Book Description
"Kitty Burns Florey seems to write from a great wellspring of inner calm that derives from a gleeful appreciation of life's smallest details."-Richard Russo, Pulitzer Prize-winning author of
Empire Falls
Once wildly popular and used by grammar teachers across America, sentence diagramming is now a lost art to most people. But from the moment she encountered it in the sixth-grade classroom of Sister Bernadette, Kitty Burns Florey was fascinated by the bizarre method of mapping the words in a sentence.
Now a novelist and veteran copyeditor, Florey studies the practice in a charming and funny look back at its odd history, its elegant method, and its rich, ongoing possibilities. From a discussion of its birth at the Polytechnic Institute in Brooklyn, to a consideration of how it works, to a revealing look at some of literature's most famous sentences in diagram, it is a charming and often inspiring tale.
Along the way, Florey explores the importance of good grammar and answers language lovers' most pressing questions: Was Mark Twain or James Fenimore Cooper a better grammarian? Can knowing how to diagram a sentence make your life better? And what's Gertrude Stein got to do with any of it?
Customer Reviews:
A Fond Tribute to the Fun, Floundering Art of Diagramming Sentences........2007-08-27
"Sister Bernadette's Barking Dog" is not a primer on sentence diagramming but a fond tribute to this outmoded exercise by Kitty Burns Florey, who learned to civilize sentences from Sister Bernadette in the 6th grade. A good-humored history of diagramming, a critique, a showcase, and a rumination on the value of correct grammar and usage, "Sister Bernadette's Barking Dog" delights and informs, if you're the sort of person who thinks diagramming sentences is marvelous fun and who cringes at muddy, muddled language. If you don't know how to diagram a sentence, this book is not the best place to learn. You could glean the basics if you have a solid background in English grammar, but the author has not included any real instruction for diagramming.
Ms. Florey guides us through the history of sentence diagramming, born in 1877 of the 19th century compulsion to classify, to its eventual tumble into obscurity in the 1960s. Along the way, she examines diagramming's strengths and weaknesses, namely that you can't always reconstruct a sentence from its diagram due to the uncertain word order. Her quest for undiagrammable sentences leads to Gertrude Stein, who was passionate about grammar, eschewed punctuation, and wrote many undiagrammable sentences -if you can call them sentences. Florey diagrams long, complex sentences by Henry James and the straightforward prose of Ernest Hemingway, among others. Would Proust or James have been fettered by the regimental logic of sentence diagramming? I doubt it. Stein sure wasn't.
Ms. Florey doubts that diagramming sentences produced better writers and believes its greatest benefit may have been to make grammar fun. I have to give it more credit than that. I learned diagramming in the 8th grade from Mr. Long, a fuddy-duddy who insisted on teaching diagramming decades after it had gone out of fashion. The English grammar books that most students studied in the 5th-10th grades were incomprehensible. The result was that even bright 17-year-olds in AP classes had no clue where to place a comma or why, could not recognize a split infinitive or misplaced modifier, etc. Diagramming teaches people the purpose of each word in a sentence, which enables writers to express themselves more clearly and avoid punctuation errors. And it's fun. What could be better?
Delightful.......2007-08-06
This is a delightful book about a topic which is perhaps not a delightful memory for some readers. Years ago, many pupils struggled with the graphic particularities and linguistic categorization demanded in classrooms where diagramming was taught. However, Florey loved sentence diagramming and has written a book which is part memoir of her years learning and displaying it in a Catholic elementary school; part history of the development of diagramming by dedicated teachers in the nineteenth century (initially, balloons, not lines were used); part reflection on another devotee of diagramming, Gertrude Stein; and part Florey's observations about English. Florey is an excellent writer, but she is not an evangelist. She does not attribute good writing to sentence diagramming, but following one of her dicta for writers, Florey "communicates elegantly" about a topic of historic interest and current controversy.
a little misleading, but maybe just plain mysterious.......2007-06-30
I bought this book after hearing an interview with Kitty Burns Florey on NPR. Though diagramming always seemed to me a limited pedagogical form, I was interested to find out more about the methodology and rationale behind the system. The first two chapters of this book provide a lot of that, though in essence the research seems weak, with Burns Florey doing little more than finding the original books where diagramming methods were developed, from the original balloon designs of S.W. Clark (A practical grammar: In which words, phrases, and sentences are classified according to their offices, and their various relations to one another : illustrated by a complete system of diagrams) to her formal focus, Reed and Kellogg's (Higher Lessons in English A work on english grammar and composition). Her overview takes more of a memoir-like bend, relating these ideas to how they affected her in grammar school rather than addressing their applications to writing and language. Her insight into these books feels very thin, and I felt that I could get more about this topic from reading the original source material, since Burns Florey couldn't really offer any insight into the rationales behind these systems.
The later chapters start looking at the styles of other writers and the shortcomings of sentence diagramming. In fact, after a long treatise on Gertrude Stein, who praised diagramming highly yet wrote utterly undiagrammable sentences, Burns Florey concludes by saying, "For many of the world's great literary writers, diagramming would seem to be seriously beside the point." Now, I was mystified as to what the point of the book was anymore. If diagramming was already a lost art, as the author had already brought up from the beginning, then why go into the shortcomings of diagramming? Her point about the fact that a sentence can be utterly nonsensical but diagram well was interesting but does not seem to be taken towards any further insightful conclusions (and this point was not even the author's). If this was a book ultimately about language and its nebulous nature that is naturally resistant to the geometry of diagramming, then Burns Florey doesn't really offer much insight into the nature of language and how it can resist structure. Overall, this reads like a flat overview of diagramming with a little bit of research, but not enough to provide much insight into the schools of controllable vs. uncontrollable language and whether effective language fits this geometry or not (the answer to which being obviously mixed, but Burns Florey does not offer any ideas as to why).
By the end of this book, I felt as though I had been dragged into a conversation (fairer to say monologue) with Kitty Burns Florey and lectured to for a time about a subject she has great interest in. However, by the end of the lecture, I have learned little more than what I knew from the start--that she is greatly interested in diagramming, though I still have no palpable reason why (or, fairer to say, why I should be interested as well). An interesting topic for a book, but Kitty Burns Florey in the end has little to say about it.
I hated diagramming, but I liked this........2007-04-13
Kitty Burns Florey, Sister Bernadette's Barking Dog: The Quirky History and Lost Art of Diagramming Sentences (Melville House, 2006)
When I was in eighth grade, I feared English class. Odd for someone whose life's goal was to be a writer, eh? But walking into that room clutching Warriner's English Grammar and Composition like a buckler and a No. 2 pencil as a sword was like entering the Circus Maximus. Why? Eighth grade was the year we were introduced to diagramming sentences. It's the English teacher's equivalent of geometry, and for someone who's not math-minded, it's a terrifying experience. This feeling was unanimous in my classmates, and whenever I've brought up the subject of diagramming sentences in the (far too) many years since then, it's always been greeted with facial expressions ranging from disgust to post-traumatic stress disorder. I had rather thought the hatred and fear of diagramming was universal.
Not so. Kitty Burns Florey loved it, when she was in school. After reading Sister Bernadette's Barking Dog, I have to say that if I'd had an English teacher who approached diagramming as Sister Bernadette did, I'd probably have gotten out of eighth grade with far less mental anguish than I actually did. Florey traces the (quirky, natch) history of diagramming whilst giving us a picture of how it was used when she was in school-- as a game, a way to break up the monotony of learning one's spelling words and parts of speech. Good stuff, that, and certainly more fun than opening one's Warriner's and finding that one's assignment for the night was to diagram an entire page of Henry James. (Okay, I exaggerate. But still. Florey diagrams a single sentence of James at one point in the book, and it's about as complex as the complete Tudor family tree.)
