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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Serie: Reading the Novel
- Sprache: Englisch
"Schwarz's study is chock full of judicious evaluation of characters, narrative devices, ethical commentary, and helpful information about historical and political contexts including the role of Napoleon, the rise of capitalism, trains, class divisions, transformation of rural life, and the struggle to define human values in a period characterized by debates between and among rationalism, spiritualism, and determinism. One experiences the pleasure of watching a master critic as he re-reads, savors, and passes on his hard-won wisdom about how we as humans read and why. Daniel Morris, Professor of English, Purdue University Written by one of literature's most esteemed scholars and critics, Reading the European Novel to 1900 is an engaging and in-depth examination of major works of the European novel from Cervantes' Don Quixote to Zola's Germinal. In Daniel R. Schwarz's inimitable style, which balances formal and historical criticism in precise, readable prose, this book offers close readings of individual texts with attention to each one's cultural and canonical context. Major texts that he discusses: Cervantes' Don Quixote; Stendhal's The Red and the Black and The Charterhouse of Parma; Balzac's Père Goriot; Flaubert's Madame Bovary and Sentimental Education; Dostoevsky's Notes from Underground, Crime and Punishment, and The Brothers Karamazov; Tolstoy's War and Peace and Anna Karenina; and Zola's Germinal. Schwarz examines the history and evolution of the novel during this period and defines each author's aesthetic, cultural, political, and historical significance. Incorporating important pedagogical suggestions and the latest research, this text provides accessible and lucid discussion of the European novel to 1900 for students, teachers, and general readers interested in the evolution of the novelistic form.
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Veröffentlichungsjahr: 2014
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READING THE NOVEL
General Editor: Daniel R. Schwarz
The aim of this series is to provide substantive critical introductions to reading novels in the British, Irish, American, and European traditions.
Published
Reading the Nineteenth-Century Novel
Harry E. Shaw and Alison Case
Reading the Modern British and Irish Novel 1890–1930
Daniel R. Schwarz
Reading the Novel in English 1950–2000
Brian W. Shaffer
Reading the American Novel 1865–1914
G. R. Thompson
Reading the American Novel 1780–1865
Shirley Samuels
Reading the American Novel 1910–2010
James Phelan
Reading the Contemporary Irish Novel 1987–2007
Liam Harte
Reading the European Novel to 1900
Daniel R. Schwarz
Forthcoming
Reading the Modern European Novel since 1900
Daniel R. Schwarz
Reading the Eighteenth-Century English Novel
David H. Richter
Reading the European Novel to 1900
A Critical Study of Major Fiction from Cervantes' Don Quixote to Zola's Germinal
Daniel R. Schwarz
This edition first published 2014 © 2014 John Wiley & Sons Ltd
Registered OfficeJohn Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK
Editorial Offices350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK
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The right of Daniel R. Schwarz to be identified as the author of this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.
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Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book.
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Library of Congress Cataloging-in-Publication Data
Schwarz, Daniel R., author. Reading the European Novel to 1900 : a Critical Study of Major Fiction from Cervantes' Don Quixote to Zola's Germinal / Daniel R. Schwarz. pages cm. – (Reading the novel) Includes bibliographical references and index. ISBN 978-1-4443-3047-2 (hardback) 1. Fiction–History and criticism. I. Title. PN3491.S38 2015 809.3–dc23
2014007165
A catalogue record for this book is available from the British Library.
Cover image: Monet, La gare d'Argenteuil, 1872. © Conseil Général du Val d'Oise/photo J-Y Lacôte
As you set out for Ithaka
hope your road is a long one
full of adventure, full of discovery,
Laistrygonians, Cyclops,
angry Poseidon – don't be afraid of them:
you'll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body,
Laistrygonians, Cyclops,
wild Poseidon – you won't encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.
