بسم الله الرحمن الرحيم

أولا: عذرا على التاخير لأسباب صحية وليس تناسي وما شابه سأضعه الآن على أجزاء..

بالنسبة للرواية فكما هو واضح أن الفصل الخامس يختص بدراسة مفهوم HOME

والحياة المنزلية أو العائلية

ومن هذا المنحنى كان لزاما توضيح الفروق والاختلافات بين كلا من المنزلين الموجودين في الرواية:

المرتفعات + الجرانج

علما بأن الارتكاز الأكبر للرواية هو في المرتفعات

:::قبلا:::

الاكتيفيتي أفضلكم تدرسونه من الكتاب

لسببين:

الأول: لأنه قد يأتي سؤالا منها

الثاني: لأن لا نفع في اختصارها خاصة وأنها مصحوبة بأمثلة من الرواية

Home at Wuthering Heights

ما يهم في هذه النقطة :

معرفة آراء بعض النقاد حول طبيعة home في الرواية وخاصة domestic settings

وفهم هذه الآراء:

الأول:

هذا الرأي ويعد من الآراء الأولى (الفيكتورية) وليست المعاصرة تجاه الرواية
أنها : تصوير لا منتهي من العنف ومع ذلك فإن الثناء الذي حظيت به أصالتها واقوتها التخيلية جاء مع نقد للكاتب على أنه قليل خبرة.

وطبعا هذا جاء كنوع من أنواع الرد على المادة المقروءة أصحية أم لا؟

وهو كاعتبارها مادة غذائية

يعني هل يجب أن تكون كل كمية العنف هذه والنذالة بين الشخصيات حتى أصور آلام الحب؟

وهو ما وصفه جون رسكن بـ:

بأن الاستهلاك المطبعي كالاستهلاك الغذائي فلو أنك قرأت شيئا غير سليم فإن هذا له أثر الطعام السيء عليك تماما كأثر التخمة بعد تناول الحلوى بكثرة

وجاءت التعليقات الأولى حول الرواية مركزة على المنزل من الداخل (كعائلة)

الناقد Henry Chorley

أن البيت صور على أن سجن خاصة بتفاصيله الكئيبة الدقيقة

prison, dismal minuteness

اكتيفيتي1 ادرسوه من الكتاب:

انتبهو لنقطة مفيدة للنقاش:

- Wuthering Heights clearly has the appearance of a well-ordered home; arguably it is a well-ordered home within which is revealed the full domestic chaos of a disordered family.
- Indeed the reviewer noted that the gloomy and prison-like atmosphere of Wuthering Heights was largely determined by the pervasive presence of 'the brutal master of the lonely house'

_____________________

أكتيفيتي 2 أيضا إقرؤه من الكتاب:

يتحدث عن مستر لوكووورد في عاصفة متجه لمنزل (المرتفعات) يعني جو عاصف وبرد شديد فكان المتوقع منزل بمعنى المنزل أي المأوى وضيافة تراعيه (بالنسبة للقارئ)

ولكن ما حدث تقريبا استقبال جاف وفظ (محد قالك تطلع بهالوقت!)

ليس فقط من صاحب المنزل هيثكليف ولكن من الجميع (سكان المنزل)

gloomy part of the Wuthering Heights' interior

Catherine's overt hostility
 Hareton's boorishness
 Heathcliff's increasing savagery

Heathcliff's dogs

the waif-like

***The 'extreme' events in the novel were among the features that led critics to describe Wuthering Heights as the setting of a 'drama':

هذا الافراط في الاحداث التي فلنقل أنها متناقضة وشديدة جعل النقاد يصفون محيط الرواية بأنه يشبه الدراما

'The whole drama takes place in the house'

the force of the drama taking place in that 'rude' (that is, rough and rustic) setting was apparently such as to erase any recollection of the moors themselves, or of the novel's other domestic location, Thrushcross Grange

هذه الدراما كانت تجذب الانتباه بعيدا عن كل شيء خارج المرتفعات (كالجرانج)

الدراما كشيء فعال وحركي سيأخذ الضوء من كل شيء هادئ ومنسجم

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النقطة الثانية:

Outside the home

القليل من الاراء الاولى او النقد اعطى اهمية للمرتفعات على أنها طبيعة برية موحشة كما هي منزل أيضا. وما تم نقده من هذا المنحنى أعطى أو أوجد علاقة ما بين الاحداث داخل المنزل وعلاقته في الجو الخاجي. وهذه النقطة مهمة

*significance of Wuthering Heights as both a wild, abandoned landscape and a house

*connections between events taking place inside and the exterior weather and landscape

أنا وضحت انها مهمة في الملخص وهي اكتيفيتي 3:

Significance of the natural setting of Wuthering Heights:

بوضح عربي بس اوكي؟

 أولا: هذه الطبيعة او التصوير المكتوب عن الطبيعة الخاصة في المكان

كانت متكررة وموجودة في النص بشكل لا يمكن إغفاله.

مثال من الرواية:

كاثرين وهيثكليف صغارا كانو يركضون في المستنقعات

exterior landscapestend to be symbolic of events

ثانيا: ان الاجواء الخارجية الحاصلة في الرواية كانت تعتبر كالرموز لما يدور من احداث بين الشخصيات.

