Answer or discuss

1. What were the effects of the French Revolution on English life, and what other events and changes affected the society of the period?

2. What is Romanticism? Define its main features. Describe romantic nature imagery and symbolism. What forms of literature were most important during the Romantic Period?

3. What was the nature of Blake's profession? How does this influence his poetry? Speak on Blake’s symbolism (TEXT 01).

4. Discuss the way in which Blake uses the theme of opposition to present his object and position. What are the opposites he uses? How does he set them up in the poems?

5. Prove that Robert Burns is Scotland’s national bard (TEXT 02).

6. Lyrical Ballads marked the beginning of the Romantic Movement in English literature. What do you know about Lake Poets? What are the peculiar features of their poetry? (TEXT 03- W. Wordsworth,04 – S. Coleridge)

7. The second generation of Romanticists was different to Lake Poets (the Lakers). Do you agree? Point out the principle differences between them.

8. Give an overview of

• Byron’s life and literary work;

• Shelley’s life and literary work;

• Keats’s life and literary work.

9. Describe Byron’s appreciation of the literary scene of his time (TEXT 05).

10. Speak on Shelley’s political and philosophical views (TEXT 06, 07).

11. Explain the greatness of Keats’s odes (TEXT 08).

12. Prove that Sir Walter Scott is one of the most prominent figures in English romanticism and the first major historical novelist.

Seminar 03 the ‘hard times’ in victorian literature

1. The Victorian Age as a literary phenomenon.

2. Charles Dickens: the most prominent of realists (Text 01; Table 01).

3. William Thackeray: satirical attacks on the ruling class (Text 02; Table 03).

4. Charlotte Bronte: search for love and independence (Text 03; Table 02).

5. The mythic power of Emily Bronte's Wuthering Heights (Text 04; Table 04).

Text 01

Estella was the next to break the silence that ensued between us.

“I have very often hoped and intended to come back, but have been prevented by many circumstances. Poor, poor old place!”

The silvery mist was touched with the first rays of the moonlight, and the same rays touched the tears that dropped from her eyes. Not knowing that I saw them, and setting herself to get the better of them, she said quietly:

“Were you wondering, as you walked along, how it came to be left in this condition?”

“Yes, Estella.”

“The ground belongs to me. It is the only possession I have not relinquished. Everything else has gone from me, little by little, but I have kept this. It was the subject of the only determined resistance I made in all the wretched years.”

“Is it to be built on?”

“At last it is. I came here to take leave of it before its change. And you,” she said, in a voice of touching interest to a wanderer, “you live abroad still.”

“Still.”

“And do well, I am sure?”

“I work pretty hard for a sufficient living, and therefore - Yes, I do well!”

“I have often thought of you,” said Estella.

“Have you?”

“Of late, very often. There was a long hard time when I kept far from me the remembrance of what I had thrown away when I was quite ignorant of its worth. But, since my duty has not been incompatible with the admission of that remembrance, I have given it a place in my heart.”

“You have always held your place in my heart,” I answered.

And we were silent again until she spoke.

“I little thought,” said Estella, “that I should take leave of you in taking leave of this spot. I am very glad to do so.”

“Glad to part again, Estella? To me, parting is a painful thing. To me, the remembrance of our last parting has been ever mournful and painful.”

“But you said to me,” returned Estella, very earnestly, “God bless you, God forgive you! And if you could say that to me then, you will not hesitate to say that to me now - now, when suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but - hope - into a better shape. Be as considerate and good to me as you were, and tell me we are friends.”

“We are friends,” said I, rising and bending over her, as she rose from the bench.

“And will continue friends apart,” said Estella.

