Calvino- Attention-Grabbing Phrases

Question #4

One of the most powerful moments in Italo Calvino’s essay “Why We Read the Classics” is where he relates three important definitions to his first sentence. Calvino opens with his first definition by saying, “The classics are those books about which you usually hear people saying, ‘I’m rereading’ not ‘I’m reading.” He goes on to explain the dishonesty that often accompanies this statement. This opening did not catch my attention or invite me to read more; in fact, I was slightly irritated by his flippancy toward those who have not read classic works. However, this irritation was compensated for by his beautifully worded fourth definition that relates perfectly with the first sentence.

Before Calvino launches into these three consecutive definitions, he transitions with the sentence “Whether one uses the verb ‘to read’ or ‘to reread’ is not really so important.” This phrase, although it is not close to the end of the essay, is one of the more powerful moments in the piece. It is immediately followed with his fourth definition: “A classic is a book that with each rereading offers as much of a sense of discovery as the first reading.” With just a few words Calvino alleviates my irritation, by speaking great truth.  A true classic is one that contains such deep meaning and complexity that it presents itself as a new book every time someone picks it up.

Calvino, Italo. "Why Read the Classics." Lecture.

Calvino- Rhetorical Devices

Question #3

In some essays, the writers choose to employ the use of a great variety of rhetorical devices. Metaphors, similes, and hyperbole are all used extensively. However, just one very important device is used in Italo Calvino’s essay “Why We Read the Classics.” Instead of employing a great many different literary techniques with each new paragraph, Calvino does just one simple thing to engage the reader’s attention and help the reader’s understanding. He lovingly, with a bit of excess exaggeration, personifies the written classic.

Although this personification is only hinted at for the first half of the essay, it becomes very clear later on. For the first half the “classic” is spoken of as a close friend that has various characteristics, but it is not said to have any sort of feeling. However, in the paragraph following definition number nine, Calvino clearly states, when referring to a classic work of literature, that “it has a personal relationship with the reader.” By explaining this personal attribute, Calvino is using an element of hyperbole and personification to enhance the reader’s understanding. Calvino teaches readers by explaining that a true classic develops a relationship with a reader, and is truly a character of its own.


Calvino, Italo. "Why Read the Classics." Lecture.

Calvino- Tone

Question #2

The tone in Italo Calvino’s essay “Why We Read the Classics” is very straightforward and informative. Instead of introducing his topic, Calvino simply says, “Let us begin by putting forward some definitions.” Without further ado, Calvino launches into his essay and begins to explain classic literature. This method is very effective, for it saves the reader from any unnecessarily long-winded introductions, while at the same time allowing the reader to draw his or her own conclusions. Although the tone of the piece is an unusual one, it is still very effective.

Unlike Nabokov’s essay, Calvino uses first person pronouns sparingly. However, when he refers to himself or directly addresses his audience, it is more powerful and attention-grabbing. At times he even delivers his own opinion on a topic. On occasion he refers to his readers as “you,” telling them what they will or will not do. For example, he states, “You will come across the book which will become ‘your’ book.” By addressing his audience in this way, Calvino makes the sentence not a question and not an opinion, but a statement of fact. Again, this contributes to his straightforward tone that is so effective in capturing an audience and proving his point.

Calvino, Italo. "Why Read the Classics." Lecture.

Calvino- Thesis

Question #1

Italo Calvino, an influential Italian journalist of the 1900s, wrote a striking piece titled, “Why We Read the Classics.” Although the title suggests a dramatic revelation on the topic, the piece spends more time on definitions than anything else. Instead of lecturing readers about why they should spend more of their precious time reading classic literature, Calvino defines the word “classic.” By providing fourteen different attributes, or definitions, Calvino leaves readers to analyze his wealth of information and decide for themselves why they should read classic literature.

