On the one hand, if nothing much happened in Conrad's assured debut, Almayer's Folly, nothing really happens here, in this doubly-assured sophomor3.5*
On the one hand, if nothing much happened in Conrad's assured debut, Almayer's Folly, nothing really happens here, in this doubly-assured sophomore outing and prequel to the non-eventful aforementioned.
On the other hand, if you are not a slave to things happening, this novel has manifold charms—and inevitable longueurs, of course, but Conrad is already in full possession of his talent here, and the multi-point-of-view character-and-setting-study (we are once again in Indonesia, at first in Makassar then in a remote Spleen of Darkness, itself a major playah in these pages...) is faultlessly rendered—as is the to-be-typically Conradian existential ennui: (view spoiler)[
He drank his own trade gin very seldom, but when he did, a ridiculously small quantity of the stuff could induce him to assume a rebellious attitude towards the scheme of the universe. And now, throwing his body over the rail, he shouted impudently into the night, turning his face towards that far-off and invisible slab of imported granite upon which Lingard had thought fit to record God's mercy and Willems' escape.
"Father was wrong—wrong!" he yelled. "I want you to smart for it. You must smart for it! Where are you, Willems? Hey? . . . Hey? . . . Where there is no mercy for you—I hope!"
"Hope," repeated in a whispering echo the startled forests, the river and the hills; and Almayer, who stood waiting, with a smile of tipsy attention on his lips, heard no other answer.
No two human beings understand each other. They can understand but their own voices. You wanted me to dream your dreams, to see your own visions—t
No two human beings understand each other. They can understand but their own voices. You wanted me to dream your dreams, to see your own visions—the visions of life amongst the white faces of those who cast me out from their midst in angry contempt. But while you spoke I listened to the voice of my own self;
A grower, it starts slow and ends with portents of the later grandeur of Nostromo and Lord Jim...
What's so impressive even at the early stage of this first novel is how Conrad refuses to see any of his characters univocally: men, women, whites, Malays, patriarchs, offspring—all are subject to polyvalent vision and ambiguous utterance, even as they skewer each other with vociferous stereotyping. If Conrad is the novelist of colonialism, then, he is also its self-aware guilty conscience.
I must add a couple of tips: 1) I have two editions, a vintage hardback and the Modern Library eBook...the latter is well worth chasing down, as the explanatory notes are superb and Nadine Gordimer's introduction, while brief, is solid, lacking only in length. 2) There are some excellent video lectures on the novel, which is not often taught or read.. the first of four is here: https://www.youtube.com/watch?v=P96da... 3) There is also the brilliant, late Chantal Ackerman's film adaptation (2012), a must-see: https://www.themoviedb.org/movie/8681...
Now on to An Outcast of the Islands (1896), Conrad's 2nd novel (and 2nd in the Lingard trilogy, which ends with The Rescue (1920), a book he laboured on for 24 years)......more
Quite enjoyable, and much better than I was expecting, as well as/in spite of being one of the least "Dickensian" of his books that I have read (beingQuite enjoyable, and much better than I was expecting, as well as/in spite of being one of the least "Dickensian" of his books that I have read (being a huge fan of that mode), with not nearly the standard or expected amount of hyperbolic characters, descriptions of city life, etc.—perhaps A Tale of Two Cities is its only real sibling in CD's ouevre? For this does come across more as a straight-realist historical novel in that veign, with only the occasional nods back to Pickwick & Co or anticipation of the much more complex majesties of Bleak House or Great Expectations to come. Recommended, though, for completeists and casual CD readers alike. ...more
Camoens! White-Jacket, Camoens! Did you ever read him? The Lusiad, I mean? It's the man-of-war epic of the world, my lad. Give me Gama for a Commo
Camoens! White-Jacket, Camoens! Did you ever read him? The Lusiad, I mean? It's the man-of-war epic of the world, my lad. Give me Gama for a Commodore, say I-Noble Gama! And Mickle, White-Jacket, did you ever read of him? William Julius Mickle? Camoens's Translator? A disappointed man though, White-Jacket. Besides his version of the Lusiad, he wrote many forgotten things. Did you ever see his ballad of Cumnor Hall? — No?-Why, it gave Sir Walter Scott the hint of Kenilworth. My father knew Mickle when he went to sea on board the old Romney man-of-war. How many great men have been sailors, White-Jacket! They say Homer himself was once a tar, even as his hero, Ulysses, was both a sailor and a shipwright. I'll swear Shakespeare was once a captain of the forecastle. Do you mind the first scene in The Tempest, White-Jacket? And the world-finder, Christopher Columbus, was a sailor! and so was Camoens, who went to sea with Gama, else we had never had the Lusiad, White-Jacket. Yes, I've sailed over the very track that Camoens sailed-round the East Cape into the Indian Ocean. I've been in Don Jose's garden, too, in Macao, and bathed my feet in the blessed dew of the walks where Camoens wandered before me. Yes, White-Jacket, and I have seen and sat in the cave at the end of the flowery, winding way, where Camoens, according to tradition, composed certain parts of his Lusiad. Ay, Camoens was a sailor once! Then, there's Falconer, whose 'Ship-wreck' will never founder, though he himself, poor fellow, was lost at sea in the Aurora frigate. Old Noah was the first sailor. And St. Paul, too, knew how to box the compass, my lad! mind you that chapter in Acts? I couldn't spin the yarn better myself.
