Lecture # 15 English Literature of the 20th century

1960 – 2000

Anthony Powell “Casanova’s Chinese Restaurant”(1960), “The Kindly Ones”(1962), “The Valley Of Bones”(1964)

Anthony Burgess “The Doctor is Sick”(1960), “A Clockwork Orange”(futuristic novel, 1962), “Inside Mr. Enderby”(1963), “The Eve of Saint Venus”(1963)

Peter Shaffer “Five-Finger Exercise”(play, 1960), “The Roayl Hunt of the Sun”(play, 1964)

Stan Barstow “A Kind of Loving”(1960)

David Story “This Sporting Life”

Graham Greene “The Burnt Out Case”(1961)

Arthur C.Clarke “A Fall of Moondust ”(science fiction novel, 1961)

John Osborne “Luther”(play, 1961), “Tom Jones”(1963)

Winston Graham “Marnie”(crime novel, 1961)

Iris Murdoch “A Severed Head”(1961), “The Italian Girl”(1964)

Ian Fleming “Thenderball” (1961)

Doris Lessing “The Golden Notebook”(1962), “African Stories”(1964)

Brian Aldiss “Hothouse”(science fiction novel, 1962)

John Wain “The Contenders”(1958), “Strike the Father Dead”(1962)

John Braine “Room at the Top”(1957), “Life at the Top”(1962)

Muriel Spark “The girls of Slender Means”(1963)

H.E.Bates “A Moment in Time”(1964)

Christopher Isherwood “A Single Man”(1964)

William Golding “The Spire”(1964)

1965

1966

1967

1968

1969

1970

1971

1972

1973

1974

1975

1976

1977

1978

1979

1980

1981

1982

1983

1984

1985

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1988

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2000

SEMINAR #6

The writers of the Enlightenment

DANIEL DEFOE “ROBINSON CRUSOE”

Study Questions

1. At the beginning of the novel, what is Robinson Crusoe's attitude towards God and religion?

2. What evidence can you find in Crusoe's youth to determine his capitalism?

3. What are Crusoe's attitudes towards women in the latter part of the novel?

4. How many years was Crusoe on the island?

5. Do you think that Defoe meant this novel to be a moral tale? If so, what was the moral?

6. Could Crusoe be considered a "racist"?

7. Defoe has his hero practice two different types of writing in the novel. One type is the journal that Crusoe keeps for a few chapters until his ink runs out. The other is the fuller type of storytelling that makes up the bulk of the novel. Both are in the first-person voice, but they produce different effects. Why does Defoe include both types? What does a comparison between them tell us about the overall purpose of the novel?

8. Crusoe expresses very little appreciation of beauty in the novel. He describes the valley where he builds his bower as pleasant, recognizes that some of his early attempts at potter}-' making are unattractive, and acknowledges that Friday is good-looking. But overall, he shows little interest in aesthetics. Is this lack of interest in beauty an important aspect of the character of Crusoe, or of the novel?

9. Crusoe spends much time on the island devising ways to escape it. But when he

finally does escape, his return to Europe is anticlimactic. Nothing he finds there, not

even friends or family, is described with the same interest evoked earlier by his fortress or farm. Indeed, at the end of the novel Crusoe returns to the island. Why does Defoe portray the island originally as a place of captivity and then later as a desired destination?

10. Although he is happy to watch his goat and cat population multiply on his island, Crusoe never expresses any regret for not having a wife or children. He refers to his pets as his family, but never mentions any wish for a real human family. While he is sad that his dog never has a mate, he never seems saddened by his own thirty-five years of bachelor existence. Does Crusoe's indifference to mating and reproduction tell us anything about his view of life, or about the novel?

11. In many ways Crusoe appears to be the same sort of person at the end of the novel as he is at the beginning. Despite decades of solitude and exile, wars with cannibals, and the subjugation of a mutiny, Crusoe hardly seems to grow or develop. Is Crusoe an unchanging character, or does he change in subtle ways as a result of his ordeal?

12. Crusoe's religious illumination, in which he beholds an angelic figure descending on a flame, ordering him to repent or die, is extremely vivid. Afterward he does repent, and his faith seems sincere. Yet Defoe complicates this religious experience by making us wonder whether it is instead a result of Crusoe's fever, or of the tobacco and rum he has consumed. We wonder whether the vision may be health- or drug-related rather than supernatural and divine. Why does Defoe mix the divine and the medical in this scene? Does he want us to question Crusoe's turn to religion?

13. Consider the prominent role that religion plays in the novel and examine the progression of religious and political thought in Crusoe's "society."

14. What are Crusoe’s two major requirements of a good Chrisrian?

15. How does Crusoe reconcile his urge to kill cannibals with his religious beliefs?