المسرحية أولا شي مهم تكونين فاهمين احداثها وقارينها:
الاشياء اللي يبونكم تركزون عليها:
1) الموضوع حاولو تكتبون عنه ودربون نفسكم ممكن يسالكم في موضوع المسرحية (عندكم الكتاب ناقش موضوع الحب والموت والاختلاف)
2) مهم تفهمون اراء Leavis في
المسرحية وخاصة في مفهوم التراجيدي من ناحية شخصية اويلو و اياغو يعني اذا
جه سؤال عنه لازم تدعمون رايكم وتذكرون كلامه جملتين كافي باسلوبكم
3) مهم جدا مسألة race وهي العرق (ودايما ترمز للعنصرية العرقية) لازم تفهمون راي Loomba
ونفس الطريقة تدعمون رايكم فيه
4) و مفهوم gender ( وهو الفروق بين الجنسين ودايما هالكلمة تكون مع المراة وتخص المراة) لازم تنتبهون لراي Jardine
مع الاستعانة به في الاجابة
5) تعرفون نوع المسرحية وهي تراجيديا (لازم تفهمون شنو عناصر التراجيديا عند ارسطو ووين هي موجودة بالضبط)
و هل فعلا تراجيدي؟
اعتذر على التاخير بس امس كان عندي الم في القلب ونمت بعد الاختبار على طول
فما مداني الا اني اقرا الملخص الساعة 3 الفجر تقريبا وانا اتمنى يكون فايدكم على الاقل لو تسهيل الترجمة
المهم جابتر 1 فيه اشياء مهمة :
مفهوم التراجدي وشلون تقدرون تشرحون هالشي بالنسبة للمسرحية
الكتاب حاطين لكم نقاط بس مراح تكفي
فانتو بحل هالسؤال :
لازم تكتبون اول شي تعريف التراجيدي
وشنو
عناصر التراجيدي بشكل عام؟ (شخص من رتبة عالية - يرتكب خطا فادح هامتريا -
يؤدي لموته) اتوقع اجابة السؤال من خلال الجابترين لان الهامتريا ذاكرينها
في جابتر 2 بس في جابتر 1 حاطينها مثل الغيرة عدم الثقة بالنفس , الثقة
بالاخرين هو معتبر ان كل الناس زينة
وهكذا
بعدين توضحون ان اوثيلو تعتبر تراجيدي لوجود هالعناصر والاخطاء تعرفونها
ولا تنسون تشرحون انه DOMESTIC TRAGEDY
الشي الثاني عندكم اللغة المستخدمة من تصوير وتشبيهات واستعارات
في اكتيفيتي مهم انا كتبت عنده انه مهم لازم تحفطون الكلمات اللي بالاحمر مثل BLACK RAM
وهالكلمات الصغيرة تنقصون عليها درجات
الشي الثالث عندكم موضوع الحب والموت مهم جدا
لان المسرحية تتكلم عن الحب والزواج وبالنهاية الموت
مثلا ممكن يجيكم سؤال غير مباشر
RENASCENCE LITERATURE FOCUS ON THE THEMES OF LOVE AND DEATH
او ONE OF RENASCENCE LITERATURE FEATURES OR CHARACTERISTICS ARE THE THEMES OF LOVE AND DEATH
DISCUSS THIS STATEMENT THROUGH ONE OF TEXTS YOU STUDIED
طبعا لاني راح تشرحونها من ناحية مسرحية اوثيلو
وفيه بعد موضوع الزواج
لغة اوثيلو مهم بعد وشلون وضحت شخصيته؟
لا تنسون ان لما بدا يشك في زوجته حتى لهجته وكلامه شوي تغيرت صارت بربرية 
صار SHIFT
وبس
في الاجابة:
لازم تتكلمون عن المسرحية
او الاكت اللي فيه (القضية المطلوبة)
تشرحونها وشلون هالقضية موجودة في المسرحية
وتدعمون رايكم باحد النقاد
القضية = وحدة من العناصر اللي قلت ركزو عليها
وبس
ممكن تكون عن الشخصيات بس الاكثر عن الموضوع عن الاشياء المميزة فيها؟
وعندكم دور الرجل والمراة في المجتمع gender roles
مبدأ العنصرية racism
المسرحية تراجيديا tragedy
شنو معناته وشنو عناصرها في هالمسرحية؟
من عناصر المسرح soliloquy
وهي مهمة بعد
في بعد ناقدة لا تنسونها GARBER
وفكرة HONESTY و منديل ديزدمونا شنو يرمز له؟
بالنسبة لـ DESDEMONA HANDKERCHIEF
فهذا شي لو تكلمتو عن المراة او GENDER
تقدرون تستخدمونه بالشرح
لانه يوضح مكانة المراة في هذاك الوقت
طبعا كل طالب له اكثر من قراءة والدكاترة مراح يغلطون احد مكنكم اهم شي قراءتكم ونقدكم وتحليلكم يكون منطقي
هالمنديل انتقل بين الرجال وصار اداة تجريم
يعني لو صورناه على انه هو المراة
راح نلاحظ ان المراة بلا دور واضح يعني شي مهمش تتلاعب فيها الرجال ويحددون منو هي وشنو تسوي بدون لا يكون لها حق تدافع عن نفسها
وممكن يرمز لعفة المراة بعد
بس شنو الملاحظ انه محد سال ديزديمونا انت اخطات او لا؟
وصار المنديل الشي البسيط جدا شي له نتائج قاتلة
Desdemona’s handkerchief
The
handkerchief is a very convenient device within this theatrical
dynamic: a ‘feminine’ prop, and one that could signify the feminine
nature of the character in both its pure white unsoiled origins and its
sexual associations.