Thus ends my mini-tour of the first five novels of Herman Melville, with his novellesque book about what life aboard a US Navy Vessel (the "USS Neversink") is like. I spent a summer on a Canadian one myself (the HMCS Huron, out of Esquimault, Vancouver Island) and—well, though unlike the humiliated titular hero of Redburn (Melville #4), I did dine with the Captain and XO on one occasion, and can report that civilities aboardships have advanced more than a little in the intervening years, I can't say as I liked the life of the sea overmuch (or, subsequently, have ever thought of reading books about it, in fact recoiling from any that so much as mention ships, waves, &c.). But then again, there were no Herman Melvilles on board to beguile me with such (and so many!) hootenannyish litanies, jermiadical philippics and sophistical near-genius hysterical historico-listicles as the above.
Cos yep, pretty much every time an aspect of shipboard life arises (and it's all that, since not much other than a race with another vessel, the rounding of the Cape Horn, and some liberty time in Rio really "happens" in this not-short book), HM is there, like a latterday Machiavelli, to inform us as to how said aspect ties into the entirety of our historical/cultural inheritance, viz. this explanation of how American Articles of War (offences contra the which, as with so, so many landlubberly crimes, well over a thousand IIRC, were capital) evelved:
Whence came they? And how is it that one arm of the national defences of a Republic comes to be ruled by a Turkish code, whose every section almost, like each of the tubes of a revolving pistol, fires nothing short of death into the heart of an offender? How comes it that, by virtue of a law solemnly ratified by a Congress of freemen, the representatives of freemen, thousands of Americans are subjected to the most despotic usages, and, from the dockyards of a republic, absolute monarchies are launched, with the "glorious stars and stripes" for an ensign? By what unparalleled anomaly, by what monstrous grafting of tyranny upon freedom did these Articles of War ever come to be so much as heard of in the American Navy? Whence came they? They cannot be the indigenous growth of those political institutions, which are based upon that arch-democrat Thomas Jefferson's Declaration of Independence? No; they are an importation from abroad, even from Britain, whose laws we Americans hurled off as tyrannical, and yet retained the most tyrannical of all. But we stop not here; for these Articles of War had their congenial origin in […].
I shall spare you those details. Suffice it to say this: the first five novels of Herman Melville are of a necessity to no one save those few who needs must trace the evolution of the author's style towards his masterpiece, Moby Dick, his sixth and seemingly parthenogenetic novel, Moby Dickno.