I've always been a fan of history books that illuminate some odd little forgotten corner of history, and so I'd have been predisposed to like this even if Florey hadn't approached her subject in such an accessible manner. But the book is short, readable, and (dare I say it?) fun. Even if you hated diagramming sentences (and I'm still not convinced anyone but Kitty Burns Florey ever actually liked it), this is a good'un. ****
Book | is \ frustrating.......2007-03-28
I consider myself quite the word nerd and started to read this book with great interest, but I found this book very frustrating. It started off well, suggesting a memoir of a life diagramming sentences (a craft I learned in the fifth grade) but soon turned to a mind-dulling treatise on the arcana of diagramming--without even any instructions for the uninitiated or out of practice.
So besides that headache, readers looking for Catholic humor or sepia-toned trips back in time to a pre-Vatican II era will be greatly disappointed. However, SISTER BERNADETTE'S BARKING DOG would make a fine gift for your favorite English teacher now living in the retirement wing of the convent's mother house--but for no one else.
Book Description
For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of À la recherche du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).
Customer Reviews:
Moments of the radiance of the eternal caught on paper........2007-06-20
If someone told me ten years ago that one day I would read 4,000 pages of dense, hypeliterate ramblings, filled with single sentences that sometimes go on for at least ten pages, I would have thought myself more crazy than the guy who wrote them. Two years after reading all of Proust, incredibly, I find myself longing to spend afternoons again immersed in it. Such is the beauty of this momumental work.
While James Joyce's Ulysses deserves to be considered the best and greatest novel of the 20th century, I think it's fair to say that it's doubtful that any writer will ever reach the majesty and breathtaking beauty found in Proust's "In Search of Lost Time". Proust is not great for the 20th c., it's great for all time.
Marcel Proust & my book "Archetypes for Writers".......2007-03-04
Like others who've read and reviewed Proust's opus here, I did not read it in one consistent long read. I read the first ten pages and put it down for a year. I then read up to page 100 and put it down again for six months. Thereafter, pregnant with my first child, I read through all the rest.
I found Proust immeasurably easy and pleasant to read. The long sentences are almost musical and facilitate rather than impede understanding of Proust's deep insights.
Further, despite Proust's own unhappiness, I have never been happier reading a book. Nor have I ever felt so "let into" a person's life as I did reading him.
But, as important as my joy in reading Proust was the fact that it was Proust's masterpiece -- and most especially the last volume (Past Recaptured, by the old title) and particularly Chapter 3 of that volume -- that confirmed much of what I already secretly and silently knew and had begun developing into a method for finding one's own already-existing characters inside oneself, which I had already started teaching and continued to teach for twenty years (first in my own business and then at the New School University in NYC) and finally developed into my book "Archetypes for Writers: Using the Power of Your Subconscious" (available on Amazon).
Proust's value for me was not in his exquisitely minute and drawn-out descriptions of drinking tea or misstepping on a cobblestone (which both triggered the reliving of lost moments for Proust). It is a misunderstanding of Proust to think that that is all he is about. (There was, in fact, an entire acting method developed out of this view (called "method acting").)
Rather, I found Proust's understanding of character valuable. He knew the power of juxtaposition -- which he called "mental gymnastics" and "the miracle of analogy."
I found his articulation of the "extra-temporal being" or "the man freed from the order of time" valuable -- that which I have called to my students: the "author self," the self that knows the whole story of all one's characters: the beginning, the middle, the end -- without having to wait for anything to happen -- a knowledge that almost presupposes the non-existence of time, in an Einsteinian sense -- and something which I have found is naturally developed through the use of the skill I called "arkhelogy" or "doing archetypes."
The habit or skill of "being in the moment" -- something that is a primary skill enumerated in my book -- is also something of what Proust reveals (he calls it a "minute freed from the order of time")
Proust practiced suspending moments in his mind in order to reclaim his past, but it is also a central skill possessed by all great novelists -- for, how do you experience the life of another if you do not grasp and suspend in your own mind the moments in which that person lives and breathes?
And this brings me to another concept that Proust knew and realized in his work (but did not express in the way I do), which was something I had learned from my years in the theater: analogy. Proust talked about analogy in the context of the juxtaposition of two moments. But analogy is also about making analogies between oneself and others (something which Proust called "substitutions"). In other words, finding how to "relate" to another, how to feel what the other feels. This, of course, is a human ability, but it is also a skill that can and should be encouraged and practiced. Proust achieved this level of understanding of his fellow humans to a high degree.
Finally, there is Proust's recognition that "in fashioning a work of art we are by no means free, that we do not choose how we shall make it but that it is pre-existent to use and therefore we are obliged, since it is both necessary and hidden, to do what we should have to do if it were a law of nature, that is to say to discover it." Similarly, one of the main premises in my book is that one's character's and their stories already exist and that one needs only to learn how to find them -- which is, of course, what all the rest of Proust's novel is about (and my exercises teach one to do).
I owe a great debt to Proust. Apart from my sense of love for his language, his words, his phrases, not to mention his insights into people and events, Proust was for me the major impetus behind the development of both the book "Archetypes for Writers" and the course out of which the book grew.
Lost Time? Not at all........2007-01-05
Reading Proust is a major undertaking, a life-changing event for some, if only the committment of time is considered. This edition is superbly translated from the French, and loses very little (as my undergraduate French is concerned). The text[s] allow one immerse in Proust and the turn-of-the-century life of an upper class family. As an academic I see so many uses for this material, but as a reader it's a pleasurable experience to take in a true genius who can spend seven wonderful pages describing and elaborating on taking tea. Well-worth the small amount of money.
On reading Proust........2006-10-09
I've just finished reading The Search for Lost Time and I'd like to share a few thoughts.
First, commit to reading the whole thing, all seven volumes, all million+ words. However if the commitment frightens you (as it should) first read Swann's Love, the middle part of the first volume.
Second, if you commit don't be afraid to take a break and leave the book aside. I began reading it fifteen years ago, and read Swann's Love several times before finally getting a one volume omnibus and reading the whole thing. It took me eight months, during which I freely allowed myself to read other books.
Third, don't read Alain de Botton's How Proust Can Change Your Life until you're reached the final volume. It's a wonderful book, but if you want to read the Search, then De Botton's little book is a "digestif" that will help you put Proust in perspective.
Fourth, you don't have to read Proust. No one does. If you don't enjoy reading the Search, leave it alone. Proust never liked the title "The Search for Lost Time" and I think he might have actually preferred the now discredited original English translation title "Remembrance of Things Past".* In French Lost Time (Temps Perdu) implies a waste of time, and Proust was very conscious of having wasted the first forty years of his life.
Lastly, I wouldn't worry too much about the translation. I read the Search in French and it struck me that translating Proust wouldn't be much harder than reading him. The essence of Proust's style is not dramatic rhetoric, it is patient and painstaking descriptions and explanations. He wants the reader to understand something very complex and subtle: his or her own self. You'll find the drama in his philosophy. His sentences are long, convoluted, dreamy, full of meandering turns, but Proust doesn't use French the way, for instance, La Fontaine or Hugo do. Most of Proust's meaning will survive the translation, very little will be lost.
Vincent Poirier, Tokyo
*I was wrong there, Proust hated the "Remembrance..." title. See the comments for details.
Vincent
Ne plus ultra.......2006-09-10
In my sixty-five years I have read most of the West's great literature and much of its trash. But this was the culminating experience. Read Proust and die.
I would suggest reading the new translations (by various translators) now being published by Penguin, which Amazon is selling.
Average customer rating:
- Timeless Classic
- The Greatest Writing in the English Language
- A timeless classic of English literature
- A God Worthy of Respect, if not Praise
- Good Book
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Paradise Lost (Penguin Classics)
John Milton , and
John Leonard
Manufacturer: Penguin Classics
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Binding: Paperback
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ASIN: 0140424393
Release Date: 2003-04-29 |
Book Description
Edited with an introduction and notes by John Leonard.
