this "history". The narrator tells you what the supposed original writer, Benengeli, wrote in his history. For example, right before telling over how DQ freed the prisoners, the narrator says that Benengali "recounts" how their conversation ended as DQ discovered the chained up, prisoners. In the second part of the novel, SP actually tells DQ about how their adventures have been published, and that there are 12,000 volumes in circulation. Soon after, they encounter characters like Sampson and Don Diego who have read the history.

Not all that Mrs. Bennet, however, with the assistance of her five daughters, could ask on the subject, was sufficient to draw from her husband any satisfactory description of Mr. Bingley. They attacked him in various ways—with barefaced questions, ingenious suppositions, and distant surmises; but he eluded the skill of them all, and they were at last obliged to accept the second-hand intelligence of their neighbour, Lady Lucas. Her report was highly favourable. Sir William had been delighted with him. He was quite young, wonderfully handsome, extremely agreeable, and, to crown the whole, he meant to be at the next assembly with a large party. Nothing could be more delightful! To be fond of dancing was a certain step towards falling in love; and very lively hopes of Mr. Bingley's heart were entertained.

free indirect discourse: making fun

70 SJ

imagines a slave in order to feel sympathy, in order to decide if he can handle prison: self indulgent sympathy exemplifies Smith's account of how sympathy works

"Mr. barber, am not Neptune god of waters, neither do set up for being thought a wise man, knowing that I am not so; the sole end of my labours is to convince the world of its error, in not seeking to renew those happy times, which the order of knight-errantry exerted itself in full perfection" (564) Chapter X: "here, the madness of Don Quixote soars to the highest pitch of extravagance that can be imagined" (615) SP is "more mad" than DQ (618) "He is not out of his wits ... but prodigious bold" (668) See Don Diego's thoughts, 674.

madness

p. 24 CofO

manfred is shown two signs : the moonlight "presented to his sight the plumes of the fatal helmet" and his grandfather's portrait sighing and then moving out of its frame. Yet, he is too self absorbed with his pursuit and desire of isabella that he dosnt register these signals that he is acting poorly and bringing on more bad fate on to himself. : in this way, Walpole undermines his "tragicness" as we as audience members dont see anything redeeming about him. We feel like he should realize through these signs that he should not act on these pursuits. 59: the giant sword fell next to the helmet, but Manfred is already like desensitized to supernatural events and quickly gets over the shock of it, again not registering that it may be a sign.

p. 93 CofO

melencholy, gloomy, brings him to cry and mourn Matilda, cinematically creepy: figure turns around and is a skeleton

Don Quixote's adventures published as a "printed book" (572) "the author of our history must be some sage inchanter" (572) 12,000 volumes in circulation (574) "Nothing, replied Sampson, has escaped the pen of the sage author" (575) History is what hurts: "But in this [i.e., drubbings] consists the truth of history" (575) Complaint of novel inserted that "has nothing to do with the story" (577) I'll lay a wager that this con of a cur has made a strange hodge-podge of the whole" (577) Sampson compares SP in book to SP in person (603) Narrator distinguishes himself from the historian (615) Don Diego hasn't read first part of DQ's history (674)

meta-moments part 2

875 - 881 Sancho becomes a ruler

notes

p. 77-78 CofO

notes : see more into the interiority of their characters

12-13 sentimental journey: the sentimental traveller

on a journey of self discovery, led by chance (like chromotype of the road) novel as a vehicle: metaphor for transport. telling u to decide what kind of reader/ traveller u will be reading this book. possibly suggesting u should be a sentimental one also see yurik's character: dramatizes himself

p. 18, 21, 58: maybe ask somone before class to see notes on this

pathos v. bathos The noun bathos refers to an abrupt and often ludicrous transition from the elevated to the ordinary (a form of anticlimax), or to an excessively sentimental demonstration of pathos. The word bathos (adjective form, bathetic) almost always has a negative connotation "If I make you laugh, for I cannot flatter myself that I shall make you cry, I shall be content" (Walpole on Otranto)