And/but: No again, alas, these five books will not get you there, will not give you that graceful upwards-arcing arc of the apprentice's steady acquisition of skill. They will give you glimpses (especially in his third book, Mardi), such as, on occasion, here (in a 5* orator's delight/defense of the common sailor's right to so much as wear a beard):
"D'ye hear there, fore and aft? All you that have long hair, cut it short; and all you that have large whiskers, trim them down, according to the Navy regulations." This was an amendment, to be sure; but what barbarity, after all! What! not thirty days' run from home, and lose our magnificent homeward-bounders! The homeward-bounders we had been cultivating so long! Lose them at one fell swoop? Were the vile barbers of the gun-deck to reap our long, nodding harvests, and expose our innocent chins to the chill air of the Yankee coast! And our viny locks! were they also to be shorn? Was a grand sheep-shearing, such as they annually have at Nantucket, to take place; and our ignoble barbers to carry off the fleece? Captain Claret! in cutting our beards and our hair, you cut us the unkindest cut of all! Were we going into action, Captain Claret-going to fight the foe with our hearts of flame and our arms of steel, then would we gladly offer up our beards to the terrific God of War, and that we would account but a wise precaution against having them tweaked by the foe. Then, Captain Claret, you would but be imitating the example of Alexander, who had his Macedonians all shaven, that in the hour of battle their beards might not be handles to the Persians. But now, Captain Claret! when after our long, long cruise, we are returning to our homes, tenderly stroking the fine tassels on our chins; and thinking of father or mother, or sister or brother, or daughter or son; to cut off our beards now-the very beards that were frosted white off the pitch of Patagonia-this is too bitterly bad, Captain Claret! and, by Heaven, we will not submit. Train your guns inboard, let the marines fix their bayonets, let the officers draw their swords; we _will not_ let our beards be reaped-the last insult inflicted upon a vanquished foe in the East! […] "My friend, I trust your scissors are consecrated. Let them not touch this beard if they have yet to be dipped in holy water; beards are sacred things, barber. Have you no feeling for beards, my friend? think of it;" and mournfully he laid his deep-dyed, russet cheek upon his hand. "Two summers have gone by since my chin has been reaped. I was in Coquimbo then, on the Spanish Main; and when the husband-man was sowing his Autumnal grain on the Vega, I started this blessed beard; and when the vine-dressers were trimming their vines in the vineyards, I first trimmed it to the sound of a flute. Ah! barber, have you no heart? This beard has been caressed by the snow-white hand of the lovely Tomasita of Tombez-the Castilian belle of all lower Peru. Think of that, barber! I have worn it as an officer on the quarter-deck of a Peruvian man-of-war. I have sported it at brilliant fandangoes in Lima. I have been alow and aloft with it at sea. Yea, barber! it has streamed like an Admiral's pennant at the mast-head of this same gallant frigate, the Neversink! Oh! barber, barber! it stabs me to the heart.-Talk not of hauling down your ensigns and standards when vanquished-what is that, barber! to striking the flag that Nature herself has nailed to the mast!"
3*, though, taken all in all, Captain Claret. What, join you in a glass, sir? Much obliged......more
3.5* Quite useful and very well-written, if but lightly treating the texts, but hey it's an introduction. Strangely (but usefully), she has a lot to sa3.5* Quite useful and very well-written, if but lightly treating the texts, but hey it's an introduction. Strangely (but usefully), she has a lot to say about (and is *quite* keen on) Redburn, HM's unjustly ignored 4th novel (1849)......more
A tale of two novels/novel of two tales (or one tale and a mad, polyphonic spree)
This may well be the craziest book I've ever read...the first 160pp oA tale of two novels/novel of two tales (or one tale and a mad, polyphonic spree)
This may well be the craziest book I've ever read...the first 160pp or so is a quite stimulating sea yarn which ends rather abruptly, when the protagonists land on a south sea archipelago.
In the remaining 400pp the narrator largely recedes into the background to record the demented, often brilliant (though not quite often enough TBH) but erratic philosophical-theological-anthropological-poetic conversations between his island guides (who appear to have somehow read Plato, Spinoza and Leibniz, just to name a very brief few influences) as they picaresque-ly guide him around said archipelago from island to island to island to island to island...
These polynesian philosopher-poets proceed to spout off reams and reams of digressions about everything and nothing (lotsa flotsam, and sweet FA) and get away with it, too, sort of, sometimes, though I can imagine that, reading Mardi, even the author of Tristram Shandy might well, after many a longueur, thrust the 4kg text at the wall, crying "Your POINT being...?"
