zum Guten[n] zu bekehren - to be converted to good behaviour necken - to tease die Zwetschge - plum abmalen - depicted der Str...moreWortschatz zum Deutschlernen
zum Guten[n] zu bekehren - to be converted to good behaviour necken - to tease die Zwetschge - plum abmalen - depicted der Streich - prank das Federvieh - poultry Einesteils - "Firstly" das Pfühle - pillow, same as Kissen geschwinde - rapidly sich schneiden - intersect entzwei - in two, asunder munter - energetic/ally sich beseinnen - reflect sich reißen - struggled (?) dürr - scraggly der Ast - bough bang - afraid ahnungsvoll - full of foreboding der Graus - horror betrübt - afflicted nienieden - the aforementioned verzehren - consume abrufen - demand scharren - scrabble der Schornstein - chimneypot schmurgeln - to fry lieblich - delightfully schwärmen - enthuse Spitz - common name for a dog bei der Sache (tätig) sein - to concentrate on the matter (actively) angewurzelt - glued to the spot das Ungetüm - monster im Verstecke [m] - stuffed die Hecke - hedge Fräcke [m] - jacket (pl) Westen [f] - waistcoat (pl) Gamaschen [f] - gaiters flicken - patch up anstücken - clip on einerlei - whatever it may be verdrießlich - annoyed das Gebrause - shower (Brause) träge - lethargic die Tücke - deceit Zeigenböcke [m] - billy-goats (pl) die Elle - a cubit, also the measuring rod of this length die Schwelle - threshold Todeshast - the hastiness of nearing death krampfhaft - desperately Magendrücken - stomach cramps das Bügeleisen - flat-iron achtgeben auf etwas - pay attention to unverdrossen - undaunted der Possen - antics angreifen - molest (?) bieder - honest Buben - scoundrels sich schlichen - slink off Stuben - rooms Meerschaumpfeife - elegant pipe lenken - steer, direct das Getöse - boom das Tintenfaß - inkwell abkriegen - to get something out of something Mohren - Moors der Schopf - tuft of hair vermehren - increase der Fidibus - paper firelighters dienstbeflissen - officious die Prise - pinch ist bedacht - anxious to do something das Krabbeltier - bug sausen - rush das Genicke - nape of the neck das Gebrumm - buzzing hauen - clobber der Teig - dough das Jammerbild - a pitiable sight der Glut - the glow perdü - "a goner" wehe euch - woeful for you das Getreide - cereals das Lumpenpack - the good for nothings mahlen - grind der Trichter - funnel die Böserichter - the wrong-doers verzehren - be eaten us angehen - to address
Great opening chapter. Does the rest of it capitalize on the strikingness of that image of the rocking chair? In my view it's a failure to create, in...moreGreat opening chapter. Does the rest of it capitalize on the strikingness of that image of the rocking chair? In my view it's a failure to create, in mood and texture, what he eventually achieved with the trilogy (I've yet to read Watt).
Murphy is a novel by someone who hasn't really lived much except in his learning. It has the contagion of Joyce deep in its DNA. As much trilingual aphorism that it boasts, it's cleverness is only scholarly, and is not writing that speaks of experience or real human insight. In it's most amusing moments it mocks the conventions of the novel with a fatalistic cynicism- but then it can only think to respond to that grand old convention with bad farce. It's a naughty novel, that won't do it's chores - by favorable comparison, the trilogy is a new breed of prose entirely and is both funny and frighteningly depraved (though not through the obvious routes of Murphy's prostitutes, servile drunks and cliched lunatics).
Also, the chess game is probably the best example of a failed modernist gimmick that I can readily recall. Did you read that and plot it out? It was a mousy squeak of a "climax" (although I have heard it referred to in grave, high terms by fans on this page).(less)
A heartwrenching and thematically rich novel telling the tragic life of the mixed race laborer, bootlegger, and later fugitive, Joe Christmas. It is s...moreA heartwrenching and thematically rich novel telling the tragic life of the mixed race laborer, bootlegger, and later fugitive, Joe Christmas. It is set in the Southern slums of the early twentieth century; familiar to anyone who has read Steinbeck's Of Mice and Men. The novel's most striking feature is that it is told mostly from the point of view of third persons, whose droll Southern cynicism relates the terrible events of the plot as apathetic gossip. This dispiriting but tense tale condemns this false assuredness of conviction that such gossip embodies. In a couplet of wisdom, Faulkner writes:
Memory believes before knowing remembers. Believes longer than recollects, longer than knowing even wonders. [p.91]
The anti-hero, Joe Christmas, has his bleak future shaped by not one, but sequentially two religiously fanatical father figures. The second (adopted) father, McEachern, discovers him with his lover at the dance hall, having disobeyed his tight strictures:
'Away, Jezebel!' he said. His voice thundered, into the shocked silence, the shocked surrounding faces beneath the kerosene lamps, into the ceased music, into the peaceful moonlit night of young summer. 'Away, harlot!'
Perhaps it did not seem to him that he had been moving fast nor that his voice was loud. Very likely he seemed to himself to be standing just and rocklike and with neither haste nor anger while on all sides the sluttishness of weak human men seethed in a long sigh of terror about the actual representative of the wrathful and retributive Throne. Perhaps they were not even his hands which struck at the face of the youth whom he had nurtured and sheltered and clothed from a child, and perhaps when the face ducked the blow and came up again it was not the face of that child. But he could not have been surprised at that, since it was not that child's face which he was concerned with: it was the face of Satan, which he knew as well. And when, staring at the face, he walked steadily toward it with his hand still raised, very likely he walked toward it in the furious and dreamlike exaltation of a martyr who has already been absolved, into the descending chair which Joe swung at his head, and into nothingness. Perhaps the nothingness astonished him a little, but not much, and not for long.
Then to Joe it all rushed away, roaring, dying, leaving him in the centre of the floor, the shattered chair clutched in his hand, looking down at his adopted father. McEachern lay on his back. He looked quite peaceful now. He appeared to sleep: bluntheaded, indomitable even in repose, even the blood on his forehead peaceful and quiet. [p.154]
In a Faulknerian sentence, towards the end of the novel, Faulkner describes the waves of bystanders - the bystanders who have also collectively revealed the events of the plot - who gather as the pushover, Byron Bunch, surveys the outside scene of Joe Christmas's trial:
From the shallow, flagged terrace the stone columns rose, arching, weathered, stained with generations of casual tobacco. Beneath them, steady and constant and with a grave purposelessness countrymen in overalls moved (and with here and there, standing motionless or talking to one another from the sides of their mouths, some youngish men[:] townsmen, some of whom Byron knew as clerks and young lawyers and even merchants, who had a generally identical authoritative air, like policemen in disguise and not especially caring if the disguise hid the policeman or not), with almost the air of monks in a cloister, speaking quietly amongst themselves of money and crops, looking quietly now and then upward at the ceiling beyond which the Grand Jury was preparing behind locked doors to take the life of a man whom few of them had ever seen to know, for having taken the life of a woman whom even fewer of them had known to see. [p.312]
The story ends with some optimism: Faulkner has us momentarily believe he will bring all these characters to the same lonely destruction, but gives us just the slightest relief with a very moving final callback to the tale's beginning. This optimism comes at a cost, however, re the fate of Byron Bunch. Perhaps Faulkner is telling us here that happiness is only measured by the final balance of exploitations.(less)