مثل رواية جين اير: (البطلة سعيدة جو جميل – الجو كئيب البطلة حزينة وهكذا)

ولكن فيرجينيا وولف تقول:

ان اجواء الصيف والعواصف والمستنقعات كانت تحمل المشاعر التي تريد الكاتبة التركيز عليها

ولذلك فإن الطبيعة المحيطة بالمرتفعات كانت تعبير مكاني عن موضوع الرواية والمشاعر التي ترمز لها.

Wuthering Heights is not the only house, nor the only natural setting which the novel portrays

ومن هذا نفهم ان المرتفعات ليست منزل فقط ولا طبيعة فقط وانما الاثنان متعلقان ببعضهما البعض

__________________________


يتبع.....

Home at Thrushcross Grange

*** There are two houses in Wuthering Heights. The central importance of the house at the Heights has tended to dominate the reading experience.

هنا يوضح ان الرواية تحتوي على منزلين (الجرانج+المرتفعات)

ولكن اكثر الاحداث هيمنة على الرواية حدثت في المرتفعات

فالنقطة المهمة هي المقارنة بين المنزلين:

فيفضل قراءة اكتيفيتي 4 :

والمقارنة تكون من ناحية المنزل + السكان الموجودين فيه

وصف الجرانج على انه جنة ونعيم

والمرتفعات على انه مآسي وتعاسة

الجرانج قد يبدو منزلا مثاليا

ومن ناحية السكان:

هم متحضرين اكثر و اقل سوءا من ساكني المرتفعات

- Such contrasts are fundamental to the opposing thematic and metaphorical patterns, the careful balance of locations (and characters), that help to structure the novel, even if some of these oppositions break down on closer inspection.

هذه التناقضات تعتبر اساسية ومهمة للنقض الموضوعي و للانماط المجازية (الموازنة بين الاماكن و الشخصيات) وساعدت في بناء الرواية

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'Mysterious inhabitants'

النقطة الرابعة

تتحدث عن سكان المرتفعات وكيف يبدون غرباء وغامضين له في البداية؟

أكتيفيتي ارجعو له في الكتاب:

- They are strange and mysterious enough in themselves
- Strangest of all is Heathcliff. His origins remain unexplained, as does the source of the wealth and education he acquires when he temporarily disappears. He has a powerful effect on everybody else, and, apart from Catherine and her father, who feel affection towards him, the main emotion he inspires is fear.

الأكثر غرابة من بينهم هو هيثكليف فأصوله غير معروفة ومصدر ثروته وتعليمه حصل اثناء اختفائه.

له تأثير قوي على الجميع وبغض النظر عن كاثرين ووالدها الذي تعلق به, فإن أكثر المشاعر التي أشاعها هي الخوف

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أكتيفيتي 7 ارجعو للكتاب:

وهي فكرة مهمة أيضا عن شخصية هيثكليف وتعتبر جزء من characterization

The descriptions of Heathcliff's appearance, speech and behavior:

في المحيط المنزلي كانت غرابة هيثكليف واضحة كما انه منظره الموحي بالغجر يدعم كونه ليس من أصول عريقة بل أجنبية وهي ظلت غامضة غير معروفة.

هذا من خلال كونه يحمل اسما واحدا يكنى به "هيثكليف" بعكس البقية المنتمين لعائلة لينتون او ايرنشو

· Within the ordinary domestic setting, Heathcliff's strangeness stands out, despite a degree of familiarity as to his 'dress and manners'.
· Dark, gypsy-like Heathcliff is a foreign thing: his origin a mystery in a novel where genealogy is vital.
· The centrality of genealogy is reinforced by the incessant repetition and interchange of first names as well as family names:Hareton, Catherine, Linton.

و شخصية هيثكليف رغم غرابها الا انها تتشارك كثير من الصفات مع ابطال في النثر والشعر.

فهو يملك خصائص البطل و والوغد

the characteristics of a hero, or indeed villain,

هذا يضعه في مقارنه مع قصيدة قصصية من الشعر الرومانسي اسمها The Corsair للشاعر بيرون

اسم بطل القصيدة

Conrad

قصتهم ان سفينة قراصنة (لصوص بحر) وهم في طريقم قررو احراق سفن لاتراك

وحينما احرقوها وحاولو الهروب سمعو اصوات النساء في (الحريم) (كما تعرفون كحظيات الباشا) لان الحريق انتقل هناك فرغم نذالته تصرف بشهامة ولم يهرب وعاد لينقذ النساء فتم اسر اصاحبه وقبض عليهم

لذلك ظهر ما يسمى بان فضيلة واحدة طغت على كل الرذائل

****Compared Heathcliff with the hero of The Corsair by the Romantic poet Lord Byron:
- Heathcliff has dark, obsessive mentality, strange mixture of attractive and repulsive qualities, and capacity to inspire fear and wreak devastation on his enemies.
- Heathcliffsets himself outside social and moral boundaries

عقلية هيثكليف مظلمة غير سوية و ويملك مزيج عجيب من الصفات الجاذبة والمثيرة للاشمئزاز وقدرة على اثارة الخوف واعاثة الخراب على اعدائه كما أنه وضع نفسه خارج الحدود الاخلاقية والاجتماعية.