Customer Reviews:
Timeless Classic.......2007-08-09
John Milton's "Paradise Lost" is a timeless classic. It's imagery, based itself upon 1500 years of previous Christian-cultural imagery, has shaped how the Western world views Christianity, sin, the fall, life, death, heaven, and hell.
The open-minded non-Christian reader would do well to read "Paradise Lost" to become a literate student of Christian imagery. The Christian, willing to work through the descriptive poetry, will gain new insight into Creation, Fall, and Redemption. In many ways, Milton bridges eras (the Middle Ages and the Reformation), cultures (Southern Europe and Northern), and religious groups (Catholic and Protestant).
It's interesting how much "folk theology" owes itself to Milton's "Paradise Lost." Modern views of the Devil, in particular, are often unknowingly based upon the poetic images from Milton. Fortunately, Milton is at his best in describing Satan, first as the unfallen Lucifer with all his glorious, God-created brilliance, and then as the fallen False Seducer in all his distorted and tormenting deceit.
For example, Milton speaks of how revenge, dark requital, propelled Satan's monstrous motives:
To waste his whole Creation, or possess all as our own, and drive as we were driven, the puny habitants, or if not drive, seduce them to our Party, that their God may prove their foe, and with repenting hand abolish his own works. This would surpass common revenge, and interrupt his joy in our confusion and our joy upraise in his disturbance; when his darling Sons hurled headlong to partake with us, shall curse their frail Original, and faded bliss, faded so soon (Milton, Paradise Lost, p. 40).
Surpassing common revenge, Satan lives to spite the Author of life.
By Satan, and in part proposed: for whence, but from the Author of all ill could spring so deep a malice, to confound the race of mankind in one root, and Earth with Hell to mingle and involve, done all to spite the great Creator? (Milton, Paradise Lost, p. 41).
Milton's depiction of the temptation in the Garden displays psychological brilliance and biblical insight into the nature of the human personality as designed by God and depraved by sin. Perhaps only C. S. Lewis' "Screwtape Letters" matches Milton's understanding of Satanic seduction.
For instance, so whose fault their fall? Milton, imagining God's words to Christ, declares:
For man will hearken to his glozing lies, and easily transgress the sole Command, sole pledge of his obedience. So will fall he and his faithless Progeny. Whose fault? Whose but his own? Ingrate, he had of me all he could have; I made him just and right, sufficient to have stood, though free to fall (Milton, Paradise Lost, p. 63).
Well put. Sufficient to have stood, though free to fall. Made just and right and able to choose. Adam and Eve had all they could have from the generous hand of God, yet they transgressed the sole command, the sole pledge of loving, trustful obedience. Loving allegiance they chose to grant to non-god rather than to Father God.
Whatever could possess them to trade their birthright for one bite of the one forbidden fruit? When we last spied earth's Villain, he was tumbling toward hell. Having lost the battle for heaven, his hostility and hate triggers a new plan. Why a second siege on heaven's gates, when earth's shores suggest easier prey? As Milton envisioned it:
Nor will occasion want, nor shall we need with dangerous expedition to invade Heaven, whose high walls fear no assault or siege, or ambush from the Deep. What if we find some easier enterprise? There is a place (if ancient and prophetic fame in Heaven err not), another World, the happy seat of some new Race called Man, about this time to be created like to us, though less in power and excellence, but favored more of him who rules above. So was his will pronounced among the Gods, and by an oath, that shook Heaven's whole circumference, confirmed (Milton, Paradise Lost, pp. 39-40).
Readers also could benefit from his less known work, "Paradise Regained." Many have mentioned how difficult it is to write a riveting book about Heaven since the drama of evil is defeated and thus the tension is deflated. Yet Milton captures one possible vision of a future Paradise/Heaven as well as most. (Randy Alcorn's book "Heaven" is, in my opinion, the best modern book on the topic).
The Greatest Writing in the English Language.......2007-02-03
There's enough already said about why and how Milton wrote this book, so I don't have anything to say about that. It's a story most people will be familiar with, and any surprises will involve the beauty of the language or a random, surprising insight into a character's motivation. In the end, Milton deserves to be called the greatest writer in English because of the pure strength and beauty of each individual sentence.
This is undoubtedly a difficult book to read. I teach a small bit in a sophomore high school English class, and I tell them, "This will be the most complex text you will encounter this year." We have to practice unpacking sentences one at a time and stating them in our own words in order to get their meaning. It's a slow process, and one that most adults will also need to go through.
But it's all worth it! Reading Milton might or might not change your view of God and man, but absorbing him will change your love of language. The words are vivid and powerful and beg to be read aloud. If you like your poetry Great in the sense of sounding larger than life and tackling humanity's major questions, Milton is it. (And, in my opinion, he even takes out other wonderful poets that I also love, including Dante, Virgil, Homer, and Shakespeare).
A timeless classic of English literature.......2006-10-13
Justly placed at the head of the canon of Western literature behind Shakespeare and Dante by Harold Bloom, Milton stands as a towering creative genius in English literature and epic poetry.
Milton conceived of his vast epic as a way to justify the 'ways of God to man.' Strangely, the character of Satan is absolutely central to this epic more so even than Adam and the rest of humanity, and often one can't help comparing Satan and his journeys and battles against misfortune as akin to those of other great literary heroes, such as Prometheus, Odysseus or Aeneas. I feel in a way the message of Milton is more than just good Protestant Christian apologetics; if you read his passionate and brilliant defense of freedom of the press and of thought in works like Aeropagitica, I am sure Milton in a way showed the power of free choice and what heights it allows any being to soar to, even those who are damned. I always get a sense from reading Milton a great trust in the human spirit and an expectation to rise against tyranny.
While ultimately I feel Milton does not really justify the 'ways of God to man' in an intellectually satisfying way, and his vision lacks the brilliant unity of that of Dante, Milton is certainly a poet and genius of first order and probably the greatest writer in English after Shakespeare. His poetry contains great depth and beauty, not just the Paradise Epics but many other poems as well, and his learning and erudition are immense.
In Milton there is a great confidence in human reason and in the individual to prevail in the face of disaster and hardship. One can't help but admire Satan's stubborness and determination in the face of so much which goes against him, and his incredible efforts to achieve his goals. If you ever wanted an example of 'self-help' look no further than the devil in Milton; despite the most hopeless situations he never gives up. Perhaps conciously or unconciously Milton embodies in Satan and also in Samson our own present confidence in our creative abilities and our determination and intelligence to overcome any obstacles in our way, and perhaps in a world as turbulent as ours, that isn't such a bad hope to have after all.
A God Worthy of Respect, if not Praise.......2006-08-29
Sufficiency is fluid. There is nothing that in Paradise Lost that can be described as simple. But sufficiency in the eyes of God, Adam and the various obedient angels consists of doing God's will and using the gift of free will given to all his sentient creatures to extol his greatness. Before the falls, both of the rebel angels and of Adam and Eve, the relation between God and his creations is almost always one to one and direct. God makes his creatures sufficient to withstand any and all evil, but by investing all with free will gives them the choice of whether or not to embrace the evil. Suffiency lies within all sentient creatures to do God's will, but one can only be proved sufficient by doing God's will. In short, to be sufficient in God's eyes is to do his will--no matter what!
That suffiency is fluid is vaguely clear through out the poem. There is never one definition of perfectly righteous or good behavior. Satan and the rebel angels needed only to accept Messiah as God and King; Adam and Eve needed only not eat of the tree of knowledge; Michael, Gabriel, and company had to take part in that farce of fight for heaven; Enoch, Noah, Moses and Jesus showed their suffiency by standing up for God against humanly impossible odds. The lists of lesser examples in the poem are too numerous to recite and keep this essay readable, but it is more than reasonable to conclude that depending on the situation anything from indifferent obedience to militant martyrdom will be sufficient. But, constant obedience is always the rule.
