EN245 Lecture 1 (2017/18)

The ascent is precipitous, but the path is cut into continual and short windings, which enable you to surmount the perpendicularity of the mountain. It is a scene terrifically desolate. In a thousand spots the traces of the winter avalanche may be perceived, where trees lie broken and strewed on the ground, some entirely destroyed, others bent, leaning upon the jutting rocks of the mountain or transversely upon other trees. The path, as you ascend higher, is intersected by ravines of snow, down which stones continually roll from above; one of them is particularly dangerous, as the slightest sound, such as even speaking in a loud voice, produces a concussion of air sufficient to draw destruction upon the head of the speaker. The pines are not tall or luxuriant, but they are sombre and add an air of severity to the scene. I looked on the valley beneath; vast mists were rising from the rivers which ran through it and curling in thick wreaths around the opposite mountains, whose summits were hid in the uniform clouds, while rain poured from the dark sky and added to the melancholy impression I received from the objects around me. Alas! Why does man boast of sensibilities superior to those apparent in the brute; it only renders them more necessary beings. If our impulses were confined to hunger, thirst, and desire, we might be nearly free; but now we are moved by every wind that blows and a chance word or scene that that word may convey to us.

Mary Shelley, Frankenstein (1818)

"We have slept over the notion half a year, and require to see Books and Atlases, and we have decided that there is only one place now in the world that two strong men can Sar-a-whack. They call it Kafiristan. By my reckoning it's the top right-hand corner of Afghanistan, not more than three hundred miles from Peshawur. They have two and thirty heathen idols there, and we'll be the thirty-third. It's a mountaineous country, and the women of those parts are very beautiful."

"But that is provided against in the Contrack," said Carnehan. "Neither Women nor Liquor, Daniel."

"And that's all we know, except that no one has gone there, and they fight, and in any place where they fight a man who knows how to drill men can always be a King. We shall go to those parts and say to any King we find--'D'you want to vanquish your foes?' and we will show him how to drill men; for that we know better than anything else. Then we will subvert that King and seize his Throne and establish a Dynasty."

"You'll be cut to pieces before you're fifty miles across the Border," I said. "You have to travel through Afghanistan to get to that country. It's one mass of mountains and peaks and glaciers, and no Englishman has been through it. The people are utter brutes, and even if you reached them you couldn't do anything."

"That's more like," said Carnehan. "If you could think us a little more mad we would be more pleased. We have come to you to know about this country, to read a book about it, and to be shown maps. We want you to tell us that we are fools and to show us your books." He turned to the bookcases.

From Rudyard Kipling, The Man Who Would Be King (1888)

“[The Thames] functions in part as a kind of screen onto which a wide range of dreams, nightmares, anxieties, hopes and desires have been and are projected by London’s varied inhabitants, as well as by those who imagine the city from outside of London’s limits. The river can also act as a means by which writers envision change and transformation and revisit the half-forgotten traces of London’s past, just as much as somewhere that ordinary Londoner’s have used for work, pleasure and recreation”

Steven Barfield, ‘Postface: Reflections on The Literary Thames: River, City and Chronotope’, London Literary Journal, 5:1 (2007)

Forthwith a change came over the waters, and the serenity became less brilliant but more profound. The old river in its broad reach rested unruffled at the decline of day, after ages of good service done to the race that peopled its banks, spread out in the tranquil dignity of a waterway leading to the uttermost ends of the earth. We looked at the venerable stream not in the vivid flush of a short day that comes and departs for ever, but in the august light of abiding memories. The tidal current runs to and fro in its unceasing service, crowded with memories of men and ships it had borne to the rest of home or to the battles of the sea. Going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine. The long stretches of the waterway ran on, deserted, into the gloom of overshadowed distances. On silvery sand-banks hippos and alligators sunned themselves side by side. The broadening waters flowed through a mob of wooded islands; you lost your way on that river as you would in a desert, and butted all day long against shoals, trying to find the channel, till you thought yourself bewitched and cut off for ever from everything you had known once—somewhere—far away—in another existence perhaps.