                The thesis, like so much of the essay, is implicitly stated. Interwoven throughout the many definitions, reasons, and examples is a simple statement about classic literature. It cannot be defined with mere words or even mere essays. Classics are defined by what they mean to us. Calvino comes closest to stating his thesis while speaking of our home libraries. He states, “[Our library] should consist of books we have read that meant something to us.” This simple truth is the underlying message in “Why We Read the Classics.” As Calvino so perfectly says, “It is no use reading classics out of a sense of duty or respect; we should only read them for love.”

Calvino, Italo. "Why Read the Classics." Lecture.

Nabokov- Authority

Question #7

Vladimir Nabokov composed his essay “Good Readers and Good Writers” with the sole purpose of helping other people understand the correct mindset to have while reading. As the author of the essay, Nabokov has a certain authority that only he can have. With his wonderful power as a writer, he is able to direct the flow of the essay in the direction that he wants it to go. He holds sway over his reader’s thoughts and opinions, and uses this power to his great advantage. By using his authority to carefully choose the elements of his essay, Nabokov can drastically change the mindset of his readers.

Because Nabokov is a professor and a well rounded reader himself, he has the authority to preside over his readers in such a fashion. He has learned many things from personal experience, and wishes to pass on his knowledge to new readers. Nabokov uses many metaphors (such as a “castle of cards”), a beautifully logical organization, and a wonderfully personal tone to convey his message. By summarizing his experience into one thesis and expanding that one thesis into an essay, Nabokov creates an educational and yet personal piece to help those who have less experience than he does.

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Emotional/Logical

Question #8

My reaction to Vladimir Nabokov’s essay is a logical one. The essay itself does not often appeal to the reader’s emotions, but rather presents facts and ideas in an orderly manner, using them to reaffirm the thesis. Vladimir says himself that “We must keep a little aloof, a little detached when reading.” At times, Nabokov draws up elaborate but beautiful descriptions that help the reader visualize the concepts being addressed, but these descriptions do not call forth any strong emotions. They simply assist in the logical presentation of fact.

Although it is true that Nabokov’s essay evoked a logical reaction in me, there was one emotion that presented itself quite clearly as I read the piece. This emotion was astonishment. I was astonished at the truth that the essay revealed. As Nabokov connected each paragraph to his unstated thesis and each unrelated topic was revealed to be a part of a beautiful, logical, whole, I found that I was surprised that each word resonated with truth. The more I thought about it and the more times I read it (for of course, “a good reader… is a rereader.”) I realized that Nabokov’s logical arguments made perfect sense.  Having the correct mindset when reading a book is absolutely essential, and Nabokov’s arguments helped me to learn that.

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Introduction/Conclusion

Question #6

The introduction of Nabokov’s essay, “Good Readers and Good Writers” is a paragraph that in many ways is not very different from the rest of the essay. What sets it apart is the way that it sets the tone for the rest of the essay while still providing good information. By starting with the blanket statement that one should notice details while reading, Nabokov obtains the readers’ agreement and approval. He draws a nice metaphor by comparing a work of literature to a painting. In a few short sentences, however, he turns the tables. First, he asks a series of questions of the reader. Then, barely giving the reader time to think, he bluntly answers every question with a resounding “no.” By obtaining the readers’ agreement before challenging their views, Nabokov captures his audience with just an introductory paragraph.

The conclusion takes a very different route. Instead of challenging the readers’ views, it simply makes its own concluding statements. First of all, it relates back to the comparison of literature and art that was made in the introduction. Nabokov calls it an “artistic quiver.” He describes the perfect novel as a balance between logic and art, and the perfect reader to be very much the same. The conclusion makes the readers feel good, while giving them something to think about the next time they read or write.

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Organization

Question #5

          Vladimir Nabokov’s essay, “Good Readers and Good Writers” is organized logically. One or two paragraphs are devoted to each topic sequentially. Various, seemingly unrelated, points are made with each topic. At the end of the piece, Nabokov brings together all of the topics, relating each point back to the others. Readers are not left with the impression of a disorganized bunch of topics, but rather a unified whole that teaches them about the balance required to be a good reader or a good writer.