In some sense, we can see the development of Desdemona’s situation in
the play in the development of the handkerchief ‘s significance. Whilst
Desdemona speaks her mind freely in the opening of the play and acts to
please herself, she later plays the role of wife, gradually begging to
act less freely and react instead to the actions and accusations of men.
The handkerchief functions, at one level, like a character introduced
to take the blame that Othello and Iago are quick to attach to its owner
but are very slow to admit of themselves. Although the action of the
play is dominant by the male characters, we can see that the ‘signifier’
of the handkerchief has a place within the visual symbolic framework
of the play, and also has an impact on character development, and our
understanding of the characters’ interactions and reactions.
____________
the inclusion of the speech does open up explicitly the whole question
of ‘how historically wife’s behaviour was perceived in relation to her
husband’s treatment to her’
Desdemona is the character about whom the other argues, around whom they
plot and plan and whisper and desire, and who, ultimately, falls victim
to the competition between men in the play.
__________________________________________________ ___________________________
The visual sign system used in the play to designate the gender role
that Desdemona seems to represent is her handkerchief. Desdemona is the
least well developed of the three central characters: her lines rarely
reveal her thoughts or ideas about herself – as Othello’s do – but
rather her perceptions of what the man do and say.
Desdemona is an interesting character throughout the play, but her
interest to modern readers and audiences arises in two ways:
At first, she is intriguing precisely because she is willful,
proclaiming and displaying her love and sexual desire for Othello,
despite all social conventions. Then, as the theme of sexual jealousy
develops through the interaction of Othello and Iago, Desdemona fades as
an individual character, becoming instead a stock figure for the
wronged wife – pure, loyal, undeservedly punished.
__________________________________________________ __________________
The designation of the play’s setting in Venice also ‘signalizes’ otherness, or ‘outsider’ status, for the character Othello.
With the semiotics in theatre, we consider two particular concerns of
the play: race and gender, both of which can be analysed in terms of the
visual sign systems used to designate them in performance.
The most obvious ‘sign’ of racial difference in the play is emphasized
in performance when we see Othello played by a black actor. Conversely
for many years black stage make-up or ‘blackface’ was used as a way of
designating ‘blackness’ when the part of Othello was played by white
actors.
__________________________________________________ _______________________
From the start of Act IV Scene 4, Othello is a changed man:
When he overhears Cassio’s conversation with Iago and then Bianca, he is
fired further to kill Desdemona in bed by smothering her. From then the
die is cast, in spite of Desdemona’s protestations of innocence. She
knows the signs of extreme anger in Othello and tells him she fears he
is ‘fatal ten/When your eyes roll so’ (V.2. 37-8).
The
theme of displacement is a crucial factor in coming to an understanding
of Othello’s character. He is a general who is not a ‘native’ of the
land he must govern; his ‘outsider’ status burdens him with doubts,
making him feel anxious about his position in Venetian society. This
makes him over-sensitive to the possibility that he might lose his
power, or control, at any time. In this way, Othello can be seen not
only as an individual but also as a type – as an ‘outsider’ who has
gained entry into a culture but who remains concerned and aware of the
possibility of being rejected, excluded, cast back out.
In
all the accounts of Othello’s character and cultural status, it is
important to note that the character is described, not ‘the man’.