Joseph Conrad, The Heart of Darkness (1899)

Glad was I to get him out of the silk warehouse, and then out of a jewellers shop: the more he bought me, the more my cheek burned with a sense of annoyance and degradation.  As we re-entered the carriage, and I sat back feverish and fagged, I remembered what, in the hurry of events, dark and bright, I had wholly forgotten—the letter of my uncle, John Eyre, to Mrs. Reed: his intention to adopt me and make me his legatee.   “It would, indeed, be a relief,” I thought, “if I had ever so small an independency; I never can bear being dressed like a doll by Mr. Rochester, or sitting like a second Danae with the golden shower falling daily round me.  I will write to Madeira the moment I get home, and tell my uncle John I am going to be married, and to whom: if I had but a prospect of one day bringing Mr. Rochester an accession of fortune, I could better endure to be kept by him now.”  And somewhat relieved by this idea (which I failed not to execute that day), I ventured once more to meet my master’s and lover’s eye, which most pertinaciously sought mine, though I averted both face and gaze.  He smiled; and I thought his smile was such as a sultan might, in a blissful and fond moment, bestow on a slave his gold and gems had enriched: I crushed his hand, which was ever hunting mine, vigorously, and thrust it back to him red with the passionate pressure.

“You need not look in that way,” I said […] He chuckled; he rubbed his hands.  “Oh, it is rich to see and hear her?” he exclaimed.  “Is she original?  Is she piquant?  I would not exchange this one little English girl for the Grand Turk’s whole seraglio, gazelle-eyes, houri forms, and all!”

The Eastern allusion bit me again.  “I’ll not stand you an inch in the stead of a seraglio,” I said; “so don’t consider me an equivalent for one.  If you have a fancy for anything in that line, away with you, sir, to the bazaars of Stamboul without delay, and lay out in extensive slave-purchases some of that spare cash you seem at a loss to spend satisfactorily here.”

“And what will you do, Janet, while I am bargaining for so many tons of flesh and such an assortment of black eyes?”

“I’ll be preparing myself to go out as a missionary to preach liberty to them that are enslaved—your harem inmates amongst the rest.  I’ll get admitted there, and I’ll stir up mutiny; and you, three-tailed bashaw as you are, sir, shall in a trice find yourself fettered amongst our hands: nor will I, for one, consent to cut your bonds till you have signed a charter, the most liberal that despot ever yet conferred.”

Charlotte Bronte, Jane Eyre (1847)

EN245 Lecture 1 (2017/18)

From Arthur Morrison’s, A Child of the Jago (1896

The castle is saturated through and through with a time that is historical in the narrow sense of the word, that is, the time of the historical past. The castle is the place where the lords of the feudal era lived (and consequently also the place of historical figures of the past); the traces of centuries and generations are arranged in it in visible form as various parts of its architecture, in furnishings, weapons, the ancestral portrait gallery, the family archives and in the particular human relationships involving dynastic primacy and the transfer of hereditary rights. And finally legends and traditions animate every corner of the castle and its environs through their constant reminders of past events. It is this quality that gives rise to the specific kind of narrative inherent in castles and that is then worked out in Gothic novels.

Mikhail Bhaktin, The Dialogic Imagination (published posthumously 1978)

The rioters left a small party to observe the West Port, and directed the Waiters, as they valued their lives, to remain within their lodge, and make no attempt for that night to repossess themselves of the gate. They then moved with rapidity along the low street called the Cowgate, the mob of the city everywhere rising at the sound of their drum, and joining them. When the multitude arrived at the Cowgate Port, they secured it with as little opposition as the former, made it fast, and left a small party to observe it. […] The mob, at first only about one hundred strong, now amounted to thousands, and were increasing every moment. They divided themselves so as to ascend with more speed the various narrow lanes which lead up from the Cowgate to the High Street; and still beating to arms as they went, and calling on all true Scotsmen to join them, they now filled the principal street of the city.