The same rule of suffiency should be applied to Paradise in a slightly modified form. God is the greatest of planners because he knows all. Knowing all, he makes plans for every consequence of every action. Had Adam and Eve resisted Satan in the garden, then it would have proved sufficient for two beings who did not know good or evil. That would have proved enough of a mockery to the aims of Satan, but after the fall God ordains it necessary to show that everything Satan ever does to mankind is utterly futile and leads only to more punishment and increase of pain. The fact that he will make the supreme greatness of mankind come from evil means shows his power to be without end, and Satan's unwillingness to accept this is what will ultimately destroy him and his host of rebels at history's conclusion.
The entire question of suffiency of all virtues is the meditation of Milton from the poem's beginning to the close. What is constantly necessary to remember in this poem is the distinction between virtue, or power, and true virtue, power used to celebrate and defend good. Milton uses this distinction to turn epic virtues on their head by investing Satan with so many of them. Satan is fearless, uncompromisingly defiant, willing to fight by whatever means are provided to him and he is inspiring. We can see shades of Aeneas, Odysseus, Scaevola, the Earl of Kent from King Lear, and numerous other literary and historical figures that seethed with defiance and did everything in their power to defy and defy and defy. What all characters put forth have in common though is that they used their powers in defense of people, home, freedom, and friendship. Satan uses the power still invested in him, his "courage never to submit or yield" to try to destroy, not create. Comically, he even seems to realize that he can, at best, be a mild irritant to God this way:
...If then his Providence
Out of our evil seek to bring forth good,
Our labour must be to pervert that end,
And out of good still find means of evil,
Which oft-times may succeed, so as perhaps
Shall grieve him, if I fail not, and disturb
His inmost counsels from their destined aim. (I, 162-68)
This is power so completely abused that it barely requires further explication. Suffice it to say though, this is the same valor that we find in Adam when we are introduced to him for the first time in book IV, and that he disdains using in book IX when he chooses to follow Eve's lead by eating the forbidden fruit. Where the true virtue of the obedient angels and the classical epic heroes lies in their motivation for undertaking feats of violence, Satan's hatefulness, which grows as he further resists God, lies in the fact that he uses all his powers and intellect in the service of conquest, destruction, and wickedness. As becomes clear by the poem's end, when Michael shows Adam the tyranny of Nimrod, valor when in the service of wickedness is not a true virtue. True virtue and greatness can only come through God's favor.
Here it seems appropriate to move from suffiency in beings and their actions to the suffiency of Paradise. As Raphael points out in book VII, creation of the world and mankind took place in order show Satan and the rebel angels their superflousness by filling what they could have defined as a void when they were banished from Heaven. God loves all his creatures for the obedience and love they show him. But part of the nature of being omnipotent is that nothing is inexpendible and no thing is outside of his purview. Existence itself is by God's sufferance and for any permanence of good to come of a beings existence this must be accepted as indisputable. Milton's Satan would not be Milton's Satan if he accepted this necessity. He even had a chance to accept it in book II had he advised the Stygian council to accept the advice of Mammon--one who hates God as much as Satan:
...Let us not then pursue
By force impossible, by leave obtained
Unacceptable, though in Heav'n, our state
Of splendid vassalage, but rather seek
Our own good from ourselves, and from our own
Live to ourselves, though in this vast recess,
Free, and to none accountable, preferring
Hard liberty before the easy yoke
Of servile pomp. Our greatness will appear
Then most conspicuous, when great things of small,
Useful of hurtful, prosperous of adverse,
We can create, and in what place soe'er
Thrive under evil, and work ease out of pain
Through labour and endurance. (II, 249-262)
God's wrath is infinite when provoked, and expulsion from Heaven is the punishment for attempting to conquer Heaven. There is no reason to believe that his ire would have been raised had the rebel angels simply accepted their punishment, because the punishment and the concomitant agony that the disobedient angels suffer would have been sufficient. The further disobedience of Satan is what makes more punishment necessary, hence the periodic metamorphosis into serpents the rebels undergo after Satan's return from Earth. Again, suffiency of actions by God becomes defined solely by decisions made by his creations. By seducing Adam and Eve, Satan showed God that banishment was not sufficient to quell his pride. Also, Adam and Eve showed themselves insufficiently obedient to deserve Paradise. It became necessary for God to alter all of their conditions in order to punish Satan accordingly, further dash his pride. For Adam and Eve the punishment was death and the misery of history. They proved insufficient of Paradise, nothing in Paradise itself was imperfect, insufficient, let alone deficient, accept for them after the fall.
God is the creator of infinite possibility in all his sentient creatures. He should not be viewed as the writer of a book with a singular vision who preordains events to make a specific conclusion. That would be fate or destiny and God did not impose these upon human existence. God has total foreknowledge of all events, but he explains to Messiah that this is irrelevant because free will gives all his creations choice. They would be worthless otherwise because,
Not free, what proof could they have giv'n sincere
Of true allegiance, constant faith or love,
Where only what they needs must do, appeared,
Not what they would? What praise could they receive?
What pleasures I from such obedience paid,
When will and reason (reason also is choice)
Useless and vain, of freedom both despoiled,
Made passive both, had served necessity,
Not me. (III, 103-111)
There needs to be the constant possibility of evil arising for good to mean anything. Good is totally impotent without the contrast of evil, in fact it arguably can not exist without it. Automaton praise would not be real praise of God.
When discussion of the suffiency of Paradise comes up in any definition of suffiency we enter into very dangerous territory. Adam and Eve voice no complaints about Paradise; they do not imagine the possibility of being happier than they are prior to their fall. Disobedience to God remains a constant possibility because of the absolute existence of free will. The universe that Milton has created is one where the actions of individuals is never foreordained and one in which absolute obedience to God is the only path through which any good can ever u come to the individual. There is also never an instance where what God asks is even in modest proportion compared to what he gives. At the same time though, Milton makes absolutely clear that obedience to God does not protect either his dutiful from horrors. One need only remember the nightmare of Eve at the beginning of Book V, or the awful description by Raphael of the hollowing that he hears coming from Hell when he is dispatched there during creation. But God never exposes his creations to truly painful tests of their loyalty, not by any standard that fallen humankind. Paradise is perfectly sufficient for Adam and Eve in the state they are in just prior to their fall. Neither one truly aspires towards bettering themselves in a way that would increase their happiness and still maintain their total obedience to God. They proved insufficient to remain in Paradise, but Paradise may have proved insufficient for the beings they were to become had they not fallen.
Raphael conjectures when he meets Adam and Eve in Book V, that mankind may one day transubstantiate into a more spiritual being that will be able to cross the boundary between Paradise and Heaven.(493-503) He is not given any information by God save the fact that Satan is hanging around Paradise, so it is purely conjecture to assume that this is possibility. The same is also true of the conjectures that Michael makes about the once possible future of unfallen mankind in Book XI; the progeny of mankind would spread out of Paradise and into the world at large. Eden would have proved not large enough to hold all of mankind. I do not believe though that this is a reflection upon quality of Eden, but one upon its physical size. There is also no reason to believe that the progeny of Adam and Eve would have been just like them. They may very well have been designed to exist in a state closer to our own. Milton's God is the definition of infinite variety and it is impossible to quantify what he would have done if...
Ultimately in Paradise Lost questions of suffiency are nearly moot. Milton's initial purpose in the poem "to justify the ways of God to man," shows this better than anything else. God asks so little, but the stakes are so high for the fate of mankind that it becomes horrible to see just what happens. Since God is infinitely complicated just as he is infinitely powerful. It seems to me that Milton came to the conclusion that God could not be justified, let alone by human standards. God gives all and asks nearly nothing. When he is disobeyed, no one of his creations has the right to question the actions he takes. Through his ability to show just how simple the arrangement with God initially was, he shows how futile it is to try to justify anything he does prior to the fall.
Good Book.......2006-07-13
I ordered it. It said it would come in 1-2 weeks, but came in 2 days. Amazing.
