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by Doris Lessing, England, (b.1919) 'The Golden Notebook', the landmark novel by Nobel Prize winner Doris Lessing, is a powerful account of a woman searching for her personal, political and professional identity amid the trauma of emotional rejection and sexual betrayal. In 1950s London, novelist Anna Wulf struggles with writer's block. Divorced with a young child, and fearful of going mad, Anna records her experiences in four coloured notebooks: black for her writing life, red for political views, yellow for emotions, blue for everyday events. But it is a fifth notebook - the golden notebook - that finally pulls these wayward strands of her life together. Widely regarded as Doris Lessing's masterpiece and one of the greatest novels of the twentieth century, 'The Golden Notebook' is wry and perceptive, bold and indispensable. == Beautiful, striking reissue of this classic Lessing novel. Widely regarded as one of the most influential books of the twentieth century Anna Wulf is a young novelist with writer's block. Divorced, with a young child, and disillusioned by unsatisfactory relationships, she feels her life is falling apart. In fear of madness, she records her experiences in four coloured notebooks. The black notebook addresses her problems as a writer; the red her political life; the yellow her relationships and emotions; and the blue becomes a diary of everyday events. But it is the fifth notebook -- the Golden Notebook -- which is the key to her recovery and renaissance. Bold and illuminating, fusing sex, politics, madness and motherhood, The Golden Notebook is at once a wry and perceptive portrait of the intellectual and moral climate of the 1950s -- a society on the brink of feminism -- and a powerful and revealing account of a woman searching for her own personal and political identity. == The Golden Notebook is a 1962 novel by Doris Lessing. This book, as well as the couple that followed it, enters the realm of what Margaret Drabble in The Oxford Companion to English Literature has called Lessing's "inner space fiction", her work that explores mental and societal breakdown. The book also contains a powerful anti-war and anti-Stalinist message, an extended analysis of communism and the Communist Party in England from the 1930s to the 1950s, and a famed examination of the budding sexual and women's liberation movements. The Golden Notebook has been translated into a number of other languages.In 2005, the novel was chosen by TIME magazine as one of the one hundred best English-language novels from 1923 to present.[1] The Golden Notebook is the story of writer Anna Wulf, the four notebooks in which she keeps the record of her life, and her attempt to tie them all together in a fifth, gold-colored notebook. The book intersperses segments of an ostensibly realistic narrative of the lives of Molly and Anna, and their children, ex-husbands and lovers—entitled Free Women—with excerpts from Anna's four notebooks, coloured black (of Anna's experience in Southern Rhodesia, before and during WWII, which inspired her own bestselling novel), red (of her experience as a member of the Communist Party), yellow (an ongoing novel that is being written based on the painful ending of Anna's own love affair), and blue (Anna's personal journal where she records her memories, dreams, and emotional life). Each notebook is returned to four times, interspersed with episodes from Free Women, creating non-chronological, overlapping sections that interact with one another. This post-modernistic styling, with its space and room for "play" engaging the characters and readers, is among the most famous features of the book, although Lessing insisted that readers and reviewers pay attention to the serious themes in the novel.[citation needed] Major themes</SPAN>All four notebooks and the frame narrative testify to the above themes of Stalinism, the Cold War and the threat of nuclear conflagration, and women's struggles with the conflicts of work, sex, love, maternity, and politics |
بعد رحلة عطاء... دوريس ليسينج تفوز بنوبل للآداب 2007 محيط - سميرة سليمان وكتبت ليسينج عشرات الكتب الأدبية والمسرحيات والسير الذاتية، إضافة إلى الكتب الأخرى، وقد سبقتها عشر نساء في الفوز بجائزة نوبل في الأدب، وحلت هي في المرتبة الحادية عشرة. مفاجأة ولكن علمت ليسينج بنبأ فوزها من خلال مجموعة من الصحافيين الذين وفدوا أمام بيتها، فيما هي عائدة من الخارج فاجأوها بأصوات صارخة: لقد فزت بجائزة نوبل للآداب. أجابتهم، على نحو غير متوقع: لم يخيل الي يوماً بأنني سأتمكن من الحصول على هذه الجائزة. فقد بلغت الثامنة والثمانين. أخشى ان يكون وقع الاختيار علي بعد ان بلغت من العمر عتيا. الأرجح انهم ارادوا بهذه الجائزة ان يمنحوني وداعاً أخيراً قبل أن أمضي مع الموت من دون عودة. وقد صرحت بأنها متفاجئة جدا بفوزها. وأضافت: في الحقيقة لقد نسيت أمر الجائزة، فاسمي احتل قائمة المتنافسين لوقت طويل. ولكنها أضافت بعد قليل - وفق ما ذكر موفق ملكاوي الذي ترجم عن صحيفة "الهيرالد تريبيون" البريطانية - أنها ربما لا تكون متفاجئة تماما، كون هذا الأمر استمر حوالي أربعين عاما ، في إشارة إلى العديد من السنوات التي أمضتها كفائزة محتملة. وأضافت: أنت لا تستطيع أن تنفعل كل عام حول هذا الأمر، فهناك حدود نهائية للانفعال . وصرحت ليسينج عقب إبلاغها بهذا الفوز المدّوى "أنا سعيدة جدا لكوني لا زلت على اتصال مع الناس، حيث أن هذا الإتصال الحميم في هذه السن المتأخرة يبدو وكأنه نوع من السحر المبهر". وبعد لحظات قصيرة، أعتذرت وانسحبت إلى الداخل، وهي تقول: الآن سأدخل لأجيب على الهاتف.. أقسم أنني صاعدة لإيجاد بعض الجمل المناسبة التي سأستعملها من الآن فصاعدا . تكره العنصرية اشتهرت الكاتبة البريطانية دوريس ليسنج أو "دوريس ماى تايلر" خلال مسيرتها الفكرية والأدبية بنضالها ضد المظالم والاستعمار والتمييز العنصري كما عُرفت بأفكارها المؤيدة لحقوق المرأة وهي مواضيع تناولتها بأسلوب يمزج بين الواقعية الاجتماعية و الإبداع الخيالي. ومع صدور روايتها "المفكرة الذهبية" 1962 تحولت ليسينج إلى أيقونة الحركات النسائية رغم أنها لم تنتمي يوما من الأيام إلى تلك الحركات. قالت الأكاديمية السويدية عن روايتها "دفتر الملاحظات الذهبي": إن حركة المساواة سريعة النمو رأته عملا رائدا ومبتكرا، وهو ينتمي إلى نوعية الكتب التي وجهت نظر القرن العشرين حول العلاقة بين الذكر والأنثى . كتبت ليسينج بشكل صريح حول الحياة الداخلية والروحية للنساء، ورفضت فكرة بإنه يتوجب عليهن أن يتركن حياتهن الخاصة للتفرغ للزواج والأطفال. سئلت، مرة، عن جنوح الرجل الى اثارة الحروب واراقة الدماء باعتباره كائناً سلطوياً بالدرجة الأولى. أجابت بأن للمرأة أيضاً حباً غريزياً دفيناً للسلطة اسوة بالرجل. كم تسببت المرأة، عبر التاريخ، بالمذابح والفتن والدعوة الى اراقة الدماء. نشرت دفتر الملاحظات الذهبي عام 1962، وهي تتبع قصة آنا وولف، المرأة التي أرادت أن تعيش حياتها بحرية، والتي كانت بشكل من الأشكال الذات الأخرى لليسينج. وهوجمت ليسينج بسبب الرواية واتهمت بأنها غير أنثوية، وكرد فعل على ذلك، كتبت تقول: على ما يبدو فإن ما تعتقد به العديد من النساء، وتشعر به وتواجهه، جاء كمفاجأة عظيمة . تقول ليسينج في مقابلة صحافية لجريدة "النيويورك تايمز" في 25 يوليو 1982: ان ما يطلبه النساء مني، في العادة، هو ان اوافقهن على امور لم يختبرنها في حياتهن اليومية، لانها نابعة من الدين في الأساس. يردن ان اشهد على أفكارهن هذه، ويفرضون علي ان اقف الى جانبهن دفاعاً عن فجر ذهبي مرتقب يخلو من الرجال المتوحشين. هل يرغبن في صوغ تعريف عن الرجل والمرأة بهذه البساطة الساذجة. في الواقع انني آسف لهذا الاستنتاج الذي توصلت اليه. وصرحت ليسينج أنها تحب تلاوة القصص وأن روايتها الأخيرة بعنوان "الشقوق" تواجه موضوعا ألهم الكثير من كتاباتها الأولى وهي كيف يتمكن الرجال والنساء "وهم مخلوقات متساوية غير أنها متباعدة من العيش جنبا إلى جنب". طفولة معذبة ولدت ليسينج في مايو 1919 بإيران، كان أبوها كاتبا في أحد المصارف، أما أمّها فقد كانت ممرضة. ومع إغراءات الإثراء السريع، انتقلت العائلة إلى روديسيا، حيث عاشت ليسينج ما وصفته بأنه طفولة مؤلمة. هربت من البيت عندما كان عمرها خمسة عشر عاما، ولم تنه تعليمها بعد ذلك، وإنما لجأت إلى القراءة لتثقيف نفسها. تتحدث ليسينج بصراحة مطلقة عن طفولتها في مسيرتها الذاتية الصادرة في جزءين "تحت جلدي" 1994 و"المشي في الظلال" 1997 وتتذكر أمها التي تراها الآن "شخصية مأساوية عاشت سنوات الخيبة بشجاعة وتحملتها بكبرياء". كانت الأم تعترف لطفلتها بأنها عانت من الجوع في الشهور العشرة الأولي من حياتها لدرجة الموت، تتذكرها ليسينج وهي تؤكد لها كم كانت تتمني أن تنجب ابنا "أعرف منذ البداية أنها كانت تحب أخي أكثر مني، كانت تفضله عليٌ، وباختصار كانت طفولتي جرحا مفتوحا يسير علي قدمين". في الجزء الأول من سيرتها الذاتية، تعترف بأنها كانت مع تفتح وعيها تبحث عن حقائق ووقائع جديدة.. "من هنا كانت خطوتي نحو فكرة: ماذا لو جعلنا الحرب مستحيلة؟ لا شك أن الدنيا سوف تمتلئ بالأصحاء والعقلاء وبالبشر الرائعين.. كنت أعيش في الخيال، نسجت بعقلي يوتوبيا خاصة صنع الأدب جزءا منها، أما الجزء الآخر فكان علي عكس كل ما أراه من حولي". في عام 1937 انتقلت إلى سالزبورج في إنجلترا، حيث تزوجت وأنجبت طفلين، وبعد سنوات قليلة شعرت بأنها ممحاصرة فتركت عائلتها. ثم تزوجت جوتفريد ليسينج العضو المركزي في المنظمة الشيوعية نادي كتاب اليسار . ترجمت بعض أعمال ليسنج للغة العربية كما ترجمت لها بعض النصوص القصيرة منها نذكر: الحشائش تغني، المفكرة الذهبية، شتاء في يوليو، الفهد، والتيه. جائزة مستحقة تعلق أستاذة أدب القرن العشرين في جامعة ساوثامبتون كلير هانسن على فوز ليسينغ بالقول: هذا شيء رائع، فخلال خمسين سنة، ظلت تكتب عن العالم والطرق التي تتم فيها النزاعات بين المجتمعات والأمم والمؤسسات، تلك النزاعات التي تهدد مستقبل المجتمع والكوكب . وتضيف: لقد ظلت توجه خطابها ناحية تلك القضايا بطريقة جدية وناقدة لعقود طويلة، فهي سبقت زمنها ببصيرتها الثاقبة وتفكيرها العميق . وترى هانسن بأن ليسينج، في العالم الأكاديمي، تبدو مقدرة ومعتبرة في الولايات المتحدة أكثر مما هي عليه في بريطانيا. وتضيف أن بعض الأكاديميين البريطانيين لم يغفروا لليسينج تركها الحزب الشيوعي في عام 1954، وأخيرا إنكارها للنظرية الأدبية الماركسية أثناء الأزمة الهنغارية في عام 1956. كما أن ليسينج واجهت المشاكل مع الأكاديميين من دعاة المساواة، وتؤكد هانسن بأن أحد الأشياء التي تصعب الأمر عليها كان كتابتها لرواية "دفتر الملاحظات الذهبي"، الذي ارتبط بالحركة النسائية، لتأتي بعد ذلك وترفض مبدأ المساواة بين الجنسين، ثم لتؤكد بأنها ليست من مؤيدي هذه المساواة، ولم تكن كذلك في يوم من الأيام . وتضيف هانسن أن الذي لم يحببها إلى المؤسسة الأدبية هي أن الاهتمامات ضيقة الأفق في العالم الأدبي تصيب الأشخاص في هذه البلاد بالعمى لكي لا يروا عظمتها ككاتبة . ويقول طلعت الشايب الناقد والمترجم: تعتبر ليسنج جزءا مهما من التراث الأدبي للقرن العشرين، حيث تؤرخ أعمالها الروائية والقصصية للعصر بما فيها من تنوع يصعب معه تصنيف صاحبتها نقديا كان الهم الرئيسي لديها في كل ما تكتبه بما في ذلك سيرتها الذاتية البحث عن شيء جديد في مواجهة تكرار التاريخ واجتراره علي نحو كابوسي. نزعة صوفية تمثل مرحلة السبعينيات والثمانينيات تطورا جديدا بالنسبة لليسنج حيث تحولت كتابتها الروائية إلى مرحلة من التصوف والتأمل عبرت عنها خلال رواياتها "بيان موجز لمنحدر إلى سقر" 1971، و"مذكرات ناج من الموت" 1974، و"سهيل فى آرجوس" 1979. وقد توقفت ليسنج عن الكتابة بضع سنوات تتلمذت خلالها على ايدي بعض رجال التصوف المسلمين وقد تأثرت بهذه الأجواء في رباعيتها التي نشرتها بين عامي 1976 و1983 والتي اطلقت عليها رباعية الفضاء الميتافيزيقية. وتأثرت دوريس ليسنج بالكاتب الأفغاني إدريس شاه الذي تعكس كتاباته الروحانية الصوفية وتؤكد على تطور الوعي والإعتقاد بأن الفرد لا يكاد يكون إلا إذا فهم الناس الإرتباط الخاص بينه وبين المجتمع الذي يعيش فيه. من الأعمال الأخرى التي كتبتها ليسينج في الثمانينيات رواية "الإرهابي الطيب" 1985، و"الطفل الخامس" 1988، بالإضافة إلى روايتين تحت اسم مستعار هو "جين سومرز" وهما: "مذكرات جار طيب"، و"إن كان الكبار يستطيعون". من الجوائز التي حصلت عليها نذكر: جائزة سومرست موغهام (1954)، جائزة الروائيين الاجانب (1976)، جائرة الادب الأوروبي (1981)، جائزة شكسبير (1982)، جائزة باليرمو (1987)، جائزة الرواية الدولية (1987)، جائزة جايمس بلاك (1995)، جائزة لوس انجيليس تايمز (1995)، جائزة القلم الذهبي (2002)، وغيرها من الجوائز. من مؤلفاتها: العشب يغني (1950)، سلسلة "أبناء العنف" (1952 ـ 1969)،خمس قصص قصيرة (1953)، كان هذا ريف الزعيم المسن (1951)، المفكرة الذهبية (1962)، عادة الحب (1957)، اللعب مع نمر (1962)، رجل وامرأتان (1963)، الصيف قبل الظلام (1973)، صوت ذاتي صغير (1974)، الطفل الخامس (1988)، الضحكة الأفريقية (1992)، تحت جلدي (1994)، السير في الظلال (1997)، لندن تحت الملاحظة (1993)، سيرتي الذاتية (1994)، الجواسيس الذين عرفتهم (1995)، وغيرها من المؤلفات. |
Doris Lessing was the winner of the 2007 Nobel Prize for Literature and is one of the most important writers of the second half of the twentieth century. Her first novel, 'The Grass is Singing' was published in 1950, and since then her international reputation has flourished. Among her other celebrated novels are 'The Golden Notebook', 'The Summer Before the Dark', and 'Memoirs of a Survivor'. Her most recent works include two volumes of autobiography, 'Under my Skin' and 'Walking in the Shade', and her most recent novel is 'The Cleft' == Doris May Lessing CH (née Tayler; born 22 October 1919) is a British novelist, poet, playwright, librettist, biographer and short story writer. Her novels include The Grass Is Singing (1950), the sequence of five novels collectively called Children of Violence (1952–69), The Golden Notebook (1962), The Good Terrorist (1985), and five novels collectively known as Canopus in Argos: Archives (1979–1983).Lessing was awarded the 2007 Nobel Prize in Literature. In doing so the Swedish Academy described her as "that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny".[1] Lessing was the eleventh woman and the oldest person to ever receive the Nobel Prize in Literature.[2][3][4] In 2001, Lessing was awarded the David Cohen Prize for a lifetime's achievement in British Literature. In 2008, The Times ranked her fifth on a list of "The 50 greatest British writers since 1945".[5] Early life</SPAN> Lessing was born in Iran, then known as Persia, on 22 October 1919, to Captain Alfred Tayler and Emily Maude Tayler (née McVeagh), who were both English and of British nationality. Her father, who had lost a leg during his service in World War I, met his future wife, a nurse, at the Royal Free Hospital where he was recovering from his amputation. Alfred Tayler and his wife moved to Kermanshah, Iran, in order to take up a job as a clerk for the Imperial Bank of Persia and it was there that Doris was born in 1919. The family then moved to the then British colony of Southern Rhodesia (now Zimbabwe) in 1925 to farm maize, among other plants, when her father purchased around one thousand acres of bush. - Lessing's mother attempted to lead an Edwardian lifestyle amidst the rough environment, which would have been easy had the family been wealthy; in reality, such a lifestyle was not feasible. The farm failed to deliver any monetary value in return . - Lessing was educated at the Dominican Convent High School, a Roman Catholic convent all-girls school in Salisbury (now Harare). - She left school at the age of 14, and was self-educated from there on; - she left home at 15 and worked as a nursemaid. She started reading material that her employer gave her, on politics and sociology [8] and began writing around this time. In 1937, Lessing moved to Salisbury to work as a telephone operator, and she soon married her first husband, Frank Wisdom, with whom she had two children (John and Jean), before the marriage ended in 1943.[8] Following her first divorce, Lessing's interest was drawn to the popular community of the Left Book Club, a communist book club which she had joined the year before. It was here that she met her future second husband, Gottfried Lessing. They were married shortly after she joined the group, and had a child together (Peter), before the marriage failed and ended in divorce in 1949. - After these two failed marriages, she has not been married since. - Later on Gottfried Lessing became the East German ambassador to Uganda, and was murdered in the 1979 rebellion against Idi Amin Dada. When she fled to London to pursue her writing career and communist beliefs, she left two toddlers with their father in South Africa (another, from her second marriage, went with her). She later said that at the time she thought she had no choice: "For a long time I felt I had done a very brave thing. There is nothing more boring for an intelligent woman than to spend endless amounts of time with small children. I felt I wasn't the best person to bring them up. I would have ended up an alcoholic or a frustrated intellectual like my mother." |