The Netherbow Port might be called the Temple Bar of Edinburgh, as, intersecting the High Street at its termination, it divided Edinburgh, properly so called, from the suburb named the Canongate, as Temple

Bar separates London from Westminster. It was of the utmost importance to the rioters to possess themselves of this pass […]

The next object of these hardy insurgents was at once to disarm the City Guard, and to procure arms for themselves; for scarce any weapons but staves and bludgeons had been yet seen among them. The Guard-house was a long, low, ugly building (removed in 1787), which to a fanciful imagination might have suggested the idea of a long black snail crawling up the middle of the High Street, and deforming its beautiful esplanade.

Walter Scott’s Waverley novel The Heart of Midlothian (1818)

Between the bridge and the two great theatres, there was but the distance of a few hundred paces, so the theatres came next.

Grim and black within, at night, those great dry Wells, and lonesome to imagine, with the rows of faces faded out, the lights extinguished, and the seats all empty. One would think that nothing in them knew itself at such a time but Yorick`s skull. In one of my night walks, as the church steeples were shaking the March winds and rain with the strokes of Four, I passed the outer boundary of one of these great deserts, and entered it. With a dim lantern in my hand, I groped my well-known way to the stage and looked over the orchestra--which was like a great grave dug for a time of pestilence--into the void beyond. A dismal cavern of an immense aspect, with the chandelier gone dead like everything else, and nothing visible through mist and fog and space, but tiers of winding-sheets. The ground at my feet where, when last there, I had seen the peasantry of Naples dancing among the vines, reckless of the burning mountain which threatened to overwhelm them, was now in possession of a strong serpent of engine-hose, watchfully lying in wait for the serpent Fire, and ready to fly at it if it showed its forked tongue. A ghost of a watchman, carrying a faint corpse candle, haunted the distant upper gallery and flitted away. Retiring within the proscenium, and holding my light above my head towards the rolled-up curtain--green no more, but black as ebony--my sight lost itself in a gloomy vault, showing faint indications in it of a shipwreck of canvas and cordage. Methought I felt much as a diver might, at the bottom of the sea.

Charles Dickens, ‘Nightwalks’ in The Uncommercial Traveller (1875)

Next morning's sun saw Mr Dorrit's equipage upon the Dover road, where every red-jacketed postilion was the sign of a cruel house, established for the unmerciful plundering of travellers. The whole business of the human race, between London and Dover, being spoliation, Mr Dorrit was waylaid at Dartford, pillaged at Gravesend, rifled at Rochester, fleeced at Sittingbourne, and sacked at Canterbury. However, it being the Courier's business to get him out of the hands of the banditti, the Courier brought him off at every stage; and so the red-jackets went gleaming merrily along the spring landscape, rising and falling to a regular measure, between Mr Dorrit in his snug corner and the next chalky rise in the dusty highway.

Another day's sun saw him at Calais. And having now got the Channel between himself and John Chivery, he began to feel safe, and to find that the foreign air was lighter to breathe than the air of England.

EN245 Lecture 1 (2017/18)On again by the heavy French roads for Paris. Having now quite recovered his equanimity, Mr Dorrit, in his snug corner, fell to castle-building as he rode along. It was evident that he had a very large castle in hand. All day long he was running towers up, taking towers down, adding a wing here, putting on a battlement there, looking to the walls, strengthening the defences, giving ornamental touches to the interior, making in all respects a superb castle of it. His preoccupied face so clearly denoted the pursuit in which he was engaged, that every cripple at the post-houses, not blind, who shoved his little battered tin-box in at the carriage window for Charity in the name of Heaven, Charity in the name of our Lady, Charity in the name of all the Saints, knew as well what work he was at, as their countryman Le Brun could have known it himself, though he had made that English traveller the subject of a special physiognomical treatise.

Charles Dickens, Little Dorrit (1857)