Think the "Whiteness of the Whale" Chapter of Moby Dick but much less structured/focused, of which there are a couple examplars in my reading notes... I shall end with two final amuses bouches or foretastes of this foolhardy Feast of a book:
“Methinks I have heard some such sentimental gabble as this before from my slaves, my lord,’’ said Abrazza to Media. “It has the old gibberish flavor.” “Gibberish, your Highness? Gibberish? I’m full of it—I’m a gibbering ghost, my right worshipful lord! Here, pass your hand through me—here, here, and scorch it where I most burn. By Oro! King! but I will gibe and gibber at thee, till thy crown feels like another skull clapped on thy own. Gibberish? ay, in hell we’ll gibber in concert, king! we’ll howl, and roast, and hiss together!”
*
In his Ponderings, And those, my lord, we all inherit; for like the great chief of Romara, who made a whole empire his legatee; so, great authors have all Mardi for an heir."
...Onward, then, to Melville #4, Redburn, which from what I can tell is a much more conventional novel (HM claims to have only written it for the money!), and which by all accounts is his funniest book....more
Here, rather, the reader is sustained only by the writer's still-nascent voice, which if anything seems to gone a bit retrograde in its development after that first novel. The cadences are still there, urging us on, but Melville's rhetorical flights of fancy are held much too much in check, and the questing, metaphysical vision is lacking utterly.
In its stead are episodic episodes of Tahitian life, as witnessed by one admittedly open-eyed and -hearted Yankee sailor—which, due to a preponderance of such muchness, soon wearies.
As an adventure tale of white-man-on-an island, this farrrr surpasses Robinson Crusoe for entertainment value, while losing none of that much earlier As an adventure tale of white-man-on-an island, this farrrr surpasses Robinson Crusoe for entertainment value, while losing none of that much earlier novel's passion for (often spurious, ofc) specificity. Just a great read.
But here we see a tyro novelist stumbling towards his art, incapable of resisting the allure of digression or the ex-pressive delights of polemic. A beautee to behold, it is the flexibility of his mind (and sentences!), though, that kept me most in thrall.
Consider, if you will, this famous speech by Gonzalo in The Tempest, then check out Melville's riff on it. If that don't grab ya, well, I just don't know what to say. [image] [image] 3.5*, on to his second book, Omoo!...more
Edit: the extended version of my little Chekhov-meets-Beckett play (below) can now be found on the Substack of the book podcast Beyondthezeropod (whicEdit: the extended version of my little Chekhov-meets-Beckett play (below) can now be found on the Substack of the book podcast Beyondthezeropod (which if you are a fan of, say, NPR's Bookworm or CBC's Writer's & Co., you simply need to listen to): https://beyondthezeropodcast.substack...
On this mini-tour of 19C Eurodrama I reviewed Ibsen succinctly, Strindberg at some length as well as in a state of not unwelcome derangement, and, as you shall soon enough see, Chekhov…not at all—which is not to say that I failed to enjoy these plays immensely (I did, I did!), but that, as each one of the five gave way (rather seamlessly, as if mere acts in some larger play, some Ur-drama) to the next, I had and continue to have very little to say about any of them.
Are they deserving of the epithet "classic"? —Of course they are. Did they not create strong impressions in the audience-of-one? —They most assuredly did! Was the reader, then not quite up to the challenge of thinking about them deeply, or at least competently? —No doubt he wasn't!
Nevertheless, I do think there is also something else at play here, with these plays: not a samey-ness, exactly, about them, but such an icono-something or an-amnesis that, like Socrates' pupil in the Meno un-forgetting the geometrical principles that he apparently knew before he was born, but had forgotten in the birth canal. . . Deja-vu all over again, in other words, even though I had previously read only one of these plays (Uncle Vanya), perhaps because Chekhov is that central to the wider culture, perhaps because, like Isaiah Berlin's fabled Hedgehog, the author keeps circling and worrying over the same key themes.
To that end, then, I hereby present to you Waiting For Anton (a Play in Five Acts), the TLDR (all quotes verbatim, in original order presented) Edition!
Act I: Ivanov DRAMTIS PERSONAE: A (ANTON] C (CHEKHOV)
The house. Evening is coming on.
A: One needs money. Even suppose I find it, she still categorically….
C: That’s bad…I long ago saw in her face that she wouldn’t….
A: All nonsense, nonsense and more nonsense.
C: [Yawns.]
A: Nonsense and—
C: And a swindle.