They entered the woods, and bidding adieu to the river for a while, ascended some of the higher grounds; when, in spots where the opening of the trees gave the eye power to wander, were many charming views of the valley, the opposite hills, with the long range of woods overspreading many, and occasionally part of the stream. Mr. Gardiner expressed a wish of going round the whole park, but feared it might be beyond a walk. With a triumphant smile they were told that it was ten miles round. It settled the matter; and they pursued the accustomed circuit; which brought them again, after some time, in a descent among hanging woods, to the edge of the water, and one of its narrowest parts. They crossed it by a simple bridge, in character with the general air of the scene; it was a spot less adorned than any they had yet visited; and the valley, here contracted into a glen, allowed room only for the stream, and a narrow walk amidst the rough coppice-wood which bordered it. Elizabeth longed to explore its windings; but when they had crossed the bridge, and perceived their distance from the house, Mrs. Gardiner, who was not a great walker, could go no farther, and thought only of returning to the carriage as quickly as possible.

pemberlys grounds

615-623 when SP tries to convince DQ that two girls are Dolcinea

see notes Reversal or turning-point: SP quixotized, DQ sanchified: Why can't DQ see what he wants to see?

The ending scene of DQ p. 1084-1090

see notes: fantasy dies with DQ: why does this make us sad? the book is a jab at fantasy, while also making us appreciate it

the first line of Sentimental Journey

starts right in middle, no context.

Primogeniture

system of inheritance in the regency period, in which the vast majority of the family's wealth and all of their real estate is inherited to the eldest son. If there is no son in the immediate family, like in the all-girl Bennet family, than the inheritance goes to the closest surviving male, in this case Mr. Collins - Pride and Prejudice: the entail on the Bennet's estate, which means that when Mr. Bennet dies Mrs. Bennet and all of her daughters will become extremely financially strained. Hence, Mrs. Bennet is extremely stressed for her daughters to "marry well." This is the exact reason she gets so upset at Elizabeth when she rejects Collins, which could have kept all of the wealth in the family.

things have more agency than people in CofO

the falling objects and the looming prophecy are the action in the play, we only see human reaction, not action.

82 SJ: tells the gov official he is "yurik" and the official believes him

the philosophical problem of identity as discussed by Hume. Which is the "real" me?: he cant just say "i am yurik" it has to be some grand, dramatic declaration of identity. example of how he dramatizes himself moral ambiguity of his character: is this lying?

Knight Errantry

the profession of a knight from a medieval romance who travels around in search of adventure - Don Quixote:

p. 66-67 CofO

theodore as both heroic and melencholic, pensive, character. "melencholy reigned in his mind" - this would have been attractive during the 1760's and 70's

99-102 SJ : stroy o fragmented waste paper of notary who happens to end up in right place where girl yells out for a notary and then the dying man says will tell a story but then the fragment ends there.

what does the story-within-a story suggest about Sterne's storytelling philosophy? - he could write a suspenseful novel, he knows the narrative tools which build expectations, but he deliberately dosnt employ them. - this interpolated tale dosnt serve the plot, or even offer a completed story, but serves as a metafictional moment that shows the effect of the anticapation/ suspense the old man builds in his listener, the notary, and then how Yurik is effected by this and also becomes suspenseful, and then how we as readers are also frustrated when our expectations for suspence arent fulfilled. - it stops mid sentence which foreshadows how SJ will end What is the significance of walking up a dark entry" for Sterne's storytelling philosophy (102)? - passage= double entendre: pathway but also passage of a novel (also sexual ish ) - thats where you really see the nature of life. if your not willing to go into the mind of a character, the deep dark passages of their thoughts, than you wont see who they really are. the digressions and incoherence in the novel allows for a psychological realism that otherwise wouldnt be capturable.

omniscient narration

when the narrator knows all of the actions, feelings, and motivations of all of the characters. - Pride and Prejudice: Austen's narrator moves between characters though she only gives us privileged access to certain characters' thoughts. Austen keeps some characters, like Mrs. Bennet and Mr Collins as flat characters, who seem like charicatures. But other characters, like Elizabeth, she makes "round"/ three dimensional. The narrator often tells us the story through the lens of these priveleged characters, mainly Elizabeth. For example, in the novel's first ball,