(Constantine P. Cavafy, “Ithaka,” trans. Gail Holst-Warhaft)
For Marcia Jacobson – life partner, perceptive novel reader, splendid editor – with love and appreciation
Contents
Acknowledgments
Chapter 1 Introduction:
The Odyssey of Reading Novels
Beginnings
The Function of Literature: What Literature Is and Does
Recurring Themes
The Reader's Odyssey
The Function of Criticism and My Critical Approach
An Aspect of Realism: The Author in the Text
Reading Translations
Conclusion
Notes
Chapter 2 Miguel de Cervantes'
Don Quixote
(1605, 1615):
Inventing the Novel
Introduction
Cervantes' Digressive Imagination
The Don and Sancho Panza as Characters
Cervantes and the Form of the Novel
Historical and Philosophic Implications
Cervantes' Narrators
Part One: The 1605 Text
Don Quixote's Character and Psyche in Part One: Good Intentions, Bad Results
Part Two: The 1615 Book
Don Quixote's Sexuality in Part Two
The Role and Function of the Duke and Duchess in Part Two
Don Quixote's Final Renunciation
Conclusion to Part Two
Don Quixote
as a Long Read
Afterword
Notes
Chapter 3 Reading Stendhal's
The Red and the Black
(1830) and
The Charterhouse of Parma
(1839):
Character and Caricature
1. “Perhaps”:
The Red and the Black
as Psychological Novel and Political Anatomy
Introduction
The Red and the Black
's Historical Context
Stendhal's Artistry
Self-Delusion: Is Julien Who He Thinks He Is?
Narrative Strategy and the Function of the Narrator in
The Red and the Black
The Ending of
The Red and the Black
Stendhal's Originality
2.
The Charterhouse of Parma
: Narrative as Energy, Reading as Play
Politics and History
What Kind of Fiction is
The Charterhouse of Parma
?
Plot and Structure
Fabrizio
Sex and Love; Love and Sex
Napoleon as Metaphor
The Narrator
Conclusion
Notes
Chapter 4 Predatory Behavior in Balzac's
Père Goriot
(1835):
Paris as a Trope for Moral Cannibalism
Introducing Balzac: Realist and Modernist
Paris
Balzac's Narrator
The Opening
Amorality in
Père Goriot
Eugène de Rastignac, Goriot, and the Family Manqué
The Ending of
Père Goriot
Notes
Chapter 5 Flaubert's
Madame Bovary
(1857) and
Sentimental Education
(1869):
The Aesthetic Novel
1.
Madame Bovary
: Literary Form Examining Provincial Manners and Desire
Introduction
Flaubert's Satire of Provincial Behavior
What Does Emma Want and Need?
Charles Bovary
Structure
The Function of the Narrator
Flaubert's Values
Flaubert as Artist
Madame Bovary
: Final Thoughts
2. Briefly Discussing the Puzzles of
Sentimental Education
Introduction
Frédéric Moreau
Homosexuality and Decadence in
Sentimental Education
Style as Decadence
Conclusion
Notes
Chapter 6 Reading Dostoevsky's
Notes from Underground
(1864) and
Crime and Punishment
(1866)
Notes from Underground
: The Piano Plays Back
Essentials for Understanding Dostoevsky: Christianity and the Enlightenment
Notes from Underground
: Challenging Enlightenment Assumptions
Prelude to Modernism
The Opening
The Underground Man's Divided and Incoherent Self
Part II: The Underground Man and the Prostitute Liza
The Function of the Editor
Conclusion
2.
Crime and Punishment
: Raskolnikov's Descent and Rebirth
Dostoevsky's Imagined World
Who is Raskolnikov?