            Vladimir’s first topic is of the lack of truth found in a work of literature. It is a topic that catches the reader’s attention, for oftentimes we read with the purpose of learning something new. However, Nabokov takes another view. “We should always remember that the work of art is invariably the creation of a new world.” There is no element of truth, he says. For the next topic, he goes on to describe the purpose of the writer, and describes the unification of the writer and reader for the first time. After this description, he comes to an abrupt halt and gives the readers a little quiz. After the quiz, he begins to draw the essay to a close by describing the perfect reader, the perfect writer, and the three traits required in a great writer. This logical organization resounds with the reader while the conclusion brings every separate topic together.

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Attention-Grabbing Passages

Question #4

        In Nabokov’s essay, “Good Readers and Good Writers,” there are two passages in particular that caught my attention and made me think more deeply about the theme of the piece. First of all, he identifies the three main qualities that are always found in a great writer: he is a storyteller, a teacher, and an enchanter. “A major writer combines these three—storyteller, teacher, enchanter—but it is the enchanter in him that predominates and makes him a major writer.” One quality without the other two is useless, and the writer will hardly amount to greatness.  Furthermore, without these three qualities, a writer can never unite with his reader and the balance between the two will never exist.

            Another passage that caught my attention and left a lasting impression on me as a reader was a sentence in the final paragraph. In this sentence Nabokov manages to communicate everything spoken of in the essay, from the unity of the writer and the reader to the unity of the mind when writing and reading. It also applies the extended metaphor of the artist’s mind versus the scientist’s mind. In other words, it is a sentence perfectly suited to conclude the essay. “A wise reader reads the book of genius not with his heart, not so much with his brain, but with his spine.”

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Rhetorical Devices

Question #3

           Many rhetorical devices are used in Vladimir Nabokov’s essay, “Good Readers and Good Writers.” These add to the composition and act as a kind of bridge to help the reader understand the point that Nabokov is trying to make with his essay. First of all, Nabokov uses questions to get the reader thinking about the point of the essay, and makes a list of qualities that help the reader to understand even further. At one point in the writing, Vladimir Nabokov draws on a form of hyperbole. When describing the qualities that a reader should not have, he says, “Or, and this is the worst thing a reader can do, he identifies himself with a character in the book.” Identifying with a character is not necessarily the “worst thing a reader can do,” but the exaggeration makes an absolute point.

            One of the most notable forms of a rhetorical device that is found in the lecture “Good Readers and Good Writers” is a metaphor. Throughout the piece, Nabokov employs the use of metaphors to aid the reader’s understanding. For instance, he compares a work of literature to a painting. He tells us that we must reread literature, for it is only the second, third, or fourth time that we truly understand the artistry of the piece. Bluntly he states, “When we look at a painting we do not have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development.” Multiple metaphors are carried throughout the essay, adding to the reader’s understanding.

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Tone

Question #2

        

          Although Vladimir Nabokov is presenting a lecture to students of literature, he strikes a rather informal tone with the piece “Good Readers and Good Writers.” In only the second sentence of the piece, he informs readers that he has a plan. Using first person, he tells them, “My plan is to deal lovingly, in loving and lingering detail, with several European Masterpieces.” With one simple sentence, Nabokov reveals that he is not just delivering a lecture. It is a love, an infatuation, with which his readers are dealing. Naturally, this gives the piece a lighter, more informal tone than if Nabokov were merely delivering an impersonal lecture on the finer points of writing.

            Halfway through the piece, a startling interruption occurs. Instead of continuing to describe the beauty of a harmonious and eternal union of a good reader and a great writer, Nabokov takes a break and delivers a little narrative. He says, “One evening at a remote provincial college through which I happened to be jogging on a protracted lecture tour, I suggested a little quiz.” This “little quiz” is a list of qualities that might, or might not, be found in a good reader. Contributing to the lighter tone of the piece, the “little quiz” adds greatly to the essay by keeping readers alert and interested and keeping an informal but informative tone.