I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so, the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw no shadow of another parting from her.

full title	Great Expectations
author	Charles Dickens
type of work	Novel
genre	Bildungsroman, social criticism, autobiographical fiction
date of publication	Published serially in England from December 1860 to August 1861; published in book form in England and America in 1861
narrator	…
point of view	First person
tone	…
tense	Past
setting (time)  setting (place)	Mid-nineteenth century Kent and London, England
protagonist	…
major conflict	…
rising action	…
climax	A sequence of climactic events occurs from about Chapter 51 to Chapter 56: Miss Havisham’s burning in the fire, Orlick’s attempt to murder Pip, and Pip’s attempt to help Magwitch escape London.
Falling action	…
themes	…
motifs	Crime and criminality; disappointed expectations; the connection between weather or atmosphere and dramatic events; doubles (two convicts, two secret benefactors, two invalids, etc.)
symbols	The stopped clocks at Satis House symbolize Miss Havisham’s attempt to stop time; the many objects relating to crime and guilt (gallows, prisons, handcuffs, policemen, lawyers, courts, convicts, chains, files) symbolize the theme of guilt and innocence; Satis House represents the upper-class world to which Pip longs to belong; Bentley Drummle represents the grotesque caprice of the upper class; Joe represents conscience, affection, loyalty, and simple good nature; the marsh mists represent danger and ambiguity.

Text 02

“O Rebecca, Rebecca, for shame!” cried Miss Sedley; for this was the greatest blasphemy Rebecca had as yet uttered; and in those days, in England, to say, “Long live Bonaparte!” was as much as to say, “Long live Lucifer! How can you - how dare you have such wicked, revengeful thoughts?”

“Revenge may be wicked, but it's natural,” answered Miss Rebecca. “I'm no angel.” And, to say the truth, she certainly was not.

For it may be remarked in the course of this little conversation (which took place as the coach rolled along lazily by the riverside) that though Miss Rebecca Sharp has twice had occasion to thank Heaven, it has been, in the first place, for ridding her of some person whom she hated, and secondly, for enabling her to bring her enemies to some sort of perplexity or confusion, neither of which are very amiable motives for religious gratitude, or such as would be put forward by persons of a kind and placable disposition. Miss Rebecca was not, then, in the least kind or placable. All the world used her ill, said this young misanthropist, and we may be pretty certain that persons whom all the world treats ill deserve entirely the treatment they get. The world is a looking-glass, and gives back to every man the reflection of his own face. Frown at it, and it will in turn look sourly upon you; laugh at it and with it, and it is a jolly, kind companion; and so let all young persons take their choice. This is certain, that if the world neglected Miss Sharp, she never was known to have done a good action in behalf of anybody; nor can it be expected that twenty-four young ladies should all be as amiable as the heroine of this work, Miss Sedley (whom we have selected for the very reason that she was the best-natured of all; otherwise what on earth was to have prevented us from putting up Miss Swartz, or Miss Crump, or Miss Hopkins, as heroine in her place?) – it could not be expected that every one should be of the humble and gentle temper of Miss Amelia Sedley; should take every opportunity to vanquish Rebecca's hard-heartedness and ill humour; and, by a thousand kind words and offices, overcome, for once at least, her hostility to her kind.

Miss Sharp's father was an artist, and in that quality had given lessons of drawing at Miss Pinkerton's school. He was a clever man, a pleasant companion, a careless student; with a great propensity for running into debt, and a partiality for the tavern. When he was drunk, he used to beat his wife and daughter; and the next morning, with a headache, he would rail at the world for its neglect of his genius, and abuse, with a good deal of cleverness, and sometimes with perfect reason, the fools, his brother painters. As it was with the utmost difficulty that he could keep himself, and as he owed money for a mile round Soho, where he lived, he thought to better his circumstances by marrying a young woman of the French nation, who was by profession an opera-girl. The humble calling of her female parent Miss Sharp never alluded to, but used to state subsequently that the Entrechats were a noble family of Gascony, and took great pride in her descent from them. And curious it is, that as she advanced in life this young lady's ancestors increased in rank and splendour.

Rebecca's mother had had some education somewhere, and her daughter spoke French with purity and a Parisian accent. It was in those days rather a rare accomplishment, and led to her engagement with the orthodox Miss Pinkerton…

full title	Vanity Fair
author	…
type of work	Novel
genre	Social novel
date of publication	1848
narrator	…
point of view	…
tone	It gets more and more dark as the narrative advances; sarcastic, moralistic
tense	Past
setting (time)   setting (place)	… The main characters move from London to Brighton and finally to Brussels. After the battle, the Crawleys move to Paris while Amelia lives in London
protagonist	There is not one single protagonist pin pointed
major conflict	Thackeray has exposed the underbelly of society, its follies and foibles in his unparalleled work, Vanity Fair. The antagonist in his novel is not an individual, but Vanity. These vanities may be individual or collective vanities of a class or society or people.
rising action	…
climax	The climax occurs at two different points for the two different lives. Amelia’s life seems shattered after the death of George Osborne in the battle of Waterloo. This episode occurring at the 32 nd chapter (almost middle of the novel) can be regarded as the climax of her story. Rebecca’s life takes a sharp turn in chapters 54 and 55, when Rawdon discovers that she is being selfish and unfaithful to him. He leaves her forever and Becky’s life is never the same.
Falling action	…
themes	All is vanity and all are vain
motifs	…
symbols	…