***In Wuthering Heights, Heathcliff is portrayed as proud, courageous, brooding, defiant of laws and conventions, given to violent utterance and action, with flashing 'basilisk eyes'

شجاع ومزهو بنفسه كئيب ومتحدٍ للقوانين عنيف القول والفعل

وهذه من مميزات hero-villains

والمشهوره في الرومانس القوطي (اتوقع المصطلحين وضحنا المقصود بهم سابقا)

Gothic romances
- Gothic villains, is bent on revenge, physically courageous and possessed of a 'wild and terrific' countenance; a character in whom potential virtue has been replaced by viciousness of action: like Heathcliff, he has usurped the property rights of the hereditary owners of his house.
- Thus, while in some respects Heathcliff is mysterious, in others he can be identified with character types familiar to Victorian readers, and from whom extreme behaviour was to be expected.


يتبع

The structure of Wuthering Heights


النقطة الخامسة مهمة وهي مختصة بالأسلوب الروائي وهو بناء الرواية


فكما عرفنا ان الامور تسري في المرتفعات بما يناقض المثاليات المنزلية وهو ما ساهم في الوسيلة التي دفعت بها الرواية لتكون ضمن التصنيف الادبي المتعارف (genre سيتم شرحه فيما بعد مع تعدديته وفكرة مايكل بختين عنه)



Things were going on in the family at Wuthering Heights that were at odds with the domestic ideals and which also contributed to the way in which the novel puts pressure on familiar literary classifications.

هذه العناية المركزة باستخدام انواع ادبية متعددة في الرواية خلق نوع من الغرابة الذي جعل القارئ يضطرب.

- The novel's treatment of familiar genres increases the sense of uncanny
- A sense of disturbed familiarityis also produced by the way in which the novel is structured.


هذا البناء الروائي حدث من خلال :

- the idea of 'home',
- the narrators and narrative frames through which the novel's story is told,
- the patterns of repetition and variation between events and characters,
- The novel's carefully presented chronology.

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Home and structure



***The very idea of 'home' and the house at Wuthering Heights can provide a reference-point for the formal composition of this novel.

قضية المنزل في الرواية هي واحدة من النقاط التي اعطت الرواية تعبيرها الشكلي او الرسمي فكثيرا ما نوقشت الرواية من خلال حجرات المنزل


فقد ركز الناقد هنري جيمس على المنزل في الادب كتمثيل للبنية الرسمية او الاساسية التي يحاول الكتاب بلورة شخصياتهم من خلالها.


فالمنزل متعدد النوافذ يمثل تعدد المنظور الذي يحاول الروائي استحضاره بعمله



The novelist Henry James:conceived of 'the house of fiction'in order to represent the formal structuresthat writers build to frame their characters, a house whose many windows represent the multitudinous perspectives the novelist can evoke.


الرواية نظمت في اتقان


من الامور المهمة الاخرى في البناء الروائي هو المناقضة والتكرار بين الشخصيات ليس فقط في الاسماء


فمثلا كاثرين الام انتقلت للعيش في الجرانج كذلك ابنتها انتقت الى المرتفعات وهيرتون عاش نفس ما عاشه هيثكليف وهذه الاختلافات والتكرارية ساهمت في ايجاد الحس بالبناء الادبي المنظم


ولم يكم عشوائي


وهو امر ايضا اثار الكثير من التعليقات حول الشخصيات والرواية



· There is a constant symmetrical patterning of contrast and repetition between characters.
- Characters are related not just through naming and genealogy, but through their similar-yet-different experiences.
- These examplescontribute to a sense of a tightly organised literary structure.

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Narrators and narrative frames




الرواة وأطر السرد الروائي وهي نقطة مهمة

****Wuthering Heights tends to survive as a direct and unmediated expression of passionate emotion and dramatic incident.
في الرواية نجد ان هنالك راويين : هما لوكوود و (نيلي او ايلين او مسز دين) يبدأ لوكوود قص الرواية ثم روى ما روته نيلي وتخلل ذلك وجود مذكرات كاثرين ورسائل ايزابيل
There are two main narrators in Wuthering Heights, both of whom have a role in shaping our experience of the text.

How would you characterize Lockwood as a narrator?
· The people whom Lockwood encounters are (to his perspective) foreign as to their mode of living, manners and speech, which in Joseph's case is a Yorkshire dialect, impenetrable to outsiders.
·
This produces as a useful parallel with the unfamiliarityof so much in the novel to its readers and the frame-narrator. Lockwood is not at home at Wuthering Heights, and in this he is representative of the geographical and class location of the majority of the novel's readership.
· Within Wuthering Heights' covers, however, Victorians encountered a confusing disregard of social and literary codes.

لوكوود كان يشعر بالغرابة في المرتفعات لاسباب عديدة اولها انتمائه لمكان اخر


واجتماعيا هو من طبقة رفيعة


لهجة سكان المكان


وطريقة العيش الريفية


هذه امور شعر بها الراوي لوكوود


وهي ايضا امور جعلت القارئ يشعر ما شعر به


خاصة ان الحياة مختلفة وليست معروفة لدى الجميع



Novel's introduction via Lockwood's encounter with Heathcliff and the second-generation characters has plunged us straight into a bewildering conjunction of everyday domesticity with ghosts and strange emotional excess. This prepares us for the more traumatic events that will take place in Nelly Dean's narrative after she has provided an account of Catherine and Heathcliff's childhood years.


