The classic novel study has made me realize how important being concise is, yet also how difficult it is to do so with a wider audience. Concision is clarity; the shorter the time it takes to make your point, the more content your audience will remember and comprehend. However, when most of your audience hasn't read the piece you're analyzing, they're lacking insight into your inferences, and interpretations. The only way you can give a general audience some insight is by giving them a brief synopsis of the portion of the plot you're analyzing.
Considering this issue has made me a stronger reader. I'm now able to synthesize what I've read in a more comprehensible way to myself. As a result, I am able to write a brief yet detailed enough synopsis that my readers can feel that they're on the same line of thought as myself. Undoubtedly, having a broader audience has made me write more generally; I have begun leaving out more minutiae. Unless your audience is already enlightened on your subject, you must absolutely leave out these lovely embroideries to your meaning; if your audience doesn't understand them, they cannot appreciate them.
Reading The Three Musketeers has broadened my understanding of literature. The initial stereotype I gave classics was that they were always written in a formal manner, mostly because a majority of the world's defined classics were written in drastically different time periods from the present. Dumas proved my assumption wrong. While he certainly lavishes in formal language occasionally, his diction is still relatively simplistic. Although formality was lacking, the novel remained a captivating read. Clearly it's not a quantity of superior diction that manufactures a classic, but the quality of the plot itself.
I have come to the realization, like many, that I learn best from tales with which I can relate. The novel gave me many insights into human nature; our cumbersome pride, our blind yet admirable passion, our vile lust for vengeance, and of course, our saviour; rationality. These are all characteristics a teenager must learn to balance. Teenagers often have intense emotions and they are often applied when reading literature.
Perhaps these strong emotions make teenagers good literary critics. In my apologia, I discussed how a true classic is eternal; we often relate immortality to maintaining youth. For a novel to be a classic, maybe it needs to appeal to a contemporary entity: teenagers.
Teenagers typically aren't at their intellectual peak, but they're certainly at their peak of emotions. Emotions are one of the major criteria to which authors have to appeal. So, as a teenager, I find that as I read more classics, I have a more and more valid opinion on literature.
Saturday, November 12, 2011
Wednesday, November 9, 2011
The Aspects
Here is a brief review of the aspects of character, theme, conflict, and style addressed in my reading responses.
Characteristics: D'Artagnan's pride (scheduling duels with each of the three musketeers, and his multiple encounters with the Man of Meung), Milady's intellect and guile (manipulating Felton to do her bidding), and Athos' pride (the murder of his wife).
Themes: Pride and vengeance (Man of Meung, Athos' wife, the duels), Passion vs. the Rational (gentlemen and ladies interactions with the opposite sex, lack of trust in the time period addressed), and the success of women in the 17th century (Milady's manipulative nature).
Conflicts: The initial confrontation between D'Artagnan and the three musketeers, the Man of Meung stealing D'Artagnan's letter, D'Artagnan's paramour being kidnapped, the betrayal of Athos' wife, and Milady's devious nature (her escape and the death of Lord Buckingham).
Style: Although it was not overtly stated, the novel is written in a passionate, over-the-top, occasionally exaggerated manner. Exclamations from the characters such as "*Parbleu!" are plentiful. This gave the novel a light and humourous air, although it certainly has it's dark conflicts to bear. However, part of this style has to do with the time period Dumas is addressing which, as mentioned earlier, was an extremely romantic era.
* Parbleu: Literally translated means "by the sky!" in the sense of "by god!" or "by jove!".
Characteristics: D'Artagnan's pride (scheduling duels with each of the three musketeers, and his multiple encounters with the Man of Meung), Milady's intellect and guile (manipulating Felton to do her bidding), and Athos' pride (the murder of his wife).
Themes: Pride and vengeance (Man of Meung, Athos' wife, the duels), Passion vs. the Rational (gentlemen and ladies interactions with the opposite sex, lack of trust in the time period addressed), and the success of women in the 17th century (Milady's manipulative nature).
Conflicts: The initial confrontation between D'Artagnan and the three musketeers, the Man of Meung stealing D'Artagnan's letter, D'Artagnan's paramour being kidnapped, the betrayal of Athos' wife, and Milady's devious nature (her escape and the death of Lord Buckingham).