Text 03

I resisted all the way: a new thing for me, and a circumstance which greatly strengthened the bad opinion Bessie and Miss Abbot were disposed to entertain of me. The fact is, I was a trifle beside myself; or rather out of myself, as the French would say: I was conscious that a moment's mutiny had already rendered me liable to strange penalties, and like any other rebel slave, I felt resolved, in my desperation, to go all lengths.

“Hold her arms, Miss Abbot; she's like a mad cat.”

“For shame! for shame!” cried the lady's-maid. “What shocking conduct, Miss Eyre, to strike a young gentleman, your benefactress's son! Your young master.”

“Master! How is he my master? Am I a servant?”

“No; you are less than a servant, for you do nothing for your keep. There, sit down, and think over your wickedness.”

They had got me by this time into the apartment indicated by Mrs. Reed, and had thrust me upon a stool: my impulse was to rise from it like a spring; their two pair of hands arrested me instantly.

“If you don't sit still, you must be tied down,” said Bessie. “Miss Abbot, lend me your garters; she would break mine directly.”

Miss Abbot turned to divest a stout leg of the necessary ligature. This preparation for bonds, and the additional ignominy it inferred, took a little of the excitement out of me.

“Don't take them off,” I cried; “I will not stir.”

In guarantee whereof, I attached myself to my seat by my hands.”

“Mind you don't,” said Bessie; and when she had ascertained that I was really subsiding, she loosened her hold of me; then she and Miss Abbot stood with folded arms, looking darkly and doubtfully on my face, as incredulous of my sanity.

“She never did so before,” at last said Bessie, turning to the Abigail.

“But it was always in her,” was the reply. “I've told Missis often my opinion about the child, and Missis agreed with me. She's an underhand little thing: I never saw a girl of her age with so much cover.”

Bessie answered not; but ere long, addressing me, she said,

“You ought to be aware, Miss, that you are under obligations to Mrs. Reed: she keeps you: if she were to turn you off, you would have to go to the poor- house.”

I had nothing to say to these words: they were not new to me: my very first recollections of existence included hints of the same kind. This reproach of my dependence had become a vague sing-song in my ear; very painful and crushing, but only half intelligible. Miss Abbot joined in:

“And you ought not to think yourself on an equality with the Misses Reed and Master Reed, because Missis kindly allows you to be brought up with them. They will have a great deal of money, and you will have none: it is your place to be humble, and to try to make yourself agreeable to them.”

“What we tell you, is for your good,« added Bessie, in no harsh voice: »you should try to be useful and pleasant, then, perhaps, you would have a home here; but if you become passionate and rude, Missis will send you away, I am sure.”

They went, shutting the door, and locking it behind them.

full title	Jane Eyre
author	…
type of work	Novel
genre	A hybrid of three genres: …
date of publication	…
narrator	Jane Eyre
point of view	…
tone	Jane Eyre’s tone is both Gothic and romantic, often conjuring an atmosphere of mystery, secrecy, or even horror. Despite these Gothic elements, Jane’s personality is friendly and the tone is also affectionate and confessional. Her unflagging spirit and opinionated nature further infuse the book with high energy and add a philosophical and political flavor.
tense	…
setting (time)  setting (place)	Early decades of the 19th century The novel is structured around five separate locations: …
protagonist	Jane Eyre
major conflict	…
rising action	…
climax	…
falling action	After Jane hears Rochester’s call to her from across the heath, she returns to Thornfield and finds it burned to the ground. She learns that Bertha Mason set the fire and died in the flames; Rochester is now living at his home in Ferndean. Jane goes to him there, rebuilds her relationship with the somewhat humbled Rochester, and marries him. She claims to enjoy perfect equality in her marriage.
themes	Love versus autonomy; religion; social class; gender relations
motifs	…
symbols	Bertha Mason; the red-room

Text 04

Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door, above which, among a wilderness of crumbling griffins, and shameless little boys, I detected the date '1500,' and the name ‘Hareton Earnshaw’. I would have made a few comments, and requested a short history of the place, from the surly owner, but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience, previous to inspecting the penetralium.