هنا نيلي وهي الراوية الاهم في الرواية


The narrator of Nelly Dean:

- Like so many first-person narrators, she is less than entirely reliable.

*****Critics have often read Nelly as the voice of convention and narrow-minded prejudice.


طبعا نيلي كانت راوي مزهو يعني اخذت ووضحت الاحداث بشخصية ومن منظورها الشخصي وهو ما يمكن الاعتقاد بانها ليست راوي صادق



Nelly represents the domestic, 'home', but home in Wuthering Heights is something other than merely benevolent.

***There are two chief narrators of the novel.
+
Catherine's diaries
Lockwood's reading of her diaryprovokes the apparition of the waif-like child Catherine trying to get back into the house.
· However, for the rest of the novel, Catherine's voice is heard only in Nelly's reported dialogue, although we tend to forget this under the spell of her most compelling speeches.
· Catherine's diaries give us (and Lockwood) some of the backstory needed to make sense of the novel's present.
- Isabella's letter

epistolary novels (novels told in the form of letters).

*** The multiple narrative viewpoints in Wuthering Heights mean that readers tend to experience a lack of authoritative stance— about the events and, most notably, die violence depicted in the novel.
This sense of narrative uncertainty explains why the novel has frequently been considered confused, despite its highly symmetrical structure and chronological scheme.


وتعددت وجهات النظر في الرواية من رواة قلل من وجود موقف موثوق به منهم وهذا شكل اضطراب على الرغم من البناء المنظم وخاصة بناء الاحداث الزمني


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Chronology


هنا يتحدث عن التماسك بين الاحداث والفترة الزمنية الذي حدثت بها الاحداث وطبعا هذا التماسك اثار اهتمام واعجاب النقاد هذه النقطة ارجعو لقراءتها من الملخصيتبع النقطة الاخيرة....

قبل النقطة الاخير توضيح genre


Genre is a type or class of literary work, like novels, poetry, plays, and short stories. These are classified according to the form, method and function used. For example, some of the obvious differences are: the novel is written in prose, and uses narrative techniques like third person narration and first person narration. In the third person narrative, the writer tells the story from outside, and in the first person narration, a character tells his/her own story. In poetry, we use poetic devices like metaphors, and rhyme. In plays, the action is carried along by the actors who tell the story through their dialogues. All these genres may have sub-genres. Thus, there are many types of novels, like detective, the novel of education or bildungsroman, the gothic novel, the romance, and the realist novel, which forms the first major part of your course. These sub-genres are explained below.

هو نوع ادبي : يعني ان الادب له انواع

كان هنالك انواع تقليدية قديمة ثم تطورت مثل التراجيديا والكوميديا والملحمة

وانواع ادبية خاصة مثل الرواية والشعر و المسرحيات

اذا كل ما سبق هو genre

الشي الجديد هو لفظ sub-genre

وهو يندرج مع genre


مثال:

genre = novel



sub-genre = realist novel

or
detective novel
Gothic novel

romantic novel
domestic novel

الخ



يعني genre

يتعدد ويتفرع وممكن ان تكون هناك رواية مثلا تحمل اكثر من نوع كهذا؟


نعم يوجد ومايكل بختين أطلع على هذا اسم hybrrdization

Hybridization = Blending of voices

How different genres can interact within a single work?
Bakhtin devised the concept of 'dialogic form' to describe navels where a medley of competing 'voices' interrupt but do not silence one another. His term for blending voices or genres is Hybridization.


وطبعا هذا منطبق على الرواية كما سنرى في شرح اخر نقطة تخصها

_____________________

Rules and expectations:

اخبرتكم ان سنعود لهذه النقطة وعلاقتها باستجابة القارئ للنص

مثلا انا اقنيت كتابا بوليسيا او كتاب جرائم

Detective novel
فانا كقارئ اتوقع وجود جريمة في هذا العمل الادبي وان هنالك مفتشا سيحاول حل لغزها الخ
هذا كله
expectations
ويتعلق بنوع النص

الامر الاخر يتعلق بالنقد
هو ان كل نوع ادبي مثلا قواعد
خاصة به يجب ان يكتب بها


how they should be written؟


والحين صار واضح نكمل شرح آخر نقطة

Romance and realism


هذه النقطة من أهم النقاط بنظري وهي تخصص في شرح genre وتعدده


Romance


هي نعم تعني ان هنالك قصة حب هذا لا خلاف عليه


ولكن هل فعلا الرواية هي رومانس فقط؟


كما وضحنا او نوع ادبي يضعنا امام قواعد وتوقعات خاصة منه

ولكن اغلب الاراء الاولى حول الرواية لم تصفها رومانس فقط ولكن ايضا كما في نقطة سابقة وضحنا انها دراما

ولكن هنالك تضارب ما بين realism + romance في الرواية


Romance هنا ما وضحته لكم ما شمل ما هو خارج حدود الواقع


واغلب روايات القرن العاشر كانت روايات واقعية وهو ينطبق على على هذه الرواية ايضا

The novel form is often described as a hybrid(literally a mongrel-breed). Wuthering Heights draws on numerous literary genres.