دوريس ليسينغ النشأة</SPAN>(بالإنجليزية: Doris Lessing؛ ولدت في 22 أكتوبر 1919م تحت اسم دوريس ماي تايلر بالإنجليزية: Doris May Tayler) هي كاتبة وروائية بريطانية، حازت على جائزة نوبل للآداب عام 2007، وتعتبر السيدة الحادية عشر التي تحوز على الجائزة في فئة الأدب، وأكبر الفائزين عمراً في هذه الفئة [1][2]. ولدت ليسينغ في مدينة كرمانشاه في بلاد فارس (إيران حالياً)، حيث عمل أباها هناك كموظف في البنك الفارسي الملكي. انتقلت العائلة بعد ذلك إلى مستعمرة بريطانية في روديشيا الجنوبية (زيمبابوي حالياً) عام 1925م، حيث امتلكت مزرعة، إلا أنها لم تدر أرباحاً بعكس توقعات العائلة. إرتادت ليسينغ مدرسة دومينيكان كوفينت الثانوية حتى بلغت الثالثة عشرة من العمر، حيث أكملت تعليمها بنفسها بعد ذلك [2]. ولما بلغت الخامسة عشر من عمرها، استقلت عن منزل أسرتها وعملت كممرضة، وبدأت من ذلك الوقنت قراءاتها في مجالي السياسة وعلم الاجتماع، وكان ذلك أيضا حين بدأت أول محاولاتها في الكتابة. في عام 1937 انتقلت ليسينغ إلى مدينة سايسبوري، حيث اشتغلت كعاملة تليفونات، وسرعان ما تزوجت للمرة الأولى، وكان ذلك من فرانك وسدوم، الذي انجبت منه طفلين، قبل أن تنتهي تلك الزيجة عام 1943. انضمت ليسينغ بعد طلاقها إلى نادي كتب اليسار، وهو أحد نوادي الكتب الشيوعية، والذي تعرفت فيه على جوتفريد ليسينغ، والذي سرعان ما أصبح زوجها الثاني بمجرد التحاقها بالمجموعة، وانجبت منه طفلا واحدا قبل أن تنتهي تلك الزيجة أيضا، وذلك في 1949. اتجهت ليسينغ من فورها إلى لندن، ساعية وراء أحلامها الشيوعية ومشوارها الأدبي. وقد تركت طفليها الأولين من زواجها الأول مع أبيهما في جنوب أفريقيا وأصطحبت معها الابن الأصغر. ولقد علقت ليسينغ على ذلك فيما بعد بأن قالت أنها شعرت في ذلك الوقت بأنه لا خيار أمامها، كما قالت: "لطالما ظننت أن ما فعلته هو أمر في غاية الشجاعة. فلا شيء أكثر إملالا لامرأة مثقفة من أن تقضي وقتها بلا نهاية مع أطفالا صغار. فلقد شعرت أني لست أصلح الناس لتربيتهم، وأني لو كنت قد استمررت، لانتهى بي الأمر كمدمنة للخمر أو كإنسانة محبطة مثلما حدث لأمي". نتيجة للتنوع الحضاري الذي تعرضت إليه ليسينغ خلال حياتها، فقد تمكنت من استخدامه بفعالية في كتاباتها، والتي كانت تتحدث في الغالب عن المشاكل والأحداث في تلك الفترة الزمنية. من أشهر مؤلفاتها "The Golden Notebook.. Doris Lessing was born Doris May Tayler in Persia (now Iran) on October 22, 1919. Both of her parents were British: her father, who had been crippled in World War I, was a clerk in the Imperial Bank of Persia; her mother had been a nurse. In 1925, lured by the promise of getting rich through maize farming, the family moved to the British colony in Southern Rhodesia (now Zimbabwe). Doris's mother adapted to the rough life in the settlement, energetically trying to reproduce what was, in her view, a civilized, Edwardian life among savages; but her father did not, and the thousand-odd acres of bush he had bought failed to yield the promised wealth. Lessing has described her childhood as an uneven mix of some pleasure and much pain. The natural world, which she explored with her brother, Harry, was one retreat from an otherwise miserable existence. Her mother, obsessed with raising a proper daughter, enforced a rigid system of rules and hygiene at home, then installed Doris in a convent school, where nuns terrified their charges with stories of hell and damnation. Lessing was later sent to an all-girls high school in the capital of Salisbury, from which she soon dropped out. She was thirteen; and it was the end of her formal education. But like other women writers from southern African who did not graduate from high school (such as Olive Schreiner and Nadine Gordimer), Lessing made herself into a self-educated intellectual. She recently commented that unhappy childhoods seem to produce fiction writers. "Yes, I think that is true. Though it wasn't apparent to me then. Of course, I wasn't thinking in terms of being a writer then - I was just thinking about how to escape, all the time." The parcels of books ordered from London fed her imagination, laying out other worlds to escape into. Lessing's early reading included Dickens, Scott, Stevenson, Kipling; later she discovered D.H. Lawrence, Stendhal, Tolstoy, Dostoevsky. Bedtime stories also nurtured her youth: her mother told them to the children and Doris herself kept her younger brother awake, spinning out tales. Doris's early years were also spent absorbing her fathers bitter memories of World War I, taking them in as a kind of "poison." "We are all of us made by war," Lessing has written, "twisted and warped by war, but we seem to forget it." In flight from her mother, Lessing left home when she was fifteen and took a job as a nursemaid. Her employer gave her books on politics and sociology to read, while his brother-in-law crept into her bed at night and gave her inept kisses. During that time she was, Lessing has written, "in a fever of erotic longing." Frustrated by her backward suitor, she indulged in elaborate romantic fantasies. She was also writing stories, and sold two to magazines in South Africa. Lessing's life has been a challenge to her belief that people cannot resist the currents of their time, as she fought against the biological and cultural imperatives that fated her to sink without a murmur into marriage and motherhood. "There is a whole generation of women," she has said, speaking of her mother's era, "and it was as if their lives came to a stop when they had children. Most of them got pretty neurotic - because, I think, of the contrast between what they were taught at school they were capable of being and what actually happened to them." Lessing believes that she was freer than most people because she became a writer. For her, writing is a process of "setting at a distance," taking the "raw, the individual, the uncriticized, the unexamined, into the realm of the general." In 1937 she moved to Salisbury, where she worked as a telephone operator for a year. At nineteen, she married Frank Wisdom, and had two children. A few years later, feeling trapped in a persona that she feared would destroy her, she left her family, remaining in Salisbury. Soon she was drawn to the like-minded members of the Left Book Club, a group of Communists "who read everything, and who did not think it remarkable to read." Gottfried Lessing was a central member of the group; shortly after she joined, they married and had a son. = Her childhood was lonely, the nearest neighbours were miles away and there was no real roads between the farms. طفولة كارثيةن شعور قاسي بالوحدة، في مزرعة منعزلة لا يوجد حولها احد ولا ترتبط في العالم بطرق. ام صعبة . مدرسة راهبات داخلية، تركت المدرسة في سن 13 وهربت من المنزل في سن 15 سنة. يتيمة اجتماعيا. |
by Charles Dickens, England, (1812-1870) Considered by many to be Dickens' finest novel, Great Expectations traces the growth of the book's narrator, Philip Pirrip (Pip), from a boy of shallow dreams to a man with depth of character. From its famous dramatic opening on the bleak Kentish marshes, the story abounds with some of Dickens' most memorable characters. Among them are the kindly blacksmith Joe Gargery, the mysterious convict Abel Magwitch, the eccentric Miss Haversham and her beautiful ward Estella, Pip's good-hearted room-mate Herbert Pocket and the pompous Pumblechook. As Pip unravels the truth behind his own 'great expectations' in his quest to become a gentleman, the mysteries of the past and the convolutions of fate through a series of thrilling adventures serve to steer him towards maturity and his most important discovery of all - the truth about himself. = Collins Classics is proud to present Charles Dickens's 'Great Expectations' - now a major film starring Helena Bonham Carter and Ralph Feinnes. 'Take nothing on its looks; take everything on evidence. There's no better rule.' Living with his sister and her husband, Pip is an orphan without any expectations. It is only when he begins to visit a rich old woman, Miss Havisham and her adopted niece that he begins to hope for something better. When it is revealed that Pip has inherited a large sum of money from a mysterious benefactor on the condition that he moves to London to become a gentleman, Pip's adventure really begins. Epic, illuminating and memorable, Dickens mysterious tale of Pip's quest to find the truth about himself is one of his most enduring and popular novels to date. == Great Expectations is Charles Dickens' thirteenth novel. It is the second novel, after David Copperfield, to be fully narrated in the first person.