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Nabokov- Thesis

Question 1- Thesis

      

          Vladimir Nabokov’s lecture, “Good Readers and Good Writers,” is a simple set of instructions on how to write or consume a great work of literature. Its purpose is to teach the reader the proper attitude to have when reading a great novel, story, or other work of literature. As Nabokov himself says, “I propose to develop [artistic sense] in myself and in others whenever I have the chance.” This artistic sense is vital to being a good reader, and so it is Nabokov’s purpose to develop it in his readers.

           

            The thesis of the lecture is simple, though it is not explicitly stated in the piece. Readers are kept wondering- at first, the essay seems to contain a certain lack of flow and theme. In the end, however, the thesis is plain. Nabokov says that everything about writing and reading is a balance. It is a balance between the reader and the writer, the artist and the scientist. This balance is what produces good readers and good writers. Nabokov himself states, “The best temperament for a reader to have, or to develop, is a combination of the artistic and the scientific one.” By implicitly stating this thesis, he succeeds in drawing his readers into the mindset of the “good reader, good writer.”

Nabokov, Vladimir. "Good Readers and Good Writers." Lecture

Wuthering Heights- Values and Attitudes

Question #1

                Wuthering Heights is a book about trials, social conflicts, love, and revenge. The story centers around two characters of a high class and their passionate, everlasting love. Surprisingly enough, the point of view of the story is not that of Catherine or Heathcliff, the two lovers, but that of Lockwood, a new tenant. While speaking to Catherine’s old maid, he learns the story of Catherine’s past life. Emily Bronte uses a different method of narration for two reasons. First of all, it captures the reader’s attention. Secondly, it provides a slightly biased viewpoint. This biased narration forces the reader to draw his or her own conclusions about the events that took place.

                Certain clues from Emily Bronte’s writing reveal her values. Heathcliff’s rise to power illustrates that Miss Bronte values equality between the social classes. Once a poor boy, he ascends to become the owner of two estates. Another character that illustrates this principle is Hareton. Although he is born to the gentry, Hareton is illiterate. Over the course of time, however, he makes great improvement. Additionally, it is clear that Miss Bronte values women’s rights and freedom, for she shows female characters to be at their strongest when they go against social norms. Catherine Earnshaw is happiest when she is a “mischievous and wayward” child. (Page 32) As an adult she falls into society’s expectations of her, and consequently, is unhappy. Emily Bronte values freedom and equality, as demonstrated by her characters.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.

Wuthering Heights- Themes

A great many books expound on the well worn theme of good versus evil. In Wuthering Heights, however, this is not the case. Instead of a black and white depiction of a “good guy” and a “bad guy,” Emily Bronte blurs the lines between the two families. Although at first it seems to be clear that one family is quite good and the other quite bad, as the plot evolves, readers see that this is not quite the case. The main theme is not necessarily good versus evil. By the latter half of the book, it is clear that it was written about the contrasting qualities of the two families, and what they suggest. These two very different ideas mix and intertwine to form an extremely complex and heart-wrenching plot.

The main themes of the book are not good versus evil, but rather love versus revenge. Both families have elements of good and bad in them, but these elements only serve to compliment the love between Catherine and Heathcliff, which later turns toward terrible revenge. When Catherine marries Earnshaw, she does so out of love for Heathcliff. She says quite explicitly, “If I marry Linton, I can aid Heathcliff to rise.” (page 69) However, her marriage to Linton leads Heathcliff to descend into a savage kind of revenge that counters all of her acts of love. It is clear that there is not one theme assigned to each family, but rather, the theme focuses on the lives of the two lovers.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.

Wuthering Heights- Catherine

Catherine Linton is the epitome of womanly perfection in Wuthering Heights. Of course, Emily Bronte points out some of Catherine’s faults, such as her wild spirit, but these often only serve to make her more endearing to the reader. Defying social customs at the start of the novel, Catherine runs around the moors, a seemingly carefree and happy little girl. After her encounter with the Lintons, Catherine becomes more refined, accepting some of the limits that society places on her. Her wild nature tamed, Catherine seems set for a happy life.