Book Description
This Norton Critical Edition is designed to make Paradise Lost accessible for student readers, providing invaluable contextual and biographical information and the tools students need to think critically about this landmark epic. Gordon Teskey's freshly edited text of Milton's masterpiece is accompanied by a new introduction and substantial explanatory annotations. Spelling and punctuation have been modernized, the latter, importantly, within the limits imposed by Milton's syntax.
"Sources and Backgrounds" collects relevant passages from the Bible and Milton's prose writings, including selections from The Reason of Church Government and the full text of Areopagitica.
"Criticism" brings together classic interpretations by Andrew Marvell, John Dryden, Victor Hugo, and T. S. Eliot, among others, and the most important recent criticism and scholarship surrounding the epic, including essays by Northrop Frye, Barbara Lewalski, Christopher Ricks, and Helen Vendler.
A Glossary and Selected Bibliography are also included.
About the Series: No other series of classic texts equals the caliber of the
Norton Critical Editions. Each volume combines the most authoritative text available with the comprehensive pedagogical apparatus necessary to appreciate the work fully. Careful editing, first-rate translation, and thorough explanatory annotations allow each text to meet the highest literary standards while remaining accessible to students. Each edition is printed on acid-free paper and every text in the series remains in print. Norton Critical Editions are the choice for excellence in scholarship for students at more than 2,000 universities worldwide.
Customer Reviews:
The definitive Paradise Lost resource.......2007-10-07
It is a laborious read, but John Milton's Paradise Lost is worth it. First published in 1667, Paradise Lost remains, many contend, the greatest poem ever published in English, and Milton is deemed second only to Shakespeare among the pantheon of English writers. When reading Milton, be prepared for hundreds of references to Greek and Roman mythology that few of us (myself included) are familiar with as well as works saturated in biblical references and allusions and much obscure vocabulary. Happily, this Norton Critical Edition includes hundreds of notes--footnotes, so there is no disruptive flipping back and forth! This edition also offers dozens of critical essays on Paradise Lost, some dating back to its publication, a couple of Milton's prose works and an extensive glossary. Whether reading for pleasure or for (school) credit, this NCE of Paradise Lost is a godsend.
an Invaluable text.......2007-03-27
I ordered this text to help write a paper, and it has ended up serving as my primary text for my research. The text is at least as good as any of the other editions I have looked at, the footnotes are top-notch, and the critical articles are some of the siminal works. My only gripe is that there are no visual markers in the text for the footnotes, they are simply at the bottom of the page, signified by line number. Because of this, I sometimes don't realize that there are footnotes on a particular line, but this is a minor problem.
Great edition, except. . . .......2007-03-20
I love Norton Critical Editions. Or I try to. Gordon Teskey's new edition of Paradise Lost is for the most part worthy of the praise it has received in other reviews on this site. However, it has one unpardonable flaw, which is the editor's tampering with Milton's poetic line. Teskey and the Norton editors have for some reason decided to make it "easy to read" by adding parentheses to complex syntactical passages that Milton wrote on purpose to be. . . I dunno. . . hard? This move to simplify the syntax alters not only the experience of the poem but, worse, its meaning. Take for example these famous lines of Satan's from Book I, the first words spoken in Hell:
If thou beest he but O how fall'n! how changed
From him who in the happy realms of light
Clothed with transcendent brightness didst outshine
Myriads, thought bright! if he whom mutual league,
United thoughts and counsels, equal hope. . .
The meaning of the lines is confusing because Satan himself is confused, and now speaking for the first time a fallen language. The "he" from line one gets dropped until line four, when Satan remembers what he's talking about after wandering through a few memories of his life before the fall. The reader is supposed to feel the confusion and torment of this run-on sentence. But Teskey uses parentheses to clean up the very mess Milton wanted Satan to make of the sentence:
If thou beest he (but O how fallen! how changed
From him who in the happy realms of light
Clothed with transcendent brightness didst outshine
Myriads, though bright) if he whom. . .
This effectively dumbs down the poem and drastically changes it. And there is way too much of it in this edition. It is common enough to modernize spelling and syntax in editions of early modern poetry, but this is a bit too much. Readers don't buy this book because they want an easy read; most readers, even students, don't mind if it is a little hard and confusing in parts. Mostly, I bet they want to see what Milton and not his editors wrote.
Justifying Milton's Ways.......2006-09-23
I am always glad for an occasion to tread "with wand'ring steps and slow" through the lines of "Paradise Lost" yet once more. When I found out that Gordon Teskey, to my mind the great poet's strongest reader in many years, had edited a new Norton Critical Edition, I knew it was time to travel the path again. As his predecessor Scott Elledge did for a previous generation, Professor Teskey has created an edition and charted a reading experience of enormous richness for contemporary students and general readers alike, and forged a tool of unique value for teachers at all levels. The text is well edited, as it must be, with helpful but judicious modernization of some spelling. The footnotes are measured, thorough but never gratuitously scholastic, to serve the process of active reading. This is not an easy poem and no editor can change that, but one travels through it faster, though steady at speed, with Professor Teskey at one's side. The critical apparatus is also strikingly well done, with modern essays usefully divided by topics, such as 'On Satan' and 'On Feminism', in a manner that will serve all audiences well. Along with retaining essays by past titans of Milton criticism, from Marvell to T.S. Eliot, as well as much of the canonical modern criticism present in earlier Norton editions, this volume includes some of the best critical voices of the last twenty years, among them William Flesch, Regina Schwartz, Archie Burnett, Julia Walker and Mary Ann Radzinowicz. But these new contributions have been chosen, it seems to me, with a very judicious focus on their own lasting canonical value, rather than merely on their more recent dates of publication. Whether out of deference or editorial privilege, Professor Teskey saves the last word for himself in a short selection from an essay that has since become a chapter in his new book, "Delirious Milton" (Harvard, 2006), in which he charts a history of philosophical modernity through an inspired analysis of Milton's view of creation, divine and human. Whether you are coming to "Paradise Lost" for the first or the twentieth time, make this edition your primary text and make Professor Teskey's new study the next book you read. If you do, you'll experience a very fortunate fall followed by a delirium of the happiest sort.
Best I've seen.......2006-03-15
Nice edition of this work. Has good footnotes, and contains much besides the poem itself, including information on Milton's life, and a section on sources that Milton used, and "classic" and modern criticism of the work.
Average customer rating:
- Lost classics, not lost, you just need to read to remember
- Superb
- Some of Ruark's best pieces.
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The Lost Classics
Robert Ruark
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ASIN: 1571570225 |
Book Description
A collection of magazine stories that Ruark wrote in the 1950s and 1960s, but were never published in book form.
Customer Reviews:
Lost classics, not lost, you just need to read to remember.......2006-03-19
It was written well before I was born and I felt like I had walked some of those same hills, and found some of those same gentleman quail except on the west coast in my youth. A must for those cool nights with a warm fire and a dog at your feet. Share, order two, mail a copy to a friend and let them, Enjoy.........
Superb.......1999-03-15
When you read about punching out the lioness with his fist -- you know you've found the mother lode.
Some of Ruark's best pieces........1999-01-27
An excellent composition of some of Ruark's best work, ignored by other editors. It is a welcome addition to the library of any hunter, especially those of us who appreciate Ruark's genius.
Average customer rating:
- difficult to read
- all the books none of the pictures
- Look For Border's Edition
- The books of OZ
- 15 In One 1 The Oz Books
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15 Books in 1: L. Frank Baum's Original "Oz" Series. The Wonderful Wizard of Oz, The Marvelous Land of Oz, Ozma of Oz, Dorothy and the Wizard in Oz, The Road to Oz, The Emerald City of Oz, The Patchwork Girl Of Oz, Little Wizard Stories of Oz, Tik-Tok of Oz, The Scarecrow Of Oz, Rinkitink In Oz, The Lost Princess Of Oz, The Tin Woodman Of Oz, The Magic of Oz, and Glinda Of Oz.