Dostoevsky's Response to Darwin: “The Living Soul”
St. Petersburg
Raskolnikov's Theory of Exceptional Humans
The Opening Chapters
Sonya
Punishment
Doublegangers
Razumikhin as Counterpart and Double
Svidrigailov: Raskolnikov's Baser Self
Crime and Punishment as a Detective Novel: Porfiry Petrovich Burrowing into Raskolnikov's Psyche
Dostoevsky's Other Reality: God and Spiritual Rebirth
Notes
Chapter 7 Hyperbole and Incongruity in Dostoevsky's
The Brothers Karamazov
(1880):
Excess and Turmoil as Modes of Being
Introduction
Conversations and Dialogue
Alyosha as Hero
Ivan's Turmoil and His Parable of the Grand Inquisitor
Ivan and Smerdyakov
The Narrator as Character and His Role in the Novel
The Structure of
The Brothers Karamazov
as a Detective Story of Patricide
Dmitri Accused: Dostoevsky as a Detective Story Writer
The Ending of
The Brothers Karamazov
and its Implications
Notes
Chapter 8 Tolstoy's
War and Peace
(1869):
The Novel as Historical Epic
Introduction
The Napoleonic Period
Tolstoy's Philosophy and Historical Perspective
Micro-history and Macro-history
How
War and Peace
Begins
Pierre
War
Peace
Tolstoy's Artistry in
War and Peace
The Problematic Ending of
War and Peace
Notes
Chapter 9 Tolstoy's
Anna Karenina
(1877):
Exploring Passions and Values in Nineteenth-Century Russia
Introduction: History
Tolstoy's Themes and Values
Levin
Genre: What Kind of Novel is
Anna Karenina
? What Kind of Fiction is Tolstoy Writing?
Tolstoy's Artistry
The Ending of
Anna Karenina
: Enter Tolstoy, Stage Right
Notes
Chapter 10 Emile Zola's
Germinal
(1885):
The Aesthetics, Thematics, and Ideology of the Novel of Purpose
Introduction
Zola's Scathing Critique of the Mining Industry
Zola's Dramatization of the Mining World
Zola and Darwin
The Mine as Beast Devouring Men
Germinal
as Family Drama
Sexuality in
Germinal
Zola's Artistry and the Kind of Fiction He Writes; Strengths and Weaknesses
The Structure of
Germinal
Zola's (Sometimes) Ironic Narrator
Conclusion
Notes
Selected Bibliography (Including Works Cited)
Primary Works
Selective Biographical and Critical Works
Index
End User License Agreement
List of Illustrations
Chapter 2
Figure 1
Don Quijote Beset by Monsters,
Francisco de Goya. Brush drawing in gray-brown ink and wash, 207 × 144 mm
, c.
1812
–
1820
. ©
The Trustees of the British Museum
Chapter 4
Figure 2
Daumier's
Gargantua,
lithograph for the newspaper
La Caricature, 1831.
Chapter 5
Figure 3
Edouard Manet
, Le Déjeuner sur l'herbe,
1863, oil on canvas. Musée d'Orsay, Paris
.
Chapter 6
Figure 4
Russian icon painting
, c.
1850. Private collection, Frankfurt. Source: akg-images
Guide
Cover
Table of Contents
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Acknowledgments
I am grateful for the strong support of Emma Bennett, Publisher, Literature, Social Sciences, and Humanities Division, Wiley Blackwell, with whom I have had a productive professional relationship for many years. Brigitte Lee Messenger capably and thoughtfully managed the production process from copy-editing through proofreading and indexing.
Teaching Cornell students at every level from freshmen to graduate students over the past 46 years has helped me refine my understanding of how novels work and what they say. Much of the credit for whatever I accomplish as a scholar-critic goes to the intellectual stimulation provided by my students as well as my colleagues.
My wife, Marcia Jacobson, to whom I owe my greatest debt, has read every word of the manuscript more than once and has given me countless suggestions.
My longtime Cornell friend and colleague Brett de Bary helped me understand translation theory and recommended the texts I should read on that subject. My Cornell colleague Gail Holst-Warhaft generously provided an original translation of Cavafy's “Ithaka.” Professor Coleen Culleton (Buffalo University) gave me helpful advice on the Don Quixote chapter. A number of colleagues at Cornell and elsewhere, including Professor Caryl Emerson (Princeton), pointed me in the right direction when choosing translations.
It gives me great pleasure to thank two gifted students who have done independent study projects with me and who have contributed to the final manuscript. Natalia Fallas was a great help in editing, proofreading, and indexing. Joseph Mansky played an important role in early stages of the research.
Finally, I wish to acknowledge the continued support of the Cornell English Department and in particular Vicky Brevetti.