One step brought us into the family sitting-room, without any introductory lobby, or passage: they call it here 'the house' preeminently. It includes kitchen, and parlour, generally, but I believe at Wuthering Heights, the kitchen is forced to retreat altogether, into another quarter, at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fire-place; nor any glitter of copper saucepans and tin cullenders on the walls. One end, indeed, reflected splendidly both light and heat, from ranks of immense pewter dishes; interspersed with silver jugs, and tankards, towering row after row, in a vast oak dresser, to the very roof. The latter had never been underdrawn, its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes, and clusters of legs of beef, mutton and ham, concealed it. Above the chimney were sundry villainous old guns, and a couple of horse-pistols, and, by way of ornament, three gaudily painted canisters disposed along its ledge. The floor was of smooth, white stone: the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade. In an arch, under the dresser, reposed a huge, liver-coloured bitch pointer surrounded by a swarm of squealing puppies; and other dogs, haunted other recesses.

The apartment, and furniture would have been nothing extraordinary as belonging to a homely, northern farmer with a stubborn countenance, and stalwart limbs, set out to advantage in knee-breeches, and gaiters. Such an individual, seated in his arm- chair, his mug of ale frothing on the round table before him, is to be seen in any circuit of five or six miles among these hills, if you go at the right time, after dinner. But, Mr. Heathcliff forms a singular contrast to his abode and style of living. He is a dark skinned gipsy, in aspect, in dress, and manners, a gentleman, that is, as much a gentleman as many a country squire: rather slovenly, perhaps, yet not looking amiss, with his negligence, because he has an erect and handsome figure – and rather morose – possibly, some people might suspect him of a degree of under-bred pride – I have a sympathetic chord within that tells me it is nothing of the sort; I know, by instinct, his reserve springs from an aversion to showy displays of feeling – to manifestations of mutual kindliness. He'll love and hate, equally under cover, and esteem it a species of impertinence, to be loved or hated again – No, I'm running on too fast – I bestow my own attributes over liberally on him. Mr. Heathcliff may have entirely dissimilar reasons for keeping his hand out of the way, when he meets a would be acquaintance, to those which actuate me.

full title	Wuthering Heights
author	Emily Brontë
type of work	…
genre	Gothic novel, realist fiction
date of publication	1847
narrator	Lockwood, a newcomer to the locale of Wuthering Heights, narrates the entire novel as an entry in his diary. The story that Lockwood records is told to him by Nelly, a servant, and Lockwood writes most of the narrative in her voice, describing how she told it to him. Some parts of Nelly’s story are narrated by other characters, such as when Nelly receives a letter from Isabella and recites its contents verbatim.
point of view	…
tone	…
tense	Both Lockwood’s and Nelly’s narrations are in the past tense.
setting (time)   setting (place)	…
protagonist	Heathcliff, Catherine
major conflict	Heathcliff’s great natural abilities, strength of character, and love for Catherine Earnshaw all enable him to raise himself from humble beginnings to the status of a wealthy gentleman, but his need to revenge himself for Hindley’s abuse and Catherine’s betrayal leads him into a twisted life of cruelty and hatred; Catherine is torn between her love for Heathcliff and her desire to be a gentlewoman, and her decision to marry the genteel Edgar Linton drags almost all of the novel’s characters into conflict with Heathcliff.
rising action	Heathcliff’s arrival at Wuthering Heights, Hindley’s abusive treatment of Heathcliff, and Catherine’s first visit to Thrushcross Grange set the major conflicts in motion; once Heathcliff hears Cathy say it would “degrade” her to marry him, the conversation between Nelly and Cathy, which he secretly overhears, drives him to run away and pursue his vengeance.
climax	…
falling action	…
themes	…
motifs	Doubles, repetition, the conflict between nature and culture
symbols	…