[N 1] Great Expectations is a bildungsroman, or a coming-of-age novel, and the story genre is Victorian Literature.[1] It depicts the growth and personal development of an orphan named Pip. The novel was first published in serial form in Dickens' weekly periodical All the Year Round, from 1 December 1860 to August 1861.[2] In October 1861, Chapman and Hall published the novel in three volumes.Great Expectations was to be twice as long, but All the Year Round's management constraints limited the novel's length. Collected and dense, with a conciseness unusual for Dickens, the novel represents Dickens' peak and maturity as an author. Great Expectations was written, according to G. K. Chesterton, in "the afternoon of his life and glory," and the penultimate novel Dickens completed, preceding Our Mutual Friend. It is set among the marshes of Kent and in London in the early-to-mid 1800s.[1] From the outset, the reader is "treated" by the terrifying encounter between Pip, the protagonist, and the escaped convict, Abel Magwitch.[3] Great Expectations is a graphic book, full of extreme imagery, poverty, prison ships, "the hulks," barriers and chains, and fights to the death.[3] It therefore combines intrigue and unexpected twists of autobiograhical detail in different tones. Regardless of its narrative technique, the novel reflects the events of the time, Dickens' concerns, and the relationship between society and man. The novel received mixed reviews from contemporary critics: Thomas Carlyle speaks of "All that Pip's nonsense,"[4] while George Bernard Shaw praised the novel: "All of one piece and Consistently truthfull."[5] George Orwell wrote; "Psychologically the latter part of Great Expectations is about the best thing Dickens ever did."[6] Dickens felt Great Expectations was his best work, calling it "a very fine idea,"[7] and was very sensitive to compliments from his friends: "Bulwer, who has been, as I think you know, extraordinarily taken by the book."[8] Great Expectations has a colourful cast that has remained in popular culture: the capricious Miss Havisham, the cold and beautiful Estella, Joe the blacksmith who is always kind and generous, the dry and sycophantic Uncle Pumblechook, Mr Jaggers, Wemmick and his dual personality, and the eloquent and wise friend, Herbert Pocket. Throughout the narrative, typical Dickensian themes emerge: wealth and poverty, love and rejection, and the eventual triumph of good over evil.[3] Great Expectations has become very popular and is now taught as a classic in many English classes. It has been translated into many languages and adapted many times in film and other media |
Charles Dickens was a brilliant and prolific writer, probably the most famous nineteenth century English novelist. He was very successful during his lifetime and his books have never been out of print. The exciting plots and fantastic characters in his books have meant they have all been adapted (in some cases, many times over) for television or the big screen. Charles Dickens was born on 7 February 1812 in Portsmouth. He was one of eight children, and at first his family enjoyed a happy life in the countryside of Kent. But Dickens' father was not very good at managing his money, and when the family fell into financial difficulties they had to move to London. In Dickens' time people who could not pay their debts were sent to a kind of prison, and Dickens' father eventually ended up in one of these debtor's prisons, called the Marshalsea. Charles was forced to leave school and go to work in a 'blacking factory' where he pasted labels on to pots for many hours a day. Even though Charles was only twelve at this time, he understood that without education he would never escape the poverty that had so entrapped his family. Charles often used his childhood experiences in his books. For instance, in David Copperfield, the hero Davy is taken out of school by his cruel stepfather and sent to work in a similar factory. Another novel, Little Dorrit, is set in and around the Marshalsea prison. Fortunately Charles was eventually sent back to school. He went to work as a lawyer's clerk, and then as a political reporter. In 1833 he began to publish short stories and essays in newspapers and magazines. His first book, The Pickwick Papers, was published in instalments in a monthly magazine, and was a roaring success. Even before this book was finished, Charles began writing another novel, Oliver Twist. This is one of his most famous books - perhaps you've read it, or seen the musical or one of the film adaptations? Many other novels followed and Dickens became a celebrity in America as well as Britain. He also set up and edited the journals Household Words (1850-9) and All the Year Round (1859-70). Dickens used his books to highlight the suffering of the poor, the inadequate support provided to them, and the massive inequalities between the different ranks of society. This social and political commentary was very influential and it is believed Dickens' work did a great deal to reform workhouses, prisons, and most particularly public opinion of the working classes. Charles travelled all over Britain and America giving public readings from his books. He was a wonderful performer(at one point he had wanted to be an actor) and his readings were said to be electrifying - women in the audience would scream and faint when he read about the murder of Nancy from Oliver Twist. His readings were therefore extremely popular, and on some occasions Dickens only charged a penny for tickets so that poorer people could also attend. In later years, these energetic readings took a terrible toll on his failing health. Dickens died after stroke on 9 June 1870, leaving his last novel, The Mystery of Edwin Drood, unfinished. He is buried in Westminster Abbey == Charles John Huffam Dickens was born on 7 February 1812, at Landport in Portsea, the second of eight children to John Dickens (1785-1851) and Elizabeth Dickens (née Barrow 1789-1863). His father was a clerk in the Navy Pay Office and was temporarily on duty in the district. Very soon after his birth the family moved to Norfolk Street, Bloomsbury, and then, when he was four, to Chatham, Kent, where he spent his formative years until the age of 11. His early years seem to have been idyllic, though he thought himself a "very small and not-over-particularly-taken-care-of boy".[13]Charles spent time outdoors, but also read voraciously, especially the picaresque novels of Tobias Smollett and Henry Fielding. He retained poignant memories of childhood, helped by a near-photographic memory of people and events, which he used in his writing.[14] His father's brief period as a clerk in the Navy Pay Office gave him a few years of private education, first at a dame-school, and then at a school run by William Giles, a dissenter, in Chatham.] Illustration by Fred Bernard of Dickens at work in a shoe-blacking factory after his father had been sent to the Marshalsea, published in the 1892 edition of Forster's Life of Dickens[16] This period came to an abrupt end when, because of financial difficulties, the Dickens family moved from Kent to Camden Town in London in 1822. Prone to living beyond his means,[17] John Dickens was imprisoned in the Marshalseadebtors' prison in Southwark London in 1824. Shortly afterwards, his wife and the youngest children joined him there, as was the practice at the time. Charles, then 12 years old, was boarded with Elizabeth Roylance, a family friend, in Camden Town.[18] Roylance was "a reduced [impoverished] old lady, long known to our family", whom Dickens later immortalised, "with a few alterations and embellishments", as "Mrs. Pipchin", in Dombey and Son. Later, he lived in a back-attic in the house of an agent for the Insolvent Court, Archibald Russell, "a fat, good-natured, kind old gentleman ... with a quiet old wife" and lame son, in Lant Street in The Borough.