Style: Although it was not overtly stated, the novel is written in a passionate, over-the-top, occasionally exaggerated manner. Exclamations from the characters such as "*Parbleu!" are plentiful. This gave the novel a light and humourous air, although it certainly has it's dark conflicts to bear. However, part of this style has to do with the time period Dumas is addressing which, as mentioned earlier, was an extremely romantic era.
* Parbleu: Literally translated means "by the sky!" in the sense of "by god!" or "by jove!".
Tuesday, November 8, 2011
Apologia
What makes many of Alexandre Dumas' works, especially The Three Musketeers, so eternal in the guise of classic literature? To be certain, The Three Musketeers was not an entirely original composition on Dumas' part. D'Artagnan is based on a real individual, better known as Comte Charles de Batz-Castelmore D'Artagnan. This man rose to the level of captain-lieutenant of the musketeers. Dumas wasn't even the first to romanticize the life of Comte D'Artagnan, he in fact got his inspiration from Gatien de Courtilz de Sandraz's novel Les Mémoires de M. d'Artagnan (1 eNotes). So what made Dumas' novel more pronounced in the literary world than Sandraz's? To find the answer, one needs to meditate on Dumas' life.
Dumas was not initially as successful in writing as one might presume. Dumas began his literary career writing plays, such as The Chase and Love, and Tales of Today, many of which did not recieve much audience or recommendation. After his play Henri III and his Court entered the theatre though, Dumas' future plays reaped more success (xxiv Oxford's World Classics). Dumas attempted many literary mediums such as short stories, essays, children's tales, plays, and novels. Perhaps this is what aided him in finding his writing niche.
While Dumas' novels are historically fictitious, many of them coincide with his own life experiences. Analyzing the character of Porthos alone, it's hardly difficult to identify Dumas' disposition in him. Both eat copiously, and have a number of liaisons with women. Catherine Labay, Adele Dalvin, Ida Ferrier, Lola Montes, Isabella Constant, Emilie Cordier, and Belle Krelsamer are only a few of Dumas' documented mistresses (Oxford's World Classics xxv). It's not surprising that Dumas lived his life thously, as he himself was born out of wedlock (3 Biography.com). Dumas was also one for reveling in a life of extravagance, and more than once, as a consequence, became broke by it. (7 Biography.com). This occurs to D'Artagnan and the musketeers multiple times, for they are also quite fond of indulging in the 'good life'. Miraculously though, they always contrive a plan to get around the conflict.
Dumas formulated a way around this conflict too: he began writing novels, some of which were serialized in magazines such as The Count of Monte Cristo (Oxford's World Classics). Some individuals create their best compositions under pressure, especially when their livelihood depends on it. For a novel to be considered a 'classic', one must feel as though the author is truly dedicated to their story; Dumas undoubtedly was in his circumstances.
What has made The Three Musketeers truly a renowned classic is that, while it deals in humour, it also addresses the struggles of the daily life of a considerable number of people in the 17th century which still resonates today. There are the royals; celebrities with great scandals; the loyal and valiant musketeers; our modern day soldiers; Milady; any form of con artist; and the lover of D'Artagnan; Mme. Bonacieux; the symbol of naivety in any conflict. For a novel to be defined as a classic, it must have a sense of eternally being valid to the society who reads it. The great struggles demonstrated in The Three Musketeers are not much different from present day issues.
The musketeers are by far the most prominent of all the comparisons. Most musketeers and modern soldiers are relatively young people; D'Artagnan joins M. Desessarts' Guards at the age of 19. There is this lack of fear of dying in battle that pertains to both the musketeers, and modern soldiers. Youth often also have an instinctual opinion that it is better to die stoicly in action, than old and decrepid on a bed. For example, D'Artagnan shows no ounce of fear when he schedules three duels with men all of higher ranking, and experience. Although these youth seem valiant, there is still a fear amongst these individuals. To lose one's vigour, and die alone often seems immenent to youth, as it is very difficult for them to grasp what their future truly holds. D'Artagnan strives to become a musketeer, but otherwise lives life in the moment what with his multiple confrontations, and financial struggles.
Then there are more broad comparisons. Everyone struggles with fighting their pride, resisting taking vengeance, being rational, and not becoming overly passionate. These recurring struggles allude to weakