ΑΣ ΠΙΟΥΜΕ ΓΙ ΑΥΤΟΥΣ.ΓΙΑ ΤΟΥΣ ΤΡΕΛΟΥΣ,ΤΟΥΣ ΑΠΡΟΣΑΡΜΟΣΤΟΥΣ,ΤΟΥΣ ΦΑΝΤΑΣΙΟΚΟΠΟΥΣ.ΓΙ ΑΥΤΟΥΣ ΠΟΥ ΒΛΕΠΟΥΝ ΤΑ ΠΡΑΜΑΤΑ ΔΙΑΦΟΡΕΤΙΚΑ-ΠΟΥ ΔΕΝ ΤΙΜΟΥΝ ΤΟΥΣ ΚΑΝΩΝΕΣ-ΠΟΥ ΔΕ ΣΕΒΟΝΤΑΙ ΤΗΝ ΤΑΞΗ-ΠΟΥ ΜΠΟΡΕΙΣ ΝΑ ΤΟΥ ΠΑΙΝΕΣΕΙΣ,ΝΑ ΤΟΥΣ ΠΟΝΕΣΕΙΣ,ΝΑ ΤΟΥΣ ΚΑΚΟΛΟΓΙΣΕΙΣ,ΝΑ ΤΟΥΣ ΤΣΙΤΑΡΕΙΣ-ΟΜΩΣ ΠΟΤΕ ΔΕΝ ΜΠΟΡΕΙΣ ΝΑ ΤΟΥΣ ΑΓΝΟΗΣΕΙΣ-ΓΙΑΤΙ ΑΥΤΟΙ ΤΑ ΠΡΑΓΜΑΤΑ ΑΛΑΖΟΥΝ-ΒΡΙΣΚΟΥΝ,ΦΤΙΑΝΟΥΝ,ΨΑΧΝΟΥΝ,-ΓΙΑΤΙ..ΑΝΘΡΩΠΟΙ ΠΟΥ ΕΙΝΑΙ ΑΡΚΕΤΑ ΤΡΕΛΟΙ ΩΣΤΕ ΝΑ ΝΟΜΙΖΟΥΝ ΠΩΣ ΜΠΟΡΟΥΝ ΤΟΝ ΚΟΣΜΟ ΝΑΛΑΞΟΥΝ....ΣΤΟ ΤΕΛΟΣ ΘΑ ΤΟ ΚΑΝΟΥΝ...[Ζάκ Κέρουακ].........KAI Ενα κειμενάκι {τόσο ντοστογιεφσκικό τού Λαφάργκ Πού βρήκα τόν πανικόβιο εαυτό μου μέσα σ/αυτό={{{Υγιής στο σώμα και το πνεύμα, αυτοκτονώ, πριν τα ανελέητα γεράματα, που θα μου αφαιρέσουν μία - μία όλες τις ηδονές και τις χαρές της ύπαρξης και θα μ' απογυμνώσουν απ' τις φυσικές και πνευματικές μου δυνάμεις, παραλύσουν την αποφασιστικότητα, καταστρέψουν τη θέλησή μου και με κάνουν βάρος για μένα τον ίδιο και για τους άλλους. Εδώ και χρόνια ανέλαβα την υποχρέωση απέναντι στον εαυτό μου να μην περάσω τα εβδομήντα ... Ζήτω ο Κομμουνισμός! Ζήτω ο Διεθνής Σοσιαλισμός!}}

Παρασκευή, 7 Δεκεμβρίου 2012


Following The Egoist, Meredith was most concerned with writing psychological novels that portrayed the tangled motivations of individuals and explored the disparity between the public and private aspects of self. These later novels demonstrate a heightened social awareness, a more tolerant view of human folly, and a corresponding softening of the satiric and ironic portraits of individuals. In these works there is no clear explanation of individual behavior, but rather an examination of the various ways that individuals and their actions are perceived. Often it is unclear what actually happens in the novels, and the reader is forced to extract the truth from the gossip, half-truths, and misdirection arising from the different characters' perceptions; in many cases Meredith gave several versions of the same event through the eyes of several characters. Critics contend that in Meredith's experiments with the novel form and with complex characterizations can be seen the germ of the modern psychological novel. Throughout these works Meredith sought to demonstrate that most human motivations are concealed and that, while much in life is relative, including morality, actions are not: once something has happened, it is unchangeable and often irredeemable. 

The most popular and artistically successful of Meredith's later works was Diana of the Crossways, a novel inspired by a scandal involving an adulterous woman accused of selling a state secret. It has been theorized that readers were attracted by the belief that in this novel Meredith was revealing some inside information about this widely discussed affair; in fact, so many readers assumed that the novel reflected the facts of the scandal that later editions contained disclaimers disallowing any connection between Meredith's creation and the affair. The character of Diana, who leaves her husband to pursue a writing career, became a favorite with feminists and the prototype of many subsequent novel heroines who, misunderstood and unappreciated, strike out boldly on their own. Throughout his career Meredith had explored the circumscribed role of women in society, a topic known in his day as "the woman question," and had long contended that civilization can only flourish when men and women are equal. It was in Diana that his didactic intentions, novelistic devices, and analysis of character achieved their greatest unity. 

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