(Othello, the fictional character not a real person)
That
said, it is very interesting to consider Othello’s two main roles – as
general and as husband. For instance, had Othello not been such a proud
man, so concerned with matters of state, prestige and authority, he
might have been better husband. Conversely, had he loved his wife less,
he had not have been duped into believing ill of her, and his attention
might have been much more constructively focused on the larger political
situation, outside his marriage. Perhaps the greatest ‘tragedy’ of
Othello is Desdemona’s, for she is the character who suffers because of
her husband’s inability to distinguish between the true facts and the
backstage artifice, constructed and manipulated by Iago.
__________________________________________________ _____________________
Othello give us a lot of information about himself: he is of royal
descent and values his freedom (I.2.21-8); he is self-possessed and
confident that, in front of her father, his standing and his innocence
will defend his action in marrying Desdemona (‘My arts, my title, and my
perfect sol/Shall manifest me rightly’, I.231-2). When he appears
before the Venetian Senate, we learn that he considers himself a
plain-speaking, professional solider who has devoted most of his life to
his profession, having been rescued from slavery in the course of his
life of adventure.
Iago attests in a soliloquy that his General is ‘of a constant, loving,
noble nature’(II.1.280). Othello is conscious of being an ‘outsider’
because of his race, colour and birth but feels accepted by the Venetian
establishment because of his personal qualities and abilities.
__________________________________________________ ____________________________
The word ‘honest’ in Othello
The word ‘honest’, or ‘honesty’, is used repeatedly throughout the play, almost to the point of obsession.
In general use, of persons, it gives the word as meaning ‘of moral good
character, Virtuous, upright’, but for women it gives the specific
meaning of ‘chaste’.
How Shakespeare employs the two usages of the word ‘honesty’ in a deliberate way?
The number of time ‘honest’ or ;honesty’ is spoken by the main characters in the play:
Iago is the first to use the term when telling Roderigo his view of
masters and servants, dismissing those are faithful with the
contemptuous phrase, ‘Whip me such honest knaves’ (I.1.49). This makes
it especially ironic that the next usage is by Othello, describing Iago
(his Ancient and therefore inferior) to the duce as ‘A ma he is of
honesty and trust’ (I.3.282). From the outset, therefore, the term is
inverted and devalued.
As a result, when Othello repeatedly uses it in Act III, Scene 3, the
word brings to sound like a parody of itself. By this time, ‘honest’ is
also being used in the gender-specific sense. When Othello, who is
visibly disturbed, relies to Iago: ‘No, not much moved. I do not think
but Desdemona’s honest’(III.3.222-3), he uses the word to mean
‘faithful’.
At this point, because it is correctly applied, the word ‘honest’
stabilizes for a moment in value before being plunged back into ironic
loss of meaning by Othello’s frenzied description of Iago to Emilia as
‘thy husband, honest, honest Iago’ ( V.2.153).
__________________________________________________ ___________________
Understanding Iago
Although
Shakespeare’s play is entitled Othello, it would not be absurd if
someone claimed that Iago rather than Othello was the central character:
in fact, the play has sometimes been produced upon this assumption.
Iago has more lines than Othello. There are some important surprises in
the characterization of Othello, but there are even more surprises in
that of Iago, and it can hardly be said even by the end of the play that
we completely ‘know’ him. Moreover, the entire action of the play
derives from him. He succession of events and the dramatic action begin,
as we saw earlier, not with Desdemona’s elopement with Othello, but
with Iago’s decision to exploit this elopement for all the possible harm
he may do with it. Iago plans harm to his General, Othello, and – as an
incidental bonus – he also plans to revenge himself upon his crony
Roderigo, and to injure Desdemona.
Othello’s
and Desdemona’s qualities of character, turn the tables on Iago’s plans
completely. He will inject jealously into Othello’s and Desdemona’s
relationship, manipulating various other characters, including Roderigo,
Cassio, Emilia and Bianca, for the purpose. He manages to exploit the
personal weaknesses and vulnerabilities of Othello and Desdemona:
Othello’s guilelessness and credulity; Desdemona’s inexperience; and the
social pressure threatening any ‘mixed’ marriage. Iago can be said to
dominate the play, in the sense that he instigates or manipulates most
the play’s action.
_____________________________
Othello as tragedy
The Greek philosopher Aristotle, in his Poetics,
gave a famous definition of tragedy. ‘Tragedy’, he wrote, ‘is an
imitation of some action that is important, entire, and of a proper
magnitude, embellished by language, effecting through pity and terror he
purgation of those emotions’.