A: Well, I am wholly unremarkable…
C: …And have sacrificed nothing.
A: I’d sit for whole days on my wife’s grave and—
C: And think?
A: I’d sit like that on her grave till I—
C: Dropped dead!
A: But it’s a long—
C: Long story …
A: The greyer, the more monotonous...
C: The better!
A: But the life I have lived — how exhausting it’s been!
C: Oh how exhausting!
A: How many mistakes, injustices, how much folly…
C: It’s an agony for me!
A: It’s an agony for me at home! As soon as the sun disappears, my spirit begins to be weighed down by depression.
C: What depression!
A: I am beginning to think, doctor, that fate has cheated me. The majority of people, who maybe are no better than I am, are happy and pay nothing for that happiness. I have paid for everything, absolutely everything!
C: You cut off withered leaves with scissors.
A: Oh!
C: This is all nonsense. This is all so boring, boring! The air has set thick from boredom.
A: Well, have some tea.
CHEKHOV spits contemptuously.
A: Your situation is delicate and unpleasant...
C: But mine is even worse.
[Curtain]
Act II: The Seagull The lake cannot be seen at all. Some chairs, a small table. The sun has only just set.
C: Why do you always wear black?
I won't go on (and on and on) in this vein here, but I've put the whole thang on my blog for all you gluttons for punishment......more
A one-of-a kind of his kind** (the most wonderful thing about Tiggers, natch). ((Individual reviews/rambling "thoughts" in reverse reading order as I A one-of-a kind of his kind** (the most wonderful thing about Tiggers, natch). ((Individual reviews/rambling "thoughts" in reverse reading order as I go went...))
Ghost Sonata (1907) Brilliant stuff, and to my mind what happened when S. imposed a bit more...structure, shall we say (or apparent structure at least), on the possibilities opened up by the genius-level-cray-cray of A Dream Play six years earlier. Would LOVE to see this one staged, along with The Father
A Dream Play (1901) WT unholy F was that?!
—Random snippets of dialogue from the sanitorium restaurant of Thomas Mann's The Magic Mountain shouted out while "The Blue Danube Waltz" played in the background?
—An Oxford Union debate between the faculties of Law, Theology, Philosophy and Medicineheld in the common room of One Flew Over the Cuckoo's Nest?
—Some automatic writing passed back-and-forth between of W.B. Yeats and Lady Gregory whilst Mme. Blavatsky held a séance & channeling the battling spirits of a Stockholm borgmästare, Emile Zola, and the Krishna of the Mahabarata?
—The source documents for T.S. Eliot's The Waste Land sung to the tune of "Being For the Benefit of Mr. Kite"?
—A good/bad acid trip (assuming there is a difference) taken while a comunity theatre stages Bulwer Lytton in your mother's pristine, antimaccassar- and plastic-seat-cover-bedecked, unlivable living room and Mad Max Beyond Thunderdome plays on the 70" TV mounted above the electric "fireplace" behind them?
Exhibit A:
OFFICER. Oh, this is dreadful, really dreadful!
SCHOOLMASTER. Yes, dreadful, that’s precisely what it is when a big boy like you has no ambition…
OFFICER. [pained]. A big boy, yes, I am big, much bigger than them; I’m grown up. I’ve finished school… [as if waking up] but I’ve a doctorate… What am I doing sitting here? Haven’t I got my doctorate?
SCHOOLMASTER. Yes, of course, but you’ll sit here and mature, you see, mature… Isn’t that it? [Redacted, to spare your sanity] SCHOOLMASTER. No, you are still far from mature…
OFFICER. But how long will I have to sit here, then?
SCHOOLMASTER. How long? Do you think that time and space exist?… Suppose that time exists, you ought to be able to say what time is. What is time?
OFFICER. Time?… [Considers] I can’t say, but I know what it is. Ergo* I know what two times two is, without being able to say it.—Can you tell me what time is, sir?
SCHOOLMASTER. [...] Time?— — —Let me see! [Remains standing motionless with his finger to his nose] While we are talking, time flies. Therefore time is something that flies while I talk!
A BOY [getting up]. You are talking now, and while you are talking, I’m flying, therefore I am time! [Flees]
SCHOOLMASTER. According to the laws of logic that is perfectly correct!