_____________________



Wuthering Heights as romance



فلذلك قد يطلب منا شرح كيف ان الرواية متعددة الانواع او يختص بالسؤال عن نوع محدد


How can Wuthering Heights be read as a romance?


الرواية رومانس لاسباب عديدة كما وضحنا كونها تحكي قصة حب وايضا انها من صنع الخيال وليس حقيقة واقعة


- Wuthering Heights is a romance because it is a love story; or because it is a work of imagination
- The notion of 'romance' came, during the Romantic period, to describe works of introspection and imagination.
- At its most fundamental level, the term 'romance' is used as a synonym for the term 'novel' and generally denotes a mode of writing that engages with the desires and imaginative lives of its characters and readers.



امر اخر مهم وهو ان الرواية gothic وهو ايضا يندرج مع romance


وهو ما وجد في شخصية هيثكليف وما تحتويه من عنف ورعب ومكان بعيد عن البشر فلنقل والعواصف والاشباح ايضا

- Wuthering Heights also has strong connections with Gothic romances over and beyond the Gothic characteristics of Heathcliff. Gothic novels cultivated an atmosphere of terror, using remote and rugged settings and a paraphernalia of storms, shadows, apparitions and portents.

المحيط النفسي والجسدي كتأثر بما يحدث على ازابيل وكاثرين هو قوثيك ايضا ولكن يرى ايضا من ناحية الفيمنزم على انه يصور وضع المرأة في المجتمع الابوي (مجتمع ذكوري فلنقل المراة فيه مهمشة ولها دور معين ومحود اسير في المنزل)
- Isabella and the young Catherine's incarceration at Wuthering Heights is reminiscent of this aspect of the Gothic, and feminist criticism has firmly established modes of reading the genre as expressive of the physical and psychological oppression of women within patriarchal society.

ومع ذلك يوجد اختلافات فلنقل بين رواية ايميلي برونتي واختها شارلوت ايضا وبين قوثيك

· Gothic heroines are usually virtuous and passive, not major characteristics of Catherine Earnshaw.
· Instead of the expected feminine contrast to Heathcliff's savagery, readers encountered a recalcitrant heroine who, like the other residents of Wuthering Heights, is no model of refined behaviour.
· 'Her heroines scratch, and tear, and bite, and slap", who drew attention to the ways in which the human inhabitants of Wuthering Heights are constantly described in the same animalistic language as Heathcliff's dogs, forever fighting and devouring food.
· None of the female charactersmeets expected standards for a romantic heroine, and more than they serve as ideal domestic role models.




- In Wuthering Heights she brings together the romance elements of genres such as the Gothic with unapologetically realistic depictions of character, dialogue and behaviour.


The critic George Henry Lewes:
- In Wuthering Heights, there is a combination of heightened description and a telling engagement with real issues and emotions, which is the basis for the realist novel's claim to 'truth'.

هنا قضية كون الرواية رواية واقعية


('Realism'is the name generally given to novels that aim to provide a faithful rather than idealised portrayal of life. The term can be variously defined and novels can achieve realist effects using a wide range of literary techniques.)
· The brutal truths which Wuthering Heights presents include the realities of domestic life, social exclusion and economic dispossession.A combination of romance and realismis also characteristic of Charlotte Bronte's Jane which also engages with domestic politics (in both the familial and the national meanings of that phrase).


· In this respect, Wuthering Heights can be linked with other novels more obviously concerned with what was termed 'the condition of England', particularly those dealing with the plight of homeless, displaced children, like the 'foundling novel'.


- Lewes's appreciation of the 'truth' of Bronte's novel included the conviction with which we accept Heathcliff's 'burning and impassioned love for Catherine, and ... her inextinguishable love for him'
- The final scene between Catherine and Heathcliffin the novel is full of violently eroticized language. However, faced with a novel in which the only scene of physical passion occurs when the heroine is heavily pregnant and on the point of death, most film-versions eroticise the childhood love between Catherine and Heathcliff instead, supplying adolescent trysts on the moors in order to meet our own expectations of what romance should be.








موفقين

 

هذا موقع مهم SPARK NOTES

دايما ألجأ له في مواد المواد

http://www.sparknotes.com/lit/candide/

في الادب شي مهم انكم تعرفون CONTEXT اللي انكتب فيه النص والفترة الزمنية (تاريخيا واجتماعيا)
لان تساعد على فهم النص بشكل أفضل



the intellectual movement known as the Enlightenment was spreading ideas about the equality and basic rights of man and the importance of reason and scientific objectivity.


As a writer, François-Marie soon became legendary throughout France for his sharp epigrams.


Published in 1759, Candide is considered Voltaire’s signature work, and it is here that he levels his sharpest criticism against nobility, philosophy, the church, and cruelty. Though often considered a representative text of the Enlightenment, the novel actually savagely satires a number of Enlightenment philosophies and demonstrates that the Enlightenment was a far from monolithic movement.