L, Frank Baum
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The Annotated Wizard of Oz (Centennial Edition)
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Return to Oz
ASIN: 0954840135 |
Book Description
This unique '15 books in 1' edition of L. Frank Baum's original "Oz" series contains the following complete works: "The Wonderful Wizard of Oz", "The Marvelous Land of Oz", "Ozma of Oz", "Dorothy and the Wizard in Oz", "The Road to Oz", "The Emerald City of Oz", "The Patchwork Girl Of Oz", "Little Wizard Stories of Oz", "Tik-Tok of Oz", "The Scarecrow Of Oz", "Rinkitink In Oz", "The Lost Princess Of Oz", "The Tin Woodman Of Oz", "The Magic of Oz", and "Glinda Of Oz". For over a hundred years, L. Frank Baum's classic fairy stories about the land of Oz have been delighting children and parents alike. Now, for the first time, the entire Oz series is available in this single, great-value, edition!
Customer Reviews:
difficult to read.......2007-08-13
This book is condensed, I mean two pages printed on one page so the lettering is very small and none of the original art work is included. I did not realize when I bought it that the letters would be small. I also thought the original art work would be included. It's not bad if you want to read it with a magnifying glass.
all the books none of the pictures.......2007-06-25
I was wondering how they could fit all 15 oz books into 1 volume. the answer is by having no illustrations, two columns per page, and very small print. I felt like I was reading a text book more than a childrens set of books. it still works for a bedtime story for my son (though he really wants pictures), but for something to keep my son occupied while we ride on the bus it's a bit big to tote around. the story's are as I expected, designed for kids with no really scary parts and super simple plots; dull for a grown up but good for younger kids.
Look For Border's Edition.......2007-04-25
I give this book 5 stars because it is "OZ". I purchased something similar, but much much better from Border's , two years ago. Available from Amazon, look for 'The OZ Chronicles'. Volume 1 and Volume 2 contain all of Baum's Oz books. Green Leather Hardcovers, great size print. Volume 3 contains Baum's other books and stories. Incredible find and value.
The books of OZ.......2007-02-07
Great to have all of the stories included in one book. I don't need to worry about finding all the books to read. Great buy!
15 In One 1 The Oz Books.......2007-01-10
Adore these. We had a first edition, autographed set in the family for many years. Now has disappeared. I had been looking for something aaffordable that had all the original books. Next stop, Ruth Plumbly Thompson follow-ons.
Amazon.com
The late Walker Percy's mordant contribution to the self-help book craze of the 1980s deals with the heavy abstraction of the Western mind and speculates about why writers may be the most abstracted and least grounded of all. (Before taking up novel writing, Percy was a medical doctor who became a patient in the very institution where he had worked.) The book disappeared for a time. Now it's back in print. Take the quizzes in it, then take a walk--you need to be back in the world before you write another word.
Book Description
Walker Percy's mordantly funny and wholly original contribution to the self-help book craze deals with the Western mind's tendency toward heavy abstraction. This favorite of Percy fans continues to charm and beguile readers of all tastes and backgrounds. Lost in the Cosmos invites us to think about how we communicate with our world.
Customer Reviews:
BULLSEYE.......2007-05-01
Walker Percy is very much a modern-day Pascal, in that he is wrapped up in the project of waking up modern man from his numb, jaded, over-entertained stupor into realizing what a predicament he is in. It's an existentialist concern, in the Christian-existentialist sense of Kierkegaard, especially insofar as both Percy and the Melancholy Dane are obsessed with the problem of subjectivity, and our awareness of it, and the paltry ways we try, unsuccessfully, to transcend it.
So, this is NOT really a humor/satire book, per se, although the dust jacket's description tries to bill it as such (perhaps to expand the market appeal? Feh!). Early on, though, there is a send-up of the Phil Donahue show that is just *hilarious*. Most of the book is a series of (fairly involved) rhetorical questions, about such things as who in a hypothetical situation you would identify with the most, and why. The way the questions are counterposed, one could accuse Percy of making his points backhandedly via strawman-demolition, but that would be beside the point. Percy's overall aim is to get at the background of all our operating assumptions, and the ways in which we judge and evaluate others in relation to self, and what that says about what kind of thing man is.
In the middle of the book is a digression on semiotics, the theory of signs. One of Percy's central ideas here is that man's cardinal innovation over other animals is his use of signs and not just signals. The "sign" usage is essentially triangular, involving subject, object, and the intersubjective sign, whereas an animal "signal" is two-dimensional, such as "danger, run away." All of our thought and communication is predicated on that sign-based three-dimensional framework. The self constantly has to situate oneself with respect to other selves and in the intersubjective framework that marks our communicative network.
The main human predicament is that that intersubjective framework is essentially unstable due to our confusion about ourselves, and our desire to cover up our insecurities. No solution to this problem is forced upon the reader, although some suggestion of one is implied. The humanist and religious outlooks are both presented, fairly, I think, and the reader is left to evaluate the human condition as portrayed.
The book ends with a couple of arresting sci-fi scenarios, that for thought-provocation, I haven't seen since the likes of Arthur C. Clarke's _Childhood's End._ This is a no-holds-barred look at ourselves that is rewarding as it is unflinchingly realistic, and I highly recommend it.
No Chicken Soup Here.......2006-12-17
Walker Percy is at his best in this fiendishly clever parody of a self-help book. Through a series of provocative questions, he forces the reader to recognize how complicated as well as downright peculiar the human being is, a creature whose nature and deepest desires can not be satisfied by the cheaply proffered "self-esteem" or other banalities of the self-help movement. Not only are we odd, according to Percy, but equally so is the very planet on which we find ourselves. Percy's ultimate aim, then, is a metaphysical one, to reawaken the reader to a concrete sense of mystery within and without. He seeks to upset the apple cart of complacency induced by many self-help gurus fully at home in the world. He challenges their readers to engage instead in a deeper search for meaning and truth.
A worthwile read . . . .......2006-11-21
As some of the other reviews suggest, this is not a book full of side-splitting humor. However, it is humorous and contains a number of worthwhile observations about everyday life.
One review describes it as "nihilistic," but I cannot agree. I found this book to be the exact opposite.
If you have already made up your mind that God/religion/spirituality have no part to play in modern life, then you will probably not care for this book. For everybody else, it is definitely a worthwhile read.
Beauty is in the eye...........2006-06-29
Clearly I was not the target audience for old Walker. I've read obituaries funnier than this, and as another reviewer pointed out, it reminded me as well of long and pointless and self-satisfied conversations with other guys in the dorm, although we occasionally arrived at a conclusion. I was hoping for a spoof, so that's my fault, but even after I had shifted gears on my expectations I could never get into his post-modern, nihilistic points. The only other re-occurring theme seemed to be that if you don't know who you are, where you are, why you're here, or where you're going- then you are certainly superior to those fundamentalist hicks.
I thought I was as neurotic as the next guy, but I'm a piker by Walker P's standards. In fact, I think if you can get up and dress yourself you're probably too healthy and decisive for this book.
I will acknowledge that the book has a bit of a pre-test, and if you score about anything on the pre-test then he candidly admits the book is not for you. I bought the book on Amazon- hard to thumb through and take the pre-test. Score one for the old-fashioned book buying method.
If you are not already a Percy fan and have dreams of becoming one, I'd skip this book for now and go with one of his other books first; that is unless you really enjoy unfunny, open-ended, pseudo-philosophical questions.
Lost in the Cosmos: Essential 21st Cen. Reading.......2005-09-09
Walker Percy was a practicing MD who contracted TB, moved to a warm, dry climate to heal and never looked back. His works sparkle with analytical diagnosis of societal illnesses we all carry. A devout Roman Catholic, Dr. Percy would call that sickness "sin" and see it as an infection we both invent for ourselves and that's been spread to us by others. We become vectors for disease. And at the core of all such infections he sees moral relativism ("Does it meet my needs") as the chief cause. The cure he points out in his "Last Self-Help Book" is accepting a moral absolute ("Is it Right"). He sees that as a hard but ultimately satisfying way to live in the final chapter of the book. But instead of taking away the reader's right to choose as a free moral agent, Dr. Percy gives opposing scenarios: "Do you like this or that? Choose (a) or (b)."
