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Academic Insights for the Thinking World
Listen to, and read a transcript of an interview from Nicola Barringer with Valerie Minogue, translator of Money by Émile Zola, part of the Rougon-Macquart cycle. In the interview, she introduces the Rougon-Macquart, Zola’s epic cycle of twenty novels.
Along with death and trees, love is probably the most commonly explored theme in literature. So many of our favorite maxims and aphorisms about love are drawn from classical fiction. But how well do we really know these quotes or the novels and poems from which they derive?
London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill.
An epigram is a short poem, most often of two or four lines. Its typical metre is the elegiac couplet, which is also the metre of Roman love poetry (elegy) and the hallmark of Ovid. In antiquity it was a distinctively Greek literary form: Roman writers were never comfortable in it as they were in other imported genres, such as epic and elegy. When they dabbled in epigram they often used Greek to do so. Martial’s decision to write books of Latin epigrams, and nothing else, is thus a very significant departure.
Do you know your Magwitch from your Miss Havisham? Your Philip Pirrip from your Mr Pumblechook? Perhaps Dickens’s best-loved work, Great Expectations features memorable characters such as the convict Magwitch, the mysterious Miss Havisham and her proud ward Estella, as Pip unravels the mystery of his benefactor and of his own heart.
After finishing this season’s Oxford World’s Classics reading group season, I obsessed over the characters, Dickens’s literary finesse– nothing was out of bounds of curiosity. The adaptation that caught my attention the most was BBC’s television miniseries that broadcasted on PBS in the US.
The characters in Great Expectations are a rather lively bunch; even Orlick, who is (arguably) one of the most foul characters in the book, has a deal of depth that makes us love to hate him. Throughout this season’s reading group, have you ever wondered which of Dickens’s characters you’re most like?
When, in 1859, Dickens decided to publish a statement in the press about his personal affairs he expected that Bradbury and Evans would run it in Punch, which they also published. He was furious when they, very reasonably, declined to insert ‘statements on a domestic and painful subject in the inappropriate columns of a comic miscellany’ (Patten, 262). He therefore determined to break with them completely and to return to his old publishers Chapman and Hall.
Perhaps Dickens’s best-loved work, Great Expectations tells the story of Pip, a young man with few prospects for advancement until a mysterious benefactor allows him to escape the Kent marshes for a more promising life in London.
According to George Orwell, the biggest problem with Dickens is that he simply doesn’t know when to stop. Every sentence seems to be on the point of curling into a joke; characters are forever spawning a host of eccentric offspring. “His imagination overwhelms everything”, Orwell sniffed, “like a kind of weed”.
Although occultists like the antiquarian Montague Summers would like to claim that the belief in vampires is global and transhistorical (and therefore probably true), the vampire is a thoroughly modern being. Like the Gothic genre itself, stories of vampires emerge in the Age of Enlightenment, as instances of primitive superstition that help define the rational scepticism of northern, Protestant Europe.
Imagine that your local pub had a weekly, book themed quiz, consisting of questions like this: ‘Which writer concerned himself with religious toleration, explored vegetarianism, was fascinated (and sometimes repelled by) sexuality, and fretted over widening social inequalities, experienced urban poverty first hand while at the same time understanding the causes of man made famine?’
With carefree summer winding to a close, we’ve pulled together some reading recommendations to put you in a studious mood. Check out these Oxford World’s Classics suggestions to get ready for another season of books and papers. Even if you’re no longer a student, there’s something on this list for every literary enthusiast.
The Three Musketeers, by Alexandre Dumas, celebrates its 170th birthday this year. The classic story of friendship and adventure has been read and enjoyed by many generations all over the world, and there have been dozens of adaptations, including the classic silent 1921 film, directed by Fred Niblo, and the recent BBC series. Take our quiz to find out how much you know about the book, its author, and the time at which it was written.
By Mark Davie
Torquato Tasso desperately wanted to write a classic. The son of a successful court poet who had been brought up on the Latin classics, he had a lifelong ambition to write the epic poem which would do for counter-reformation Italy what Virgil’s Aeneid had done for imperial Rome.
By Jeff Sherwood
It is virtually impossible for an English-language lexicographer to ignore the long shadow cast by Henry James, that late nineteenth-century writer of fiction, criticism, and travelogues. We can attribute this in the first place to the sheer cosmopolitanism of his prose.