[19] They provided the inspiration for the Garlands in The Old Curiosity Shop.[20]On Sundays—with his sister Frances, free from her studies at the Royal Academy of Music—he spent the day at the Marshalsea.[21] Dickens would later use the prison as a setting in Little Dorrit. To pay for his board and to help his family, Dickens was forced to leave school and work ten-hour days at Warren's Blacking Warehouse, on Hungerford Stairs, near the present Charing Cross railway station, where he earned six shillings a week pasting labels on pots of boot blacking. The strenuous and often cruel working conditions made a lasting impression on Dickens and later influenced his fiction and essays, becoming the foundation of his interest in the reform of socio-economic and labour conditions, the rigours of which he believed were unfairly borne by the poor. He later wrote that he wondered "how I could have been so easily cast away at such an age".[22] As he recalled to John Forster (from The Life of Charles Dickens): The blacking-warehouse was the last house on the left-hand side of the way, at old Hungerford Stairs. It was a crazy, tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old grey rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs at all times, and the dirt and decay of the place, rise up visibly before me, as if I were there again. The counting-house was on the first floor, looking over the coal-barges and the river. There was a recess in it, in which I was to sit and work. My work was to cover the pots of paste-blacking; first with a piece of oil-paper, and then with a piece of blue paper; to tie them round with a string; and then to clip the paper close and neat, all round, until it looked as smart as a pot of ointment from an apothecary's shop. When a certain number of grosses of pots had attained this pitch of perfection, I was to paste on each a printed label, and then go on again with more pots. Two or three other boys were kept at similar duty down-stairs on similar wages. One of them came up, in a ragged apron and a paper cap, on the first Monday morning, to show me the trick of using the string and tying the knot. His name was Bob Fagin; and I took the liberty of using his name, long afterwards, in Oliver Twist.[22] After a few months in Marshalsea, John Dickens's paternal grandmother, Elizabeth Dickens, died and bequeathed him the sum of £450. On the expectation of this legacy, Dickens was granted release from prison. Under the Insolvent Debtors Act, Dickens arranged for payment of his creditors, and he and his family left Marshalsea,[23] for the home of Mrs. Roylance. Although Charles eventually attended the Wellington House Academy in North London, his mother Elizabeth Dickens did not immediately remove him from the boot-blacking factory. The incident may have done much to confirm Dickens's view that a father should rule the family, a mother find her proper sphere inside the home. "I never afterwards forgot, I never shall forget, I never can forget, that my mother was warm for my being sent back". His mother's failure to request his return was a factor in his dissatisfied attitude towards women.[24] Righteous anger stemming from his own situation and the conditions under which working-class people lived became major themes of his works, and it was this unhappy period in his youth to which he alluded in his favourite, and most autobiographical, novel, David Copperfield:[25] "I had no advice, no counsel, no encouragement, no consolation, no assistance, no support, of any kind, from anyone, that I can call to mind, as I hope to go to heaven!" The Wellington House Academy was not a good school. "Much of the haphazard, desultory teaching, poor discipline punctuated by the headmaster's sadistic brutality, the seedy ushers and general run-down atmosphere, are embodied in Mr. Creakle's Establishment in David Copperfield."[26] Dickens worked at the law office of Ellis and Blackmore, attorneys, of Holborn Court, Gray's Inn, as a junior clerk from May 1827 to November 1828. Then, having learned Gurney's system of shorthand in his spare time, he left to become a freelance reporter. A distant relative, Thomas Charlton, was a freelance reporter at Doctors' Commons, and Dickens was able to share his box there to report the legal proceedings for nearly four years.[27][28] This education was to inform works such as Nicholas Nickleby, Dombey and Son, and especially Bleak House—whose vivid portrayal of the machinations and bureaucracy of the legal system did much to enlighten the general public and served as a vehicle for dissemination of Dickens's own views regarding, particularly, the heavy burden on the poor who were forced by circumstances to "go to law". In 1830, Dickens met his first love, Maria Beadnell, thought to have been the model for the character Dora in David Copperfield. Maria's parents disapproved of the courtship and ended the relationship by sending her to school in Paris. |
تشارلز جون هوفام ديكنز نشأته7 فبراير 1812 إلى 9 يونيو 1870 هو روائي إنجليزي. يُعتبر بإجماع النُّقّاد أعظم الروائيين الإنكليز في العصر الفكتوري، ولا يزال كثيرٌ من أعماله يحتفظ بشعبيّته حتى اليوم. تميَّز أسلوبه بالدُّعابة البارعة والسخرية اللاذعة. صوَّر جانباً من حياة الفقراء، وحمل على المسؤولين عن المياتم والمدارس والسجون حملةً شعواء. من أشهر آثاره: "أوليفر تويست" Oliver Twist (عام 1839) و "قصة مدينتين" A Tale of Two Cities (عام 1859) نقلهما إلى العربية منير البعلبكي، و"دايفيد كوبرفيلد" David Copperfield (عام 1850) و "أوقات عصيبة"Hard times. وهو (عضو الجمعية الملكية للفنون) (بالإنكليزية: Charles John Huffam Dickens) روائي إنكليزي من أكثر كُتاب العصر الفيكتوري شعبية وناشط اجتماعي ، وعُرف باسمٍ مستعار هو "بوز".توفي بسبب أزمة دماغية حادة. مجد الناقدان غيورغ غيسنغ وجي. كيه. تشسترتون أستاذية ديكنز النثرية، وابتكاراته المتواصلة لشخصيات فريدة، وقوة حسه الاجتماعية. لكن زملاءه الأدباء مثل جورج هنري لويس وهنري جيمس وفيرجينيا وولف عابوا أعماله لعاطفيتها المفرطة ومصادفاتها غير المحتملة، وكذلك بسبب التصوير المبالغ فيه لشخصياته.[1] بسبب شعبية روايات ديكنز وقصصه القصيرة فإن طباعتها لم تتوقف أبداً.[2][3] ظهر عديد من روايات ديكنز في الدوريات والمجلات بصيغة مسلسلة أولاً، وكان ذلك الشكل المفضل للأدب وقتها. وعلى عكس الكثيرين من المؤلفين الآخرين الذين كانوا ينهون رواياتهم بالكامل قبل نشرها مسلسلة، فإن ديكنز كان غالباً يؤلف عمله على أجزاء بالترتيب الذي يُريد أن يظهر عليه العمل. أدت هذه الممارسة إلى إيجاد إيقاع خاص لقصصه يتميز بتتابع المواقف المثيرة الصغيرة واحداً وراء الآخر ليبقي الجمهور في انتظار الجزء الجديد.[4] ولد تشارلز جون هوفام ديكنز في (لاندبورت بورتسي) في جنوب إنجلترا عام 1812م.لأبوين هما جون وإليزابيث ديكنز وكان ثاني أخوته الثمانبه, و طفولته وأثرها على كتاباته- عاش طفولة بائسة لأن أباه كان يعمل في وظيفة متواضعه ويعول أسرته كبيرة العدد لهذا اضطر إلى السلف والدين ولم يستطع السداد فدخل السجن - لهذا اضطر لترك المدرسة وهو صغير وألحقه أهله بعمل شاق بأجر قليل حتى يشارك في نفقة الأسرة، و - كانت تجارب هذه الطفولة التعسة ذات تأثير في نفسه فتركت انطباعات إنسانية عميقة في حسه والتي انعكست بالتالي على أعماله فيما بعد. و قد كتب تشارلز عن هذه الانطباعات والتجارب المريرة التي مر بها أثناء طفولته في العديد من قصصه ورواياته التي ألفها عن أبطال من الأطفال الصغار الذين عانوا كثيرا ً وذاقوا العذاب ألوانا ً وعاشوا في ضياع تام بسبب الظروف الاجتماعية الصعبة التي كانت سائدة في (إنجلترا) في عصره، ونجد أن شخصيته الرائعة تجلت بوضوح فنجده بالرغم من المشقة التي كان يعاني منها في طفولته إلا أنه كان يستغل أوقات فراغه من العمل الشاق، فينكب على القراءة والاطلاع على الكتب كما كان يحرص على التجول وحيدا ً في الأحياء الفقيرة بمدينة الضباب الاصطناعي (لندن) حيث يعيش الناس حياة بائسة مريعة وخارجة عن القانون في بعض الأحيان .و كان قد تأثر في القوانين الليبرالية في عصره فوصف بيوت العمل التي نشأت وفق قانون الفقراء الإنكليزي لسنة 1834 في روايته الشهيرة أوليفر توست و في العديد من القصص والروايات التي كانت من إبداعاته وصف ديكنز هذه الأحياء الفقيرة بكل تفاصيلها وبكل المآسي التي تدور فيها، وعندما وصل إلى سن العشرين تمكنت الأسرة أخيرا ً من إلحاقه بأحد المدارس ليكمل تعليمه. و في نفس الوقت كان يعمل مراسلا ً لأحدى الجرائد المحلية الصغيرة لقاء أجر متواضع أيضا ً، ولكنه لم يهتم بالأجر فلقد تفانى في هذا العمل الصحفي الذي كان بمثابة أولى خطواته لتحقيق أحلامه فقد كان بمثابة تمرين له على حرفة الأدب، ولقد أتاح له هذا العمل الصحفي أن يتأمل أحوال الناس على مختلف مستوياتهم الاجتماعية والأخلاقية فخرج بالعديد من التجارب الإنسانية والأخلاقية التي وسعت آفاقه ومداركه الأدبية والحياتية. عاش طفولة بائسة، دخله والده السجن، بسبب الفقر والديون. اضطر للعمل مبكرا وعانى الكثير. لا يعرف متى مات والديه، لكن لدينا ما يكفي من الادلة انه عاش يتيما اجتماعيا. يتيم اجتماعي. |