OFFICER. But in that case the laws of logic are absurd, because Nils can’t be time just because he flew away!
SCHOOLMASTER. That is also perfectly correct according to the laws of logic, although it remains quite absurd.
OFFICER. Then logic is absurd!
SCHOOLMASTER. It really looks that way. But if logic is absurd, then so is the whole world too… and in that case why the hell should I sit here teaching all of you such absurdities!—If someone will stand us a drink, we’ll go for a swim!
Exhibit B:
LORD CHANCELLOR. What was hidden behind the door?
GLAZIER. I can’t see anything.
LORD CHANCELLOR. He can’t see anything! No, I can believe it!— — —Deans! What was hidden behind the door?
DEAN OF THEOLOGY. Nothing! That is the solution to the riddle of the universe!— — —In the beginning God created heaven and earth out of nothing.
DEAN OF PHILOSOPHY. Nothing will come of nothing.
DEAN OF MEDICINE. Rubbish! That’s all nothing!
DEAN OF LAW. I have my doubts!… There is a fraud here somewhere. I appeal to all right-thinking people!
DAUGHTER [to the POET ]. Who are these right-thinking people?
POET. If only one could say! It usually means just the one person. Today it’s I and mine, tomorrow it’s you and yours.—You are appointed to the post, or rather, you appoint yourself.
And so by all the powers which the heyday of European imperialism and the approaching assasination of Franz Ferdinand have invested in me, I hereby appoint myself to bestow upon this...this "play"... 5*/0*/No Rating
The Dance Of Death (1900) Precisely like Bergman's "newly dead dancing across the hills" (as Bruce Cockburn once sang) in The Seventh Seal, except minus all traces of love or humanity, i.e. minus the Knight and the Squire and the martyred girl and the fortunate circus family. Only the murderous, avaricious defrocked priest remains, except he's also the lifeless, life-denying pastor from Fanny and Alexander who's now married not to F&A's widowed actress-mother, but a female version of himself (also an actress), who when you so much as blink is now the antimatter version of the superannuated hero of Wild Strawberries after he and all the berries are long, long dead. It's the six-hour-longScenes from a Marriage though the clock sez less than two, and where what's done is done and cannot be undone, to bed, to bed, to bed, but the dream contains just another couple of bad actors in a musical medley of Beckett's Happy Daze/Endgame, except both trashcan Sinatras hum the "March of the Boyars" as they go to war with each other, animus vs anima, except this psychomachia is just all to the tune of me me me me me, maestro. 4* https://www.youtube.com/watch?v=EFXUw...
Miss Julie (1888) You've seen this all before (these class and gender wars) ((though to be fair late 19C Europe hadn't, or overmuch))...a ho-hum, journeyman 3*
The Father (1887) Connubial contraflow mendacity + misogyny + misandry = a clearly masterful, near miraculous miasma of misanthropy from which there can be no escape. Strindberg needed just the right amount of insanity to imagineer this out of nada-ville, and achieves a perfect balancing act here. 6 gobsmacked stars out of 5.
**You really, really might not want to click on this spoiler of an explanation to the above: (view spoiler)[
I saved this bit from the OUP Introduction for those who made it this far, cos, to be quite honest, I don't think I would have made it through the 300++ pages of this text if I had stumbled upon this passage on Strindberg's "reaction" to Nietzsche in the introduction first: [image] PS: I'm not sure if I'll ever be able to read Nietzsche again now, haha! PPS: Don't say you weren't warned!(hide spoiler)]...more
I may have some more things to say later, but for now:
The oppressed, the obsessed, the possessed, and the perennial return of the repressed = sheer brI may have some more things to say later, but for now:
The oppressed, the obsessed, the possessed, and the perennial return of the repressed = sheer brilliance in the hands of this analyst of the class and gender wars, this unveiler of social hypocrisy and personal mauvaise foi (and foie!) this "master builder" of "castles in the air"......more
Pretty much the perfect 19C novel, methinks. It's up there with Middlemarch and Bleak House for me, all equally accomplished in their different ways..Pretty much the perfect 19C novel, methinks. It's up there with Middlemarch and Bleak House for me, all equally accomplished in their different ways......more
I won't review this one, but am in the process of writing a little potted something about how a passage in this book (from the first section, "Bela") I won't review this one, but am in the process of writing a little potted something about how a passage in this book (from the first section, "Bela") is a perfect depiction of the Romantic sublime, as also captured in the iconic painting by Caspar David Friendrich, "Wanderer Above the Sea of Fog" (1818, twenty-one years before the publication A Hero's composition and publication).