This is a must read for everyone who is sick of the "you owe it to yourself" crap Madison Ave. plays off of to sell us things we don't need and really don't want. This is a must read for right-wingers who think everyone must agree with them or go to Hell; it is equally a must read for liberal elitists who think they can (and have the right to by virtue of special class &/or educations) make moral choices that Dr. Percy believes belong solely to individuals.
If you are searching, buy and read (and re-read) this book.
Book Description
Marcel Proust's In Search of Lost Time is one of the most entertaining reading experiences in any language and arguably the finest novel of the twentieth century. But since its original prewar translation there has been no completely new version in English. Now, Penguin Classics brings Proust's masterpiece to new audiences throughout the world, beginning with Lydia Davis's internationally acclaimed translation of the first volume, Swann's Way.
Customer Reviews:
Immerse yourself in a rich, dense world of descriptive thought.......2007-08-31
I think people make too much of the 'difficulty' of Proust's writing, and I'm no over-educated super-literary snob, either (probably sufficiently proven in this sentence alone). Don't be scared off by the reviews claiming to have not been able to get through it. Sure you need to concentrate, hopefully without interruption, while reading Proust, but is that so bad? Isn't that a big part of what reading is all about?
Swann's Way is a rich and elegant tapestry, reflected nicely in the beautiful new cover design. It feels like a volume of pure thought of the first order - ruminative, peripatetic, placid, and somehow effortless and simple, despite the highly embroidered language. However, the language is not merely complex for complexity's sake, but to convey the intricacy of the thought therein, and, when combined with the gentle, steady pacing from which Proust never wavers, creates the feeling of wisdom itself unfolding on the page. It is a welcome antidote to the concoctions of the most "brilliant" contemporary authors being trumpeted today, that often leave you with nothing other than a fleeting amazement at the cleverness of the author.
After every reading session I felt richer and wiser, and more able to face the world with the same thoughtfulness that the narrator does (this doesn't mean that I was able to, mind you, just felt so). To me that's what reading is all about, and if that's wrong...then I don't wanna be right.
Unreadable.......2007-07-30
This was not a book I could pick up and read. Although I read the intro and a study guide and was keenly anticipating reading one of the greatest books ever written, I was unable to. I read the first Combray twice and still did not understand sections I had read. I felt defeated, disappointed, and stupid. The book, for me, requires intense concentration - no distractions or noise while reading - a virtually impossible scenario in my world. After reading the synopsis in the back of the book I wasn't sure I would want to pursue this even in a study group or classroom situation. It sounded dry and boring and I'm not sure it would be worth the effort for me.
something you should simply do..........2007-06-04
Reading Proust is one of those things that simply should be done. Swann's Way is 400+ pages of almost unbelievable prose, a river, a torrent of words, phrases, paragraphs that sweeps you along through it seemingly without conscious effort or care to the all too quick end.
This book is simply staggering, I can't think of any other way to describe it or explain it. It simply must be read.
There is an old saying that everyone should see Paris before they die. The same sentiment is true for Proust - you should simply do it.
Fine translation..........2007-03-01
Before reading Lydia Davis's translation, I'd wandered half-way into Scott Moncrieff's original version before getting lost. I'd read a review of this edition by Christopher Hitchens, who faults Davis's prose in comparison to Moncrieff/Kilmartin's. I feel however, that Proust's sentence-construction is so complex that the modernized language is a tremendous asset. This is a fine introduction to Proust; it comes with an introductory essay, a complete set of notes (which is very much needed), and a brief synopsis at the back (which could actually be a little more thorough).
compare the translations first!.......2007-02-21
Just as a general note with Proust translations, compare them in a bookstore before you buy any of them.
There is the original C.K. Scott Moncrieff translation, which is beautiful, though based on a flawed edition put together shortly after Proust's death (especially the later books in the set).
Then there is Terrence Kilmartin's revision, which is based on a much better French edition. You can still find editions of this used, and occasionally new as well. I prefer this one, as Kilmartin didn't change most of the truly beautiful language that Moncrieff rendered except in a few places to clarify confusing sentences.
D.J. Enright, who worked with Kilmartin, made further revisions after the latter's death, whose work (so he says) was incomplete. His reworking is based on yet an even newer edition of the French text, though with fewer changes than the previous French edition had from the original. I feel that Enright modernized the language too much. He claims French hasn't changed much as a language compared to English since the early 20th Century, so to approximate how it would read to a French person today, it needs to be put into more comtemporary language. I don't care for it personally.
I've read some of these other, altogether new translations, which is a good effort considering the potential for incoherence you might have reading a revision of a revision of a translation (whew!). They're not bad, but nowhere near as much of a "new standard" as, say, the Pevear-Volokhonsky translations of Dostoevsky, which give the reader a clearer original while still using beautiful and idiomatic English.
But back to Proust. Decide for yourself! Compare an old version of Moncrieff's translation to his revisors, and then check out these new ones published by Penguin.
And better yet, if you understand French at all, look at a French copy and just absorb the rhythm, the flow of the words, and find a translation that feels the same.
I can't tell you how many times I've spoken to people who hated foreign books in translation, only to find out they read a translation that reads like a textbook and not like something that was meant to be enjoyed!!
Book Description
A Preface to Paradise Lost provides an interpretation of Milton's purpose in writing the epic.
Customer Reviews:
Essential Lewis, Essential Criticism.......2007-03-09
While other reviewers have already touched on many key tenets of this fabulous little book, I may be able to enumerate or elaborate a little yet.
The real stuff of this book you must read for yourself, but I can at least adumbrate some general ideas he touches on.
1) A short, lucid, and highly informative introduction to epic _qua_ epic. Style, content, form, all the essentials. What makes Homer Homer: what it means. Where Virgil deviated: why it matters. Where Milton deviates: why it matters. &c.
2) Lovely interaction with contemporary "New Criticism." I. A. Richards meets the classical scholar (Chapter VIII).
3) Quintessential societal and philosophical criticism peppered _throughout_. You wouldn't think you'd be able to quote Lewis on the fatuousness of certain "sacred cow" tenets of "progressive modernity" in a book on Milton, but it's here--and moreover, each little epigrammatic jab is perfectly felicitous and apposite. Only Clive! Each one yields great laughter and reflection.
4) Some _excellent_ and _original_ universal literary criticism. It is my opinion that many excerpts of this book should be included in Literary Theory anthologies. He treats such overarching topics as reading, poetry _qua_ poetry, criticism _qua_ criticism, authorial intent, &c. &c.
5) His criticism of Milton's Satan is pretty much the coolest thing you'll ever read. I'll leave it at that: you must read it for yourself! I've read the chapter on Satan four times it's so good.
That's enough for now. Buy and read!
A Masterful Essay on Paradise Lost.......2006-11-11
There are many approaches to criticism of Paradise Lost. None is more in the spirit of the poem as Milton wrote and intended than C. S. Lewis's Preface. Lewis's spirit is in harmony with Milton's and his Preface is a masterful explication of the greatest poem ever written. It is a delight to read and, as Lewis wished, urges one on to read the poem itself, with greater understanding.
A classic of Milton criticism but..........2006-10-20
This work is considered a classic of Milton criticism. I began the book with great expectations and must admit to being somewhat disappointed. Lewis sets out defining the 'epic' as genre, and explaining why Milton chose this form. He also traces the history of the Epic giving special emphasis on the turning point in the form made by the 'Aeneid'.He also outlines the stylistic peculiarities of Milton which helped give shape to his Epic. The latter part of the book is a discussion of the Themes of 'Paradise Loss' and considers among other things, the relation of Milton's work to the thought of Augustine, the role of Satan in the work, that of Adam and Eve. Lewis tends to the view that the Arian Milton did not attempt to force his own religious views on the Poem, but rather was concerned with the Poem's achieving its artistic and moral end.