Candide and the Enlightenment

“The Enlightenment” is the name for a movement that encompasses a wide variety of ideas and advances in the fields of philosophy, science, and medicine that began in the seventeenth century and peaked in the eighteenth century. Many historians mark the French Revolution as the crowning event of the Enlightenment era. The primary feature of Enlightenment philosophy is a profound faith in the power of reason and rational thought to lead human beings to a better social structure. The political ideology of Enlightenment philosophers is characterized by a spirit of social reform. The champions of the Enlightenment called for rebellion against superstition, fear, and prejudice. They attacked the aristocracy and the church.

Candide reflects Voltaire’s lifelong aversion to Christian regimes of power and the arrogance of nobility, but it also criticizes certain aspects of the philosophical movement of the Enlightenment. It attacks the school of optimism that contends that rational thought can curtail the evils perpetrated by human beings.

Voltaire strongly opposed certain Enlightenment ideas about social class. Some Enlightenment thinkers promoted the idea of the enlightened monarch as an alternative to a radical reformation of society. Instead of denying the divine right of kings, the concept of the enlightened monarch relied on the idea that rulers could use their power to ensure the protection of their subjects’ rights. The reach of the monarch’s power could be extended so that he or she could ensure this protection. Thus, the name of the Enlightenment could be used to legitimize despotism. Moreover, witch-hunts and organized campaigns of religious persecution continued well into the eighteenth century, and Enlightenment philosophy’s propagation of reason as a social antidote did not bring a halt to the ravages of superstition and fear. Candide illustrates this fact in the figure of the Grand Inquisitor who orders an auto-da-fé to ward off earthquakes, among many other examples. Voltaire’s work may be difficult for the present-day student to understand because it alludes to some very specific concerns of his contemporaries. To better understand his wit as well as his relevant context, readers may benefit from consulting supplementary readings such as a history of the Enlightenment, a biography of Voltaire, or the writings of other Enlightenment thinkers like Rousseau and Leibniz.

يعني عشان تفهمون كانديد
لازم تقرون وتعرفون عن
Enlightenment
وفولتير والفلاسفة اللي يعاصروه
لانه حاول يناقض الموجود بعصره هذاك الوقت
من الرابط السابق

الاشياء المهمة بشكل عام

انكم تعرفون الفترة التاريخية

RENAISSANCE \ ENLIGHTENMENT

+

ROMANTICISM

وتكونون فاهمين خواصهم لانها تشكل جزء من شرح بعض الاجابات
ممكن يجيكم سؤال خاص فيهم مع ذكر امثلة من اللي درستوه
لانه يعتبر SETTING


الشي الثاني المهم هو LITERARY GENRES
لكل نص ادبي

وهي الانواع الادبية

وتنقسم الى :
FICTION
POETRY
DRAMA\PLAYS

وكل نوع ادبي له انواع فرعية يطلق عليها SUB-GENRE
مثلا بالنسبة حق PLAYS ممكن تكون:
TRAGEDY OR COMEDY

POETRY:
LYRICS - PASTORAL - NARRATIVE

الخ

وفي انواع ادبية تقليدية ثانية مثلا عندكم كانديد يعنبرونها:
نوع من
TRAVEL WRITING
بس مو قائم على اساس الواقع وانما الخيال لانها اشياء فكرية الكاتب ما سافر فعلا لهذه الدول عشان جذي يطلقون عليها
PHILOSOPHICAL TALE
وبنفس الوقت تعتبر SATIRE

فلازم تحددون النص اللي جدامكم هو شنو بالضبط:
"هذا النص يعتبر تراجيديا مثلا"

الشي المهم الثالث هو THEME
لازم تعرفون THEME
سواء في الشعر او المسرحية او .....

لان من خلاله حنا نقدر نجاوب ونحلل


الشي المهم الرابع هم الشخصيات CHARACTER + CHARACTERIZATION
وتطورهم وتغيرهم خلال النص الادبي
طبعا مو كل الشخصيات الشخصيات الرئيسية بس

في اوثيلو:
OTHELLO
DESDEMONA
Iago

في كانديد:
Candide
Pangloss
Martin

والباقين ممكن يكون لهم اهمية جانبية
مثل حبيبته والمراة العجوز والناس اللي صادفهم في تركيا اخر شي

الشي المهم الخامس CLOSE READING
سؤال التحليل وتفهمون طريقته شلون
بالنسبة لكانديد انتبهو لتقنية IRONY
اما الشعر فبكون التشبيهات والتشخيص والاستعارات
بالنسبة لاوثيلو ممكن يجي مقطع ويقول اشرح من خلال هالمقطع شخصية اياجو
وانتو تشرحون تركيزكم بكون على النص + اقتباس كلمات من النص الاصلي وانتو تشرحون

عندكم:
GENDER
RACE
SOCIETY


وكل شي تمام ان شاء الله





  

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EXAMPLES OF IRONY ON THE INTERNET




Ch. 19 - Candide meets a slave missing an arm and a leg. When he asks the man how this happened, the man replies, "It is the price we pay for the sugar you eat in Europe." The irony in this statement is perhaps a little convoluted, but there nonetheless. There is irony in the fact that those responsible for producing the sugar are paying for it, and not just the consumer's in Europe. This irony serves to emphasize the injustice that slaves faced for European wants. This was not a major issue in Candide, but was mentioned on this occasion and a few others, usually in relation to prostitution or impressed mistresses.