Daniel R. Schwarz
Ithaca, New York
May 6, 2014
Also by Daniel R. Schwarz
Endtimes: Crises and Turmoil at the New York Times
(2012; new revised paperback edition 2014)
In Defense of Reading: Teaching Literature in the Twenty-First Century
(2008)
Reading the Modern British and Irish Novel 1890–1930
(2005)
Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture
(2003)
Rereading Conrad
(2001)
Imagining the Holocaust
(1999; revised edition 2000)
Reconfiguring Modernism: Explorations in the Relationship between Modern Art and Modern Literature
(1997)
Narrative and Representation in the Poetry of Wallace Stevens: “A Tune Beyond Us, Yet Ourselves”
(1993)
The Case for a Humanistic Poetics
(1991)
The Transformation of the English Novel, 1890–1930: Studies in Hardy, Conrad, Joyce, Lawrence, Forster, and Woolf
(1989; revised edition 1995)
Reading Joyce's “Ulysses”
(1987; centenary edition 2004)
The Humanistic Heritage: Critical Theories of the English Novel from James to Hillis Miller
(1986; revised edition 1989)
Conrad: The Later Fiction
(1982)
Conrad: “Almayer's Folly” to “Under Western Eyes”
(1980)
Disraeli's Fiction
(1979)
As Editor
Damon Runyon: Guys and Dolls and Other Writings
(2008)
The Early Novels of Benjamin Disraeli,
6 volumes (consulting editor, 2004)
Conrad's “The Secret Sharer”
(Bedford Case Studies in Contemporary Criticism, 1997)
Joyce's “The Dead”
(Bedford Case Studies in Contemporary Criticism, 1994)
Narrative and Culture
(with Janice Carlisle, 1994)
Chapter 1IntroductionThe Odyssey of Reading Novels
She speaks of complexities of translation,
its postcolonial and diasporic nature,
how translated text
is torn from original
as if it were unwillingly
sundered from its parent.
As she triumphantly
concludes her perfectly
paced performance,
she crosses her arms,
returning to herself
as if to say
her ideas have been
translated into words
as best she could.
(“Brett de Bary,” Daniel R. Schwarz)
Beginnings
This book, the first of a two-volume study, includes major novels published before 1900 that are frequently taught in European novel courses. The high tide of the European novel was the nineteenth century but no discussion of the European novel can ignore Don Quixote. Thus there is well over a two hundred-year jump from Miguel de Cervantes' Don Quixote (1615) to Stendhal's The Red and the Black (1830) and The Charterhouse of Parma (1839) and Honoré de Balzac's Père Goriot (1835). Much of this study deals with works by the great Russians: Fyodor Dostoevsky's Notes from Underground (1864), Crime and Punishment (1866), The Brothers Karamazov (1880), and Leo Tolstoy's War and Peace (1869) and Anna Karenina (1877).1 Among the French nineteenth-century novelists, in addition to the aforementioned, I include Gustave Flaubert's Madame Bovary (1857) and Sentimental Education (1869) and Emile Zola's Germinal (1885).
I have been rereading most of these books for a lifetime, although important new translations of Dostoevsky, Tolstoy, and Cervantes have been published in recent decades. But do we really reread or is every reading a fresh reading? As Verlyn Klinkenborg rightly observes, “The real secret of re-reading is simply this: It is impossible. The characters remain the same, and the words never change, but the reader always does.”2 We are different readers each time we pick up a text, maybe a different reader each day, changed ever so slightly depending on our life experience, our psyche that day, and the texts we are reading. For reading is a transaction in which the text changes us even as we change the text. While Klinkenborg has written that, “Part of the fun of re-reading is that you are no longer bothered by the business of finding out what happens” (ibid.), I find that rereading makes me aware of nuances I missed, even while making me aware that my memory of what happens is not accurate. What we recall is not a novel but a selection and arrangement of the novel, and as time passes what we retain is a memory of a memory rather than the full text in all its plenitude.
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
Lesen Sie weiter in der vollständigen Ausgabe!