According to Aristotle a tragedy must deal with people of high estate falling into misfortune, doing so because of some hamtaria or fatal error of judgement (of which hubris, or overweening pride, is one example), and its plot will feature one or more perpeteia (or surprising reversal of fortune) and an angorisis (r final recognition of some gravely unwelcome truth)
____________________________
What is the language doing here, and what does it suggest about Othello’s character? (I.2.17-28)
The
way the language works is to give us a balanced yet mixed impression of
Othello as a man. He ‘serves’ the state and knows his worth, yet, from
modesty, he will not make his deeds known until ‘bossing’ becomes
honorable. He comes from royal blood and e values his freedom which he s
only giving up, willingly, because of his love foe Desdemona. The final
four lines are deeply memorable. Hey start with a qualifying clause
that leads the reader/listener/ viewer in expression to the main
statement about his ‘free condition’, an idea that us amplified by the
expansive notion of the ‘seas’ worth’ and set against the idea of
enclosure, so powerfully embodied in the phrase
______________________________-
What the opening scenes reveal to us about speakers and their characters
Iago,
in the exposition of his ‘philosophy’ he uses for the first time the
epithet ‘honest’, a word that is to recur frequently throughout the
play. He despises, he says, ‘honest’ knaves, that is, those who are
knaves but who do not look after their own interests properly. ‘Honest’
is a patronizing and contemptuous term here. Elsewhere, and with other
characters, Iago will make much play of his own ‘honesty’ – his
(supposed) plain speaking, feeling hear and hatred of all pretence. He
‘play-acts’ in all these senses in various degrees as the scene
develops.
The
exchanges between Iago and Roderigo tell us, by implication, a lot
about their relatioshi. It would seem that Iago knows Roderigo is likely
to be taken in by a show of intellectual cynicism because, as is
becoming clear, he is rather easily duped. More importantly, Iago’s
actions suggest a lack of respect for his ‘friend’ Roderigo. A few
moments later, we learn that Iago gladly takes any opportunity to get
his ‘friend’ into trouble. In making Roderigo act as his spokesman under
Brabartio’s window, Iago is not only deliberately working off
vindictive feelings against Othello, Desdemona and Brabartio, he is also
taking the opportunity to do Roderigo harm.
The
unpleasant relationship between Iago and Roderigo brings out an
important issue in the play as a whole: that of Iago’s motivation. One
interpretation suggest that Iago sees in Othello’s and Desdemona’s
elopement a perfect opportunity to arouse racist prejudice and hysteria,
partly for advantage to himself but perhaps also for its own sake.
Roderigo describes Othello, insultingly, as ‘thick-lips’,
an allusion to his race, and Iago goes on to exploit racist stereotypes
even more crudely. In his speeches to Brabartio he refers to the marriage between Othello and Desdemona as a mating of two animals, describing Othello as ‘black ram’ and a ‘Barbary horse’, and also as ‘the devil’.
By raising such a hue and cry beneath Brabartio’s windows, he manages,
deliberately, to startle the bemused old man into similarly violent and
instinctive racial prejudice. In the next scene Brabartio accuses
Othello of having stolen Desdemona by sorcery. He thinks it is unlikely
that she could have by her own volition ‘Run from her guardage to the
sooty bosom/Of such a thing as thou’ (I.2.70-1).
__________________
________________
قصيدة I wandrer
انتو غير مطالبين بمعرفة الوزن الشعر للقصيدة
انتبهو للاشياء اللي في الملف واهني الخاصة بطريقة التحليل وtheme ومميزات الفترة اللي انكتب فيها
لان احتمال يجيبون لكم قصيدة و ممقطع من اوثيلو وتختارون واحد تحللونها
والله اعلم
وهذي معلومات جمعتها لكم عن ووردسوورث وقصايده تفيدكم بشكل عام:
In
the early 1790s William lived for a time in France, then in the grip of
the violent Revolution; Wordsworth’s philosophical sympathies lay with
the revolutionaries, but his loyalties lay with England, whose monarchy
he was not prepared to see overthrown. While in France, Wordsworth had a
long affair with Annette Vallon, with whom he had a daughter, Caroline.
In
the mid-1790s, however, Wordsworth’s increasing sense of anguish forced
him to formulate his own understanding of the world and of the human
mind in more concrete terms. The theory he produced, and the poetics he
invented to embody it, caused a revolution in English literature.