by Jonathan Swift, Ireland, (1667-1745) Jonathan Swift's classic satirical narrative was first published in 1726, seven years after Defoe's Robinson Crusoe (one of its few rivals in fame and breadth of appeal). As a parody travel-memoir it reports on extraordinary lands and societies, whose names have entered the English language: notably the minute inhabitants of Lilliput, the giants of Brobdingnag, and the Yahoos in Houyhnhnmland, where talking horses are the dominant species. It spares no vested interest from its irreverent wit, and its attack on political and financial corruption, as well as abuses in science, continue to resonate in our own times. = HarperCollins is proud to present its new range of best-loved, essential classics. 'I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl upon the surface of the earth.' Shipwrecked on the high seas, Lemuel Gulliver finds himself washed up on the strange island of Lilliput, a land inhabited by quarrelsome miniature people. On his travels he continues to meet others who force him to reflect on human behaviour - the giants of Brobdingnag, the Houyhnhnms and the Yahoos. In this scathing satire on the politics and morals of the 18th Century, Swift's condemnation of society and its institutions still resonates today. == تتألف رحلات حلفر من أربع رحلات، لكن معظم المترجمين العرب لم يقدموا للقراء سوى ترجمات منقحة ومبسطة أو مهذبة ومختصرة للرحلة الأولى فقط أو الثانية أو هما معا، مهملين بشكل عام الرحلتين الثالثة والرابعة. وقد أدى هذا إلى نشوء فهم خاطئ بأنها مجرد قصة خيالية عن عمالقة وأقزام، وأنها حكاية موجهة للصغار دون الكبار. والترجمة التي قام بها الأستاذ بقسم اللغة الإنجليزية بجامعة الكويت الدكتور محمد رجا عبد الرحمن الدريني تصحح هذا الفهم الخاطئ وتقدم ترجمة أمينة وصحيحة وكاملة عن الرحلات الأربع، وتؤكد أن النص يخاطب جميع الأعمار، كما أنه قام بجمع الرحلات الأربع في نسخة واحدة كاملة مترجمة عن النص الإنجليزي بخلاف ما درجت عليه عادة المترجمين العرب، دون مسوغ، من تجزيئها إلى أجزاء غير متلاحمة. ولا يكتفي بذلك بل يقدم دراسة قيمة عن الكاتب والقصة وأساليبها القصصية والفنية وأحداثها الواقعية والغريبة والفانتازية وأهم موضوعاتها الرئيسية، مع مراجع مختارة لمن أراد التوسع حول دور الكتاب وتأثيره الكبير في الغرب والشرق. أما رحلات جلفر الأرع فهي: 1- رحلة إلى ليليبوت. 2- رحلة إلى بروبدنجناج. 3- رحلة إلى لابوتا. 4- رحلة إلى بلاد الهوينهم == رحلات جوليفر أشهر أعمال الكاتب جوناثان سويفت (1667-1745 م)، الذي يعده الكثير أعظم مؤلف ساخر إنجليزي. تروي القصة حكاية لومويل جوليفر وهو طبيب إنجليزي بارد الأعصاب، ونادراً ما يبدي أي انطباع شخصي أو استجابة عاطفية عميقة. الجزء الأول: رحلة إلى ليليبوت 4 مايو 1699 – 13 أبريل 1702 عمل غاليفر جراحًا على سفينة تتجه إلى الشرق، فواجهت السفينة عاصفة حطمتها لكن غالفير قد نجى من العاصفة ووصل إلى أرض نام فيها، اكتشف فيما أنها أرض لأقزام متوسط طول الواحد منهم 15 سم. قام الأقزام بحبسه وأطعموه، ثم تعلم غاليفر لغتهم وزار عاصمتهم، ثم أطلعه أحد مستشاري الملك على المشاكل في ليليبوت (اسم الدولة)؛ أولًا كان هناك حزبين في الدولة الأول يقوم على تقليد الأجداد حيث يرتدون الأحذية ذات النعل العالي، والثاني يقومون على تقليد حديث حيث يرتدون الأحذية ذات النعل المنخفض. وثانيًا هو أن الناس كانت تأكل البيض من النهاية الكبرى ثم قُطع إصبع جد الملك فأصدر قانونًا بأكل البيض من النهاية الصغرى فرفض بعض الناس ذلك وتمردوا فهربوا إلى بلد مجلورة تُسمَّى بليفوسكو، فعرض عليه المستشار المساعدة منه في الحرب. وافق غاليفر على ذلك وأعد خطة بأن يأخذ أسطول تلك البلد المسماة بليفوسكو؛ وبالفعل أخذه وعاد إلى ليليبوت فعرض عليه الملك أن يأخذ أهل بليفوسكو أسرى لديه لكنه رفض ذلك فقرر الملك أن يعاقبه؛ لكن أحد المستشارين أخبره أنهم سيجعلونه أعمى ولن يعطونه أي طعام فهرب إلى بليفوسكو ورحب به ملكها حيث عاش في بلده عدة أشهر حتى وجد قاربًا فأصلحه وأبحر به حتى وجد سفينة إنجليزية عاد بها إلى لندن. الجزء الثاني: رحلة إلى بروبدنجناج20 يونيو 1702 – 3 يونيو 1706 جوليفر في بربد نجناج بريشة ريتشارد ريدچريف غادر غاليفر إنجلترا مرة أخرى في رحلة تتجه إلى الهند حتى وصلوا إلى شمال جزيرة مدغشقر فواجهتهم عاصفة شديدة حتى جرفتهم عن المسار فرأى أحد البحارة أرض فنزل غاليفر والبحارة للبحث عن الماء ثم اكتشف أنها أرض للعمالقة تُسمى بروبدنجناج فوقع أسيرًا في أيدي سكانها من العمالقة وبدا بينهم قزمًا, لا يزيد طوله على بضع بوصات. وكانت تخفيه الزنابير التي في حجم العصافير, والكلاب التي في حجم الخيول, ودارت معركة بينه وبين أحد الفئران. وفي النهاية تمكن من الفرار وعاد إلى إنجلترا ليقوم برحلات عجيبة. [عدل] الجزء الثالث: رحلة إلى لابوتا وبالنباربي ولوجناج وجلوبدوبدريب واليابان5 أغسطس 1706 – 16 أبريل 1710 [عدل] الجزء الرابع: رحلة إلى دولة هويهنهنمس 7 سبتمبر 1710 – 2 يوليو 1715 |
Jonathan Swift was born on 30 November 1667 in Dublin, and educated at Trinity College and Oxford University. After working for a time as secretary to Sir William Temple in England, Swift was ordained as a priest of the Church of Ireland and returned to Dublin in 1695. In 1713 he became Dean of St Patrick's. The first of his major satirical works, A Tale of a Tub, was published in 1704 and through his writing he became close friends with the poet Pope. Together with other writers, they founded a literary group called the Martinus Scriblerus Club in 1714. Gulliver's Travels(1726)is the only book for which he received any money and he never wrote under his own name. He died on 19 October 1745 and was buried in St Patrick's. His Latin epitaph, written by himself, reads: 'Here lies the body of Jonathan Swift, D.D., dean of this cathedral, where burning indignation can no longer lacerate his heart. Go, traveller, and imitate if you can a man who was an undaunted champion of liberty == جوناثان سويفت (1667-1745) هو أديب وسياسي إنكليزي-إرلندي عاش بين القرنين ال17 وال18 للميلاد واشتهر بمؤلفاته الساتيرية (السخرية) المنتقدة لعيوب المجتمع البريطاني في أيامه والسلطة الإنكليزية في إرلندا. أهم مؤلفاته وأشهرها هي "رحلات جلفر" (أو "رحلات غوليفر") الذي نشره في 1726 والتي تضم أربعة كتب تصف أربع رحلات خيالية إلى بلدان نائية غريبة تمثل كل واحدة منها حيثية للمجتمع البريطانية. ومن مؤلفاته المشهورة الأخرى:
ولد سويفت في 30 نوفمبر 1667 في العاصمة الإيرلندية دبلن لوالدين بروتستانيين من أصل إنكليزي، أما أبوه فقد مات قبل ولادته. لا يعرف عن طفولته إلا القليل ولكن يبدو من بعض الموارد أن أمه عادت إلى إنكلترا بينما بقي جوناثان سويفت مع عائلة أبيه في دبلن، حيث اعتنى عمه غودوين بتربيته. في 1686 حاز سويفت على مرتبة بكالوريوس من جامعة ترينيتي في دبلن، وبدأ دراساته لمرتبة ماجيستير إلا أنه اضطر إلى ترك الجامعة بسبب أحداث "الثورة المجيدة" التي اندلعت في بريطانيا في 1688. في هذه السنة سافر سويفت إلى إنكلترا حيث دبرت أمه من أجله منصب مساعد شخصي لويليام تمبل الذي كان من أهم الديبلوماسيين الإنكليز، غير أنه قد تقاعد عن منصبه عندما وصل سويفت إليه، واهتم بكتابة ذكرياته. مع مرور ثلاث سنوات لشغله كمساعد لتمبل، تعززت ثقة تمبل بمساعده حتى أرسله إلى الملك البريطاني ويليام الثالث لترويج مشروع قانون كان تمبل من مؤيده == Jonathan Swift (30 November 1667 – 19 October 1745) was an Anglo-Irish[1]satirist, essayist, political pamphleteer (first for the Whigs, then for the Tories), poet and cleric who became Dean of St Patrick's Cathedral, Dublin.