In this same chapter, in the same scene, Candide's servant Cacambo asks him what Optimism is, to which Candide responds, "it is the mania for insisting that all is well when all is by no means well." The irony there is obvious.





Ch. 17 - When Candide and Cacambo enter Eldorado, they assume that this is "probably the land where all is well, for clearly such a place has to exist." That kinda comes right out and smacks you in the face too, if you have any wit. As evidenced by this book, such a perfect place does not have to exist, and in reality doesn't. There is also irony in the fact that the only good place is also the only fictitious one.




Ch. 22 - ""Why is the wool of this sheep red?" The prize was awarded to a scholar from the North, who proved by means of A plus B minus C divided by Z that the sheep must of necessity be red, and must in due course die of sheep-pox." That seems very logical. You can explain why the sky is blue with simple equation like that too, right?




Ch. 21 - "I have seen so many extraordinary things that nothing seems extraordinary to me any more." An excellent witticism, this quote creates a paradox that defines Martin's character and his philosophy.

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الفكرة الاساسية اللي قامت عليها الاحداث هي تنقيض اراء الفيسلسوف بانجلوس عن التفاؤل
وان هذا العالم هو افضل عالم وان كل شي يصير لاحسن سبب

optimism
or
ideal optimism


فمهم تعرفون هالفكرة من اين اتت؟
وراي فولتير الخاص فيها.
موجودين في ملخص الجابتر الفيلسوف ليبنز

عشان جذي مهم تنتبهون لشيين:
الرحلة من خلال الاماكن
الرحلة من خلال الفكر

physical + mental journeys

وشلون ان الحياة مو مجرد كلام وان التجربة والواقع اكبر برهان على اثبات شي صحيح او خاطئ

طبعا انتو غير مطالبين تحددون منو الصح فيهم.

كل اللي عليكم تفهمون كل واحد وفكرته وشلون كانت هالاشياء موجودة في الحكاية (لانهم ابتعدوا عن مسمى رواية )


شي جدا مهم تعرفون كانديد وين كان كفكر ووين انتهى وشنو استفاد
لانه تعلم بالتجربة مو بس من منطلق التفكير
التفكير الصحيح يكون مدعوم بتجربة
وطبعا كل الاحداث اثبتت ان بانجلوس كان خاطئ بكلامه عن التفاؤل


عندكم fate + will

الانسان المؤمن بالقدر او المصير بمنظور فولتير لا يمكن ان يكون حر وسهل استعباده

اما الانسان اللي يطالب بالحرية فهو اسرع واكثر قضاء على الظلام لانه مراح يستسلم لهم بصفة انه قدر

(طبعا اهني شكل الغرب فاهم القضاء والقدر عن الشرق بشكل خاطئ)

---

الاشياء اللي بضيفها من الرابط الللي حطيته لكم


Both Pangloss and Leibniz claim that this world must be the best possible one, since God, who is perfect, created it. Human beings perceive evil in the world only because they do not understand the greater purpose that these so-called evil phenomena serve. Leibniz’s concept of the world is part of a larger intellectual trend called theodicy, which attempts to explain the existence of evil in a world created by an all-powerful, perfectly good God. Voltaire criticizes this school of philosophical thought for its blind optimism, an optimism that appears absurd in the face of the tragedies the characters in Candide endure

At the beginning of the novel, Candide’s education consists only of what Pangloss has taught him. His expulsion from the castle marks Candide’s first direct experience with the outside world, and thus the beginning of his re-education. Candide’s experiences in the army and the war directly contradict Pangloss’s teaching that this world is the best of all possible worlds. The world of the army is full of evil, cruelty, and suffering. Powerful members of the nobility start wars, but common soldiers and subjects suffer the consequences. Neither side of the conflict is better than the other, and both engage in rape, murder, and destruction.

Voltaire makes his ideological priorities clear in Candide. Pangloss’s philosophy lacks use and purpose, and often leads to misguided suffering, but the Inquisition’s determination to suppress dissenting opinion at any cost represents tyranny and unjust persecution. The Inquisition authorities twist Pangloss’s words to make them appear to be a direct attack on Christian orthodoxy, and flog Candide for merely seeming to approve of what Pangloss says. This flogging of Candide represents exaggeration on Voltaire’s part, an amplification of the Inquisition’s repressive tactics that serves a satirical purpose. Along with outrage at the cruelty of the Inquisition, we are encouraged to laugh at its irrationality, as well as at the exaggerated nature of Candide’s experience.

Cunégonde’s situation inspires a similarly subversive combination of horror and absurdity. Her story demonstrates the vulnerability of women to male exploitation and their status as objects of possession and barter. Cunégonde is bought and sold like a painting or piece of livestock, yet the deadpan calm with which she relates her experiences to Candide creates an element of the absurd. Candide takes this absurdity further; as Cunégonde describes how her Bulgar rapist left a wound on her thigh, Candide interrupts to say, “What a pity! I should very much like to see it.” In the middle of this litany of dreadful events, Candide’s suggestive comments seem ridiculous, but the absurdity provides comic relief from the despicably violent crimes that Cunégonde describes.