There is an important chapter on 'Heirarchy' which shows how for Milton as for Shakespeare this is a key conception in their worlds. Lewis is a chamption of Milton's discipline, and shows how his stylistic brilliance created a continuous motion and form for the poem. The great Miltonian sentence in all its complexities is central here.
There is much to learn from this work about Milton, and also about Lewis.
I find that it did not however provide the kind of overall picture of the meaning of the Poem that I certainly thought it would.
a central brick in milton criticism.......2005-11-05
As a man who spent the entirety of his childhood avoiding the repeatedly assigned Lion the Witch and the Wardrobe (i got very good at making my tests look like i'd read it, as im sure many grade school students do when its assigned year after year, i think we even did it in high school), i always associated Lweis' name with BAD. And then i discovered Milton, and his Satan, and Lewis re-entered the picture.
His preface to Paradise Lost is largely a defense, mostly against the attacks of contemporary and irreverant poets like Pound and Eliot who criticized Milton extensively, especially for his Latinate syntax. Lewis engages Eliot specifically in one chapter that reads like a very wordy rap beef. If you ask me, Eliot, certainly the better poet, is out of his element in the crit ring, and Lewis smokes him good, at times you might shout "OHHHHHHHHHHHH"
Far as his approach to the poem, he lays out the foundation for a modern understanding of Milton, namely a reverence for ritual and heritage, and an appreciation of epic and narrative poetry. His chapters on Homer Virgil and Beowulf are valuable and enjoyable reads worth the price of admission themselves. His criticism is highly intelligent but never overwhelming or tangential, it is systematic and thorough while still retaining a smooth readability. Easily one of the most valuable studies of Milton to come out of the 20th century.
A Lucid Mind Extended by an Enchanting Pen.......2005-07-06
C.S. Lewis had one great advantage for truly comprehending Milton's "Paradise Lost": he shared Milton's Christianity. It seems that many modern non-Christian critics of Milton impose concepts on the text which would have been foreign to Milton. Lewis, in contrast, belonged in his whole mindset (according to his own admission) much more to bygone ages than to the twentieth century. Thus he was able to understand bygone poets more than most people today.
Added to this advantage is of course Lewis's gift of having a lucid mind extended by an enchanting pen. His writings, including his academic ones, bristle with a liveliness lacking in most academic circles. "A Preface to Paradise Lost" is no exception in this regard.
As for the content of the "Preface," Lewis first spends eight chapters describing and defending the style of Epic Poetry, to which "Paradise Lost" belongs. He distinguishes between Primary and Secondary Epic and draws parallels to the Roman poet Virgil. The remaining eleven chapters are used to discuss the theological concepts in "Paradise Lost," making particular note of St. Augustine's influence on Milton.
The bottom line of the book is that Milton's poem, more than anything else, embodies concepts found in the Bible and the teachings of the Church, and that the supposed "revolutionary" concepts in Milton have largely been forced upon the text by later critics.
My own experience of reading Milton, for what it is worth, agrees with this view. I studied the Bible and church history quite extensively BEFORE I picked up "Paradise Lost," and I was surprised to find how very unoriginal the poem was in its portrayed concepts (which does not mean that it is a bad poem); almost everything in Milton has its source either in the Bible or in Christian traditions and teachings.
Edward Wagenknecht from "The New York Times" was right to say that in the "Preface," C.S. Lewis's "most valiant service is to protect us against the many students of Milton who have not been able to see the woods for the trees" (taken from the back cover of the book).
A superb academic work - not only for academic readers.
Customer Reviews:
You've come this far, don't stop now.......2007-02-18
If you've read the first four volumes of the Penguin Modern Classic, Proust's In Search of Lost Time, then don't let the publication restriction in the US stop you from buying the British text versions. Except for minor presentation, they are exactly the same that will be published in the US when the copyrights expire. The only differences (which are hardly a great obstacle to the enjoyment of reading the novel), are the footnotes in back and the original French lyrics which Proust occasionally quotes from in the body of the work -- apparently the British assume we colonial philistines do not know as much French as they do.
The introduction to The Fugitive I found hugely welcome -- British translator Carol Clark is unapologetically direct in summing up for us what the previous 4 volumes have been about -- a long wished for insight as I have been dying to know up to this point whether or not I have been truly getting Proust all along.
The curse and the blessing is that Proust died before he could give the final sign off on these manuscripts before publication. A curse because he most certainly would have removed or resolved many errors, and extended or rewritten many parts which are its weakest sections. A blessing in that, to be sure, there are in this and the next volume several obvious errors which a good copy editor would have detected and eliminated, but with time have become such a part of Proustian lore that they can no more be removed than say Jimmy Durante's nose shortened or Richard Burton's pockmarks removed or Marilyn Manson's makeup wiped clean.
And if one has lasted this long, the addiction to Proust's peregrinations from the plot to discuss seemingly unrelated topics and issues in minute detail - as seen from the other end of binoculars, as Roger Shattuck writes in Proust's Binoculars- one will not be at all bothered about any perceived sloppiness in these last two volumes. On the contrary, one will feel proud to detect them for oneself, and have a private chuckle about it as Proust is forgiven for what would be unacceptable by today's publishing standards.
SO don't wait four more years - you'll not care by then or have forgotten much of the threads of the protean plot which keeps all volumes tied into one - for most of what is written in these last volumes is the rich reward the reader deserves after having hung in there until the end, to discover the final fate and full identities of all the rich and lively characters we have come to love - Charlus and St Loup, Albertine and Gilberte, oh, and Mme Potbus' maid - remember her?
The Prisoner and the Fugitive translated by Carol Clark
This is almost a novel within the novel as it deals in two parts with the final resolution of the narrator's relationship to Albertine, this character who, more so than any other, the narrator has kept directly from the reader's curious view and desire to know her in her own voice.
Finding Time Again translated by Ian Patterson
The fates of the rest of the characters are revealed, and the narrator in this last volume himself ages (or catches up to the age at which he began telling this long story -- and we will learn why he had to write it all before his death, as the line between fiction and reality between Marcel the narrator and Marcel the famed French writer nearly disappears). This is the volume where, winding down at last from what was always a nebulous plot to one last social scene,like a curtain call, all the characters take their final bows together in old age (either still alive or in the narrator's memory of them). And there are some great surprises left to discover, which hopefully too much reading of Proustian criticism, biographies, and reviews hasn't already revealed to the `well informed but too reluctant to read A la Recherché du Temps Perdu for themselves' lover of literature.
again, a misleading heading.......2005-03-12
Though it bears the title of Proust's seven-volume masterpiece, this is actually just the final volume, called "Finding Time Again" in this new translation. This particular book would be the British paperback edition, for the American press run has so far only given us four volumes, all of which are for sale on Amazon in a uniform style.
There are small but real differences between the British and American editions. With their greater tolerance for continental foibles, the Brits retained French punctuation, using dashes instead of quotation marks for conversation. They also retained the French wherever Proust makes a literary reference, providing a translation in the notes; in the American edition, this policy is reversed.
In reading the first two volumes ("Swanns' Way" and "In the Shadow of Young Girls in Flower") I noticed typographical errors that might well have resulted in converting the British to the American languages, rather than from French to English. For example, on page 95 of "In the Shadow" there is the phrase "Professor Cottard and his wife were not to partake of the pleasure" when the sentence should actually read "NOW to partake," since Swann has decided to introduce the Cottards to the Duchesse! Not earthshaking, but it does rather spoil Proust's little joke.
In short, these British paperbacks will serve very nicely if the American reader is in a hurry to complete the novel, and they may also be more free of errors. But I will probably wait for the uniform hardcover Viking volumes.
I haven't read Mr. Patterson's translation of volume seven, but I give it five stars based on the company it keeps.
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