[2] He is remembered for works such as Gulliver's Travels, A Modest Proposal, A Journal to Stella, Drapier's Letters, The Battle of the Books, An Argument Against Abolishing Christianity, and A Tale of a Tub. Swift is probably the foremost prose satirist in the English language, and is less well known for his poetry. Swift originally published all of his works under pseudonyms – such as Lemuel Gulliver, Isaac Bickerstaff, MB Drapier – or anonymously. He is also known for being a master of two styles of satire: the Horatian and Juvenalian styles. Youth Jonathan Swift was born in Dublin, Ireland. He was the second child and only son of Jonathan Swift (1640–67) and his wife Abigail Erick (or Herrick), of Frisby-on-the-Wreake. [3] His father, a native of Goodrich, Herefordshire, accompanied his brothers to Ireland to seek their fortunes in law after their Royalist father's estate was brought to ruin during the English Civil War. Swift's father died at Dublin before he was born, and his mother returned to England. He was left in the care of his influential uncle, Godwin, a close friend and confidante of Sir John Temple, whose son later employed Swift as his secretary. [4] Swift's family had several interesting literary connections: His grandmother, Elizabeth (Dryden) Swift, was the niece of Sir Erasmus Dryden, grandfather of the poet John Dryden. The same grandmother's aunt, Katherine (Throckmorton) Dryden, was a first cousin of Elizabeth, wife of Sir Walter Raleigh. His great-great grandmother, Margaret (Godwin) Swift, was the sister of Francis Godwin, author of The Man in the Moone which influenced parts of Swift's Gulliver's Travels. His uncle, Thomas Swift, married a daughter of the poet and playwright Sir William Davenant, a godson of William Shakespeare. His uncle Godwin Swift (1628–95) a benefactor, he took primary responsibility for the young Jonathan, sending him with one of his cousins to Kilkenny College (also attended by the philosopher George Berkeley).[5] In 1682 he attended Dublin University (Trinity College, Dublin), financed by Godwin's son, Willoughby, from where he received his B.A. in 1686, and developed his friendship with William Congreve. Swift was studying for his Master's degree when political troubles in Ireland surrounding the Glorious Revolution forced him to leave for England in 1688, where his mother helped him get a position as secretary and personal assistant of Sir William Temple at Moor Park, Farnham. [6]Temple was an English diplomat who, having arranged the Triple Alliance of 1668, retired from public service to his country estate to tend his gardens and write his memoirs. Gaining the confidence of his employer, Swift "was often trusted with matters of great importance. [7]Within three years of their acquaintance, Temple had introduced his secretary to William III, and sent him to London to urge the King to consent to a bill for triennial Parliaments. When Swift took up his residence at Moor Park, he met Esther Johnson, then eight years old, daughter of an impoverished widow who acted as companion to Temple's sister Lady Giffard. Swift acted as her tutor and mentor, giving her the nickname "Stella", and the two maintained a close but ambiguous relationship for the rest of Esther's life.[8] Swift left Temple in 1690 for Ireland because of his health, but returned to Moor Park the following year. The illness, fits of vertigo or giddiness—now known to be Ménière's disease—would continue to plague Swift throughout his life. During this second stay with Temple, Swift received his M.A. from Hart Hall, Oxford in 1692. Then, apparently despairing of gaining a better position through Temple's patronage, Swift left Moor Park to become an ordained priest in the Established Church of Ireland and in 1694 he was appointed to the prebend of Kilroot in the Diocese of Connor, with his parish located at Kilroot, near Carrickfergus in County Antrim. Swift appears to have been miserable in his new position, being isolated in a small, remote community far from the centres of power and influence. While at Kilroot, however, Swift may well have become romantically involved with Jane Waring, whom he called "Varina", the sister of an old college friend.[9] A letter from him survives, offering to remain if she would marry him and promising to leave and never return to Ireland if she refused. She presumably refused, because Swift left his post and returned to England and Temple's service at Moor Park in 1696, and he remained there until Temple's death. There he was employed in helping to prepare Temple's memoirs and correspondence for publication. During this time Swift wrote The Battle of the Books, a satire responding to critics of Temple's Essay upon Ancient and Modern Learning (1690). Battle was however not published until 1704. On 27 January 1699 Temple died.[10]Swift, normally a harsh judge of human nature, said that all that was good and amiable in humankind died with him. [11]He stayed on briefly in England to complete the editing of Temple's memoirs, and perhaps in the hope that recognition of his work might earn him a suitable position in England. However, Swift's work made enemies of some of Temple's family and friends, in particular Temple's formidable sister Lady Giffard, who objected to indiscretions included in the memoirs.[12] His next move was to approach King William directly, based on his imagined connection through Temple and a belief that he had been promised a position. This failed so miserably that he accepted the lesser post of secretary and chaplain to the Earl of Berkeley, one of the Lords Justices of Ireland. However, when he reached Ireland he found that the secretaryship had already been given to another. But he soon obtained the living of Laracor, Agher, and Rathbeggan, and the prebend of Dunlavin in St Patrick's Cathedral, Dublin.[13] At Laracor, a mile or two from Trim, County Meath, and twenty miles (32 km) from Dublin, Swift ministered to a congregation of about fifteen people, and had abundant leisure for cultivating his garden, making a canal (after the Dutch fashion of Moor Park), planting willows, and rebuilding the vicarage. As chaplain to Lord Berkeley, he spent much of his time in Dublin and traveled to London frequently over the next ten years. In 1701, Swift published, anonymously, a political pamphlet, A Discourse on the Contests and Dissentions in Athens and Rome. يتيم الأب قبل الولادة. |
by Federico Garcia Lorca, Spain, (1898-1936) Translated by Gloria Garcia Lorca, the writer's niece, and Jane Duran, the family friend who became a celebrated poet, Gypsy Ballads is the most authentic version of Romancero Gitano imaginable. In their new translation Jane Duran and Gloria Garcia Lorca have been faithful to Lorca's work, searching out original meanings, avoiding overt interpretations, reproducing metaphors, so as to bring to an English-speaking reader the pure power of Lorca's poetry. What is revealed is a kaleidoscope of sensory images, characters and stories. Lorca described his most popular collection as 'the poem of Andalusia ...A book that hardly expresses visible Andalusia at all, but where hidden Andalusia trembles.' Seeking to relate the nature of his proud and troubled region of Spain, he drew on a traditional gypsy form; yet the homely, unpretentious style of these poems barely disguises strong undercurrents of conflicted identity.This bilingual edition includes revealing insights into the Romancero and the history of the Spanish ballad form by Andres Soria Olmedo; notes on the dedications by Manuel Fernandez-Montesinos; Lorca's lecture on his own book; and an introduction to the problems and challenges faced by translators of Lorca, by Professor Christopher Maurer. ==== Federico Garcia Lorca was born into an educated family of small landowners in Fuente Vaqueros in 1898. A poet, dramatist, musician and artist, he attended the university at Granada, where he acquired a fine knowledge of literature. In 1919 he went to the Residencia de Estudiantes in Madrid and during his long stay there he met all the principal writers, critics and scholars who visited the place, which was then a flourishing centre of cultural liberalism. In 1928 his Gipsy-Ballad Book (Romancero gitano) received much public acclaim. In 1929 he went to New York with Fernando de los Rios and his volume of poems Poet in New York (Poeta en Nueva York) was published posthumously in 1940. On his return to republican Spain, he devoted himself to the theatre, as co-director of La Barraca, a government-sponsored student theatrical company that toured the country. He