From Catherine’s personality at the beginning of the novel, it is difficult to suspect that she will be the person around whom all of the conflict revolves. However, her refinement proves to be the catalyst for conflict in the plot. When she marries Linton, thereby sealing her position as a woman of good society, she closes the door on Heathcliff, her true love. Before she marries, she declares, “Every Linton on the face of the earth might melt into nothing before I consent to forsake Heathcliff.” (page 69) However, Heathcliff leaves Catherine, and she settles down with Linton. When her one major fault- her wild nature- was erased, Catherine’s life turned to turmoil. Upon the arrival of Heathcliff to her dwelling as a married woman, Catherine finally realized her true love for her playfellow.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.

Wuthering Heights- Heathcliff

Heathcliff is a dark character around whom the plot of Wuthering Heights revolves. His unhealthy obsession with Catherine spurs along the plot of the novel even after her death. Although the narration follows Catherine Earnshaw and her daughter, making them the protagonists of the story, the plot depends entirely on Heathcliff’s actions. By the end of the novel it is clear that his actions dictate the theme of the book.

Heathcliff enters the story as a sad outcast- loved by a few but hated by many. He quickly grows close to Catherine who offers him his first and only glimpse of love.  Her love for him, steady but ignored, leads him to drastic measures. An evil nature takes root deep within him as he decides that the civil, society loving Lintons stole his Catherine from him. Heathcliff never sees redemption, but instead dies looking for Catherine’s ghost. To his last days, he is haunted by visions of Catherine that “communicated… both pleasure and pain in exquisite extremes.” (page 278) Readers empathize with the troubled man all the way through the book. At the end of the story he finds redemption as his revenge on the Lintons ceases and he is laid to rest beside his one love, Catherine.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.

Wuthering Heights- Conflict

Question #4

The conflict in Wuthering Heights is brought about by the actions of one man, Heathcliff. Heathcliff suffers injustice as a child, consequently, when he grows, he is full of bitterness and hatred. The only ounce of love left in Heathcliff’s soul is his almost unhealthy passion for his childhood playmate, Catherine. Incidentally, the love that Heathcliff feels for Catherine provides fuel for his vengeful attitude, making the conflict between himself and the Linton family even greater. Little is gained from the conflict until the end of the book, when Heathcliff and Catherine are truly united in their death.

With hatred and lust for revenge spurring him on, Heathcliff ruins the lives of Isabella Linton, Linton Heathcliff, and Cathy Linton. Every action he takes is a sad attempt to ruin the lives of those around him and upset Catherine’s new husband. Isabella even says, “He has married me on purpose to obtain power over [Edgar]” (page 129) Heathcliff’s actions demonstrate the corruptibility of human life, especially when relating to traumatic events such as a drunken father or a married love. Heathcliff feels that in destroying the lives of others, he has made life fair for everyone. However, he is unable to look past his own selfish desires to see that the conflict that he has created is tearing the lives of others.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.

Wuthering Heights- Evil or Revenge?

A great many books expound on the well worn theme of good versus evil. In Wuthering Heights, however, this is not the case. Instead of a black and white depiction of a “good guy” and a “bad guy,” Emily Bronte blurs the lines between the two families. Although at first it seems to be clear that one family is quite good and the other quite bad, as the plot evolves, readers see that this is not quite the case. The main theme is not necessarily good versus evil. By the latter half of the book, it is clear that it was written about the contrasting qualities of the two families, and what they suggest. These two very different ideas mix and intertwine to form an extremely complex and heart-wrenching plot.

The main themes of the book are not good versus evil, but rather love versus revenge. Both families have elements of good and bad in them, but these elements only serve to compliment the love between Catherine and Heathcliff, which later turns toward terrible revenge. When Catherine marries Earnshaw, she does so out of love for Heathcliff. She says quite explicitly, “If I marry Linton, I can aid Heathcliff to rise.” However, her marriage to Linton leads Heathcliff to descend into a savage kind of revenge that counters all of her acts of love. It is clear that there is not one theme assigned to each family, but rather, the theme focuses on the lives of the two lovers.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.