The old woman is pessimistic but acutely aware of the world she lives in. Direct experience dictates her worldview, and her pragmatism lends her more wisdom and credibility than any of her travel companions. The old woman chides Cunégonde for making judgments about the world based on her limited experience, and urges Candide and Cunégonde to gather knowledge through investigation before making judgments. Through her character, Voltaire reiterates the importance of actual, verifiable evidence and the limited value of judgments based on empty philosophical rhetoric.

Eldorado is Voltaire’s utopia, featuring no organized religion and no religious persecution. None of the inhabitants attempts to force beliefs on others, no one is imprisoned, and the king greets visitors as his equals. The kingdom has an advanced educational system and poverty is nonexistent. This world is clearly the best of the worlds represented in Candide and seems to be the “best of all possible worlds” in which Pangloss believes.

The word “utopia,” coined by Sir Thomas More in his book of the same name, sounds like the Greek words for both “good place” and “no place.” For the suffering inhabitants of the real world, Eldorado might as well not exist. It is almost completely inaccessible from the outside. Riches enough to end world poverty lie untouched on the ground. Its residents refuse to initiate any contact with the outside world because they know that such contact would destroy their perfect country. After some time there, even Candide wants to return immediately to the deeply flawed world outside. The Eldorado “pebbles” will only be of value to him in the outside world. The jewels that make Eldorado beautiful serve to inspire greed and ambition in Candide, whose only previous interests have been survival and his love for Cunégonde.

Candide’s attempt to acquire a companion for his voyage reveals the futility of trying to compensate someone for misery and suffering. There are so many miserable people in the world that giving away a little bit of money does virtually nothing to reduce this overall misery. Voltaire implies that the basis for misery is the social structure itself, which needs to be changed before any real compensation can occur.

Candide’s new pessimism also owes something to his conversation with the slave whom he encounters on the road to Surinam. Voltaire illustrates social injustice and systematic cruelty many times in the novel. However, many of these situations, such as Candide’s conscription into the Bulgar army and the consumption of the old woman’s buttock, are exaggerated, absurd, or even comical. The slave’s life story, on the other hand, is quite realistic and has no element of humor to it. In dealing with slavery, Voltaire comes up against an evil so powerful that even his considerable satiric wit cannot make light of it.

Martin is a foil to Pangloss. He does not believe that everything is for the best in this world, nor does he believe in some natural “good.” He acknowledges the evil side of human nature. For Martin, the presence of evil in the world does not inspire convoluted logical justification. Candide tries to counter Martin’s arguments by citing the idea of free will. However, free will does not solve the dilemma of the presence of evil in a world created by a perfectly good, omniscient, omnipotent Christian God.

Martin claims that he is not a Socinian, but a “Manichee.” Manichaeism is an ancient religion founded by the sage Mani. The Manichaeans see the universe in terms of the dual forces of good and evil. They believe that these two forces are equally powerful in the world and are continually in conflict. Manichaeans believe that through spiritual knowledge, human beings can conquer the evil side of their natures. Christians, whose doctrines hinge on a belief in a good and all-powerful god who is more powerful than the evil represented by Satan, fiercely reject Manichaeism. The precepts of Manichaeism also directly conflict with Pangloss’s optimism, since a world dominated in part by evil cannot be perfect or perfectible.

The emphasis on gaining knowledge through experience is strongly characteristic of Voltaire’s own thinking. Thus, it is probable that Voltaire is in some ways sympathetic to the count’s critical point of view. The count’s discernment certainly seems preferable to Candide’s mindless reverence for the authors he has been taught to regard as good. At the same time, the count’s character illustrates Voltaire’s skepticism at the idea that anything, even great art, can make human beings happy.

Money, leisure, security, peace, and life with his beloved do not make Candide happy. Martin declares that humans are bound to live “either in convulsions of misery or in the lethargy of boredom.” The way out of this dilemma, it seems, lies in the lifestyle of the farmer and in Candide’s garden. Candide manages to find a tolerable existence through self-directed improvement and work. Practical action is the only solution Voltaire can find to the problem of human suffering. Each member of the household finds a skill to hone and then uses it to contribute to the support of the household. Without any leisure from their toil in the garden, the characters have no time or energy to trade empty words about good and evil. Candide’s new solution seems to alleviate some of their suffering. Pangloss points out that the garden in which everyone finds solace is reminiscent of the biblical Garden of Eden, but there are crucial differences. The characters of Candide are ending their adventures in a garden, not beginning them there as Adam and Eve did; and instead of enjoying the free bounty of nature as Adam and Eve did, they must work tirelessly in order to reap any benefits from their garden.

The sincerity of Voltaire’s endorsement of this solution is questionable. It seems unlikely that, after having poked malicious fun at countless belief systems, Voltaire should decide to give his readers an unqualified happy ending. The characters finally realize their desires, but misery still reigns in the world outside their garden. Candide and his friends are wealthy and secure—in a perfect position to try to change the world for the better. Yet, rather than engaging the world in an attempt to improve it, they withdraw from it in an attempt to escape their own petty unhappiness. Voltaire, who became very active in political and social causes later in his life, may see withdrawal into a garden as the only wise and viable solution for creatures as weak as human beings. However, it is unlikely that he sees it as the best of all possible solutions