As children, some memory of the former purity and glory in which they
lived remains, best perceived in the solemn and joyous relationship of
the child to the beauties of nature. But as children grow older, the
memory fades, and the magic of nature dies. Still, the memory of
childhood can offer an important solace, which brings with it almost a
kind of re-access to the lost purities of the past. And the maturing
mind develops the capability to understand nature in human terms, and to
see in it metaphors for human life, which compensate for the loss of
the direct connection.
In the 1802 preface to Lyrical Ballads, Wordsworth argues that poetry should be written in the natural language of common speech, rather than in the lofty and elaborate dictions that were then considered “poetic.” He argues that poetry should offer access to the emotions contained in memory. And he argues that the first principle of poetry should be pleasure, that the chief duty of poetry is to provide pleasure through a rhythmic and beautiful expression of feeling—for all human sympathy, he claims, is based on a subtle pleasure principle that is “the naked and native dignity of man.”
Many of Wordsworth’s poems (including masterpieces such as “Tintern Abbey” deal with the subjects of childhood
and the memory of childhood in the mind of the adult in particular,
childhood’s lost connection with nature, which can be preserved only in
memory.
Throughout Wordsworth’s work, nature provides the ultimate good influence on the human mind. All
manifestations of the natural world—from the highest mountain to the
simplest flower—elicit noble, elevated thoughts and passionate emotions
in the people who observe these manifestations. Wordsworth
repeatedly emphasizes the importance of nature to an individual’s
intellectual and spiritual development. A good relationship with nature
helps individuals connect to both the spiritual and the social worlds. As Wordsworth explains in The Prelude, a love of nature can lead to a love of humankind.
People who spend a lot of time in nature, such as laborers and farmers, retain the purity and nobility of their souls.
Wordsworth praised the power of the human mind. Using memory and imagination, individuals could overcome difficulty and pain.
For instance, the speaker in “Lines Composed a Few Miles Above Tintern
Abbey” (1798) relieves his loneliness with memories of nature.
Throughout
his work, Wordsworth showed strong support for the political,
religious, and artistic rights of the individual, including the power of
his or her mind. In the 1802 preface to Lyrical Ballads, Wordsworth explained the relationship between the mind and poetry. Poetry is “emotion recollected in tranquility”—that is, the mind transforms the raw emotion of experience into poetry capable of giving pleasure.
In
Wordsworth’s poetry, childhood is a magical, magnificent time of
innocence. Children form an intense bond with nature, so much so that
they appear to be a part of the natural world, rather than a part of the
human, social world. Their relationship to nature is passionate and
extreme: children feel joy at seeing a rainbow but great terror at
seeing desolation or decay. In 1799, Wordsworth wrote several
poems about a girl named Lucy who died at a young age. These poems,
including “She dwelt among the untrodden ways” (1800) praise her beauty
and lament her untimely death. In death, Lucy retains the innocence and
splendor of childhood, unlike the children who grow up, lose their
connection to nature, and lead unfulfilling lives.
As
children age and reach maturity, they lose this connection but gain an
ability to feel emotions, both good and bad. Through the power of the
human mind, particularly memory, adults can recollect the devoted
connection to nature of their youth.
Wordsworth’s poetry itself often wanders, roaming from one subject or experience to another, as in The Prelude. In
this long poem, the speaker moves from idea to idea through digressions
and distractions that mimic the natural progression of thought within
the mind.
Memory
allows Wordsworth’s speakers to overcome the harshness of the
contemporary world. Recollecting their childhoods gives adults a chance
to reconnect with the visionary power and intense relationship they had
with nature as children. In turn, these memories encourage adults to
re-cultivate as close a relationship with nature as possible as an
antidote to sadness, loneliness, and despair. The act of remembering also allows the poet to write: Wordsworth argued in the 1802 preface to Lyrical Ballads that poetry sprang from the calm remembrance of passionate emotional experiences. Poems cannot be composed at the moment when emotion is first experienced. Instead,
the initial emotion must be combined with other thoughts and feelings
from the poet’s past experiences using memory and imagination.
The poem produced by this time-consuming process will allow the poet to
convey the essence of his emotional memory to his readers and will
permit the readers to remember similar emotional experiences of their
own.
Throughout his poems, Wordsworth fixates on vision and sight as the
vehicles through which individuals are transformed. As speakers move
through the world, they see visions of great natural loveliness, which
they capture in their memories. . In Book Fourteenth of The Prelude,
climbing to the top of a mountain in Wales allows the speaker to have a
prophetic vision of the workings of the mind as it thinks, reasons, and
feels.
___________
كانديد
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
_____________
XAMPLES 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.
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)