I'll post a link to those scribblings here, but for now, here are two versions of the passage in question, followed by the painting. The first is from the Penguin eBook, translated by Natasha Randall, while the second is from my Everyman hardback, translated by none other than Vladimir Nabokov hisself!
Duckduckgo remindeth me that the epigram to the novel, 'The letter killeth', comes from 2 Corinthians, whose purported message is that the capital-L LDuckduckgo remindeth me that the epigram to the novel, 'The letter killeth', comes from 2 Corinthians, whose purported message is that the capital-L Legalism of the Old Testament is destined to give way to the message of Love that the New model T delivers. Hardy's novel, though, deliberately and ironically takes this passage out of context because it desires to prove otherwise, that, as James Brown sang, it's a man's man's man's man's world (even if, "without a woman or a girl", it "wouldn't be nothing" of any value), and the Pater's law is a killer of both men and women, and what would otherwise become of their natural relations. He is speaking at the time primarily about the pitilessly patriarchal laws surrounding the institution of marriage, of course, and his protagonists Jude and Sue are bedevilled by external legality throughout the novel, as well as by their unconscious internalizations of (by what Althusser would call the "interpellation" of) the Law of the Father, whose only mode is that of coercion:
Fuck you, mister, Fuck your sister, Fuck your brother, Fuck your mother, Fuck your pop— Hey! I'm a cop! [...] Yes I can, Hey! I'm the Man!
So singeth the Right Rev'd Billy Barf, backed by his Vomitones, in Thomas Pynchon's sublime Vineland (and I do hope that you find that (again, decontextualized) quotation as un/pleasantly shocking as I still do, cos that's how Hardy's England would have felt about this shot-across-the bow of a book of his—scandalized, but energized, in one way or t'other), but I wasn't thinking about any of that as I read this novel. I wasn't thinking about anything, really. I was feeling, alas! Feeling empathy for these two tortured souls, feeling rage building within me for the trap that they were/are forever in (forever-fixed as they are in their Time, like the lovers on Keats's Grecian Urn), feeling exasperated at Sue's ambi-valences, at Arabella's manipulations (and her making the adjective "porcine" into a negative thing, for the pig is a noble, thoughtful animal, and perhaps smarter than my border collies [so please, though I know how good it tastes, please put down that bacon*, please]), and above all feeling a loathing for my own perverse Anglophilia build within me as I watch Jude's desire for an education thwarted by the omnipresent classy, classist, classicist Towers of Power in Christminster/Oxford:
Towery city and branchy between towers; Cuckoo-echoing, bell-swarmèd, lark charmèd, rook racked, river-rounded; The dapple-eared lily below thee; that country and town did Once encounter in, here coped & poisèd powers;
Thus beginneth that other doomed poet, Gerard Manley Hopkins, in his (yes, beautiful) medieval fantasy sonnet, "Duns Scotus's Oxford", and I too admit to having been bewitched by its illusory charms on more than one occasion (having attended a uni just down the road, in a concrete jungle** of a town once completely flattened by the Luttwaffe), just I also identified too too overmuch with Jude's autodidact's optimism: none of the epigraphs bestowed by the author on these pages, or snatches of knowledge doggedly acquired (and clung to) by Jude himself, do him any good whatsoever—sorry, Dr. Faustus, knowledge is not power. Power is power (See the tender lyric "I'm a cop", above, svp). And folks like Jude and us ain't getting' any anytime soon (that is, unless, "come November, ole Moses Bernie'll manage to take Pennsylvania, Michigan, Wisconsin and Ohio and take us to the Promised Land", I hear Jude's boyish voice sing within me). And the novel does not even allow Jude to understand what he (mis)quotes, either. Nor me (I? Dunno). I'll be damned.
[Outro] Oh how, how man needs a woman I sympathize with the man that don't have a woman He's lost in the wilderness He's lost in bitterness He's lost in loneliness