now wrote fewer poems, but these include his masterpiece Lament for Ignacio Sanchez Mejias (Llanto por la muerte de Ignacio Sanchez Mejias, 1935), a lament for a dead bullfighter. He wrote classical plays, pantomimic interludes, puppet plays, La zapatera prodigiosa (1930) and three tragedies: Blood Wedding (Bodas de sangre, 1933), Yerma (1934) and The House of Bernarda Alba (La casa de Bernarda Alba, 1936). Just after the outbreak of the Spanish Civil War in 1936 he was murdered at Granada by Nationalist partisans, in mysterious circumstances. == The Gypsy Ballads, verse collection by Federico García Lorca, written between 1924 and 1927 and first published in Spanish in 1928 as Romancero gitano. The collection comprises 18 lyrical poems, 15 of which combine startlingly modern poetic imagery with traditional literary forms; the three remaining poems were classified by Lorca as historical ballads. All 18 poems were written in the traditional ballad metre of eight-syllable lines. Many of the poems were imbued with mythic allusions, Freudian symbolism (green symbolizes sexuality and blue, innocence), and indirect metaphors. = Review of Gypsy Ballads by Frederico Garcia LorcaReview by Tony Bryant. Tony Bryant has lived in Andalusia since 1994 and is the author of two books concerning the art of flamenco: Flamenco: an Englishman’s passion (2nd revised edition to be published by Sol y Sombra Books in February 2012) and A time-defying heritage. He also writes articles for various magazines concerning the Andalusian gypsies and their music and has had work published in Spain, London, France, America and Israel. Federico Garcia Lorca was one of the most popular of Spanish poets and playwrights and he ranks among the greatest names of modern European literature. His work evoked an almost reverie vision of a land that he lived and died for and his romantic and inventive writings, which relate to gypsies, flamenco, archangels, landscape, love and death, have immortalized him throughout the world. On July 29, 1924 Federico Garcia Lorca scribbled the words ‘Gypsy Ballads’ on a sheet of paper, under which he then wrote the title of the first poem – Ballad of the Moon, Moon. Lorca dedicated these narrative stanzas to the gypsies of Andalusia because, unlike many of his generation who treated them with contempt, he saw as them as “the truest and purest thing in Andalusia”. He had described Gypsy Ballads as an “Andalucian altarpiece,” that portrayed the olive groves and landscape of his childhood, memories of the civil guard, archangels and, of course, gypsies. Published in 1928, Gypsy Ballads became the most popular book in Spain at that time; although Lorca had once declared that he wrote the first three ballads purely for his own enjoyment. It was with this collection of poems that Lorca’s poetic countenance appeared for the first time and Gypsy Ballads was declared his most ingenious work to date. Critics hailed Lorca as the greatest Spanish poet since Antonio Machado and copies of Gypsy ballads sold out within weeks of the first publication. In the years that have followed Lorca’s death (1936) numerous translations of his works have appeared; Gypsy Ballads was translated into English by Langston Hughes in 1951 but only fifteen of the original eighteen stanzas were included in the book. 1973 saw the release of a translation of the ballads by Irish poet Michael Hartnet and in nineteen ninety a version was released by Robert G Havard; although these translations differ considerably. The latest English translation of Gypsy Ballads has been compiled by Lorca’s niece, Gloria Garcia Lorca and family friend Jane Duran, the daughter of the Spanish composer Gustav Duran Martinéz. She is also a respected writer and poet who has much knowledge concerning Lorca’s work. The lime-green cover of this latest edition certainly catches the eye, as does the ingenuous design on it. Lorca had designed the cover of the first edition himself, and the guileless drawings and lettering on this new version has kept the book in line with Lorca’s original. The poems are prefaced by various essays explaining the intention of the authors and also the difficulties involved in the translation of the written word. Andrés Soria Olmedo (professor of Spanish literature at the University of Granada) introduces the reader to a summary of the book’s appraisals and achievements as well as a brief history of Spanish ballad; or dare I use the overly quoted – ‘river of Spanish language’. Soria declares that “the strength of ballads lies in their ability to absorb and adapt extremely diverse themes and emotions” and he states that this was Lorca’s strength because he had the ability to absorb, adapt and present without explaining. Duran and Lorca have attempted to convey the poet’s meanings and imagery as accurately as possible whilst allowing the reader to follow intricate interaction between the poems. Their aim was to adhere to the order of events as Lorca intended us to see them; thus enabling the reader to grasp the dream-like world of which he wrote. However, as they duly acknowledge in their introduction, in some cases it has been necessary to alter the verb tense in order to preserve the flow and impact of the line. The book contains a section concerning the dedicatees of the eighteen stanzas, which, as the author of this chapter points out, are names that will be linked to these poems forever. Lorca was said to have been generous with his printed dedications and this chapter suggests that Gypsy Ballads is the only collection of poetry in which every poem is accompanied by a dedication. Lorca dedicated this collection to family members, friends and fellow artistes; all of whom are listed complete with a brief explanation as to why the poet had favoured these particular people. The reader is also offered an interesting analysis of the first line of the Sleepwalking ballad; “Green, how I love you green”, the line which has been under the microscope of varying critics and specialists. In the second section of the book, we are presented with the freshly translated gypsy ballads and each one is accompanied by the original version of the poem. However, the English versions lose much of the feeling that Lorca would have intended with his pen, but they will give those who are not familiar with the Andalucian tongue an idea of his intentions. There will of course be those knowledgeable in this field who may disagree with these interpretations, and if one compares this version with previous publications one will note the difference in the comprehension of certain lines. Lorca believed that mystery was an important part of poetry and Gypsy Ballads has been dissected and unwrapped by numerous people over the decades, and the differences in their interpretations are anything but inconsequential. In whatever way these verses are stripped down and then restructured, they will never convey the passion with which they were created. Who really knows the intended meaning or use of phrase of an individual’s work other than the artiste himself, and as with varying aspects of Federico Garcia Lorca’s life and death, they will be interpreted in numerous variations for many years to come. Jane Duran and Gloria Garcia Lorca have offered the English reader a good understanding of Lorca’s work and his infatuation with Andalusia and its people. This new version of Gypsy Ballads is an excellent, informative read for anyone interested in the culture and folklore of Andalusia and it will be of much interest to the admirers of Federico Garcia Lorca because it is full of information and anecdotes concerning this great Andalucian poet and his most famous work. His gypsies, his Andalusia and his ballads are all part of the baroque world of which Lorca immersed himself and the authors of this new version have indeed brought the poet out of his “twilit folkloric world” and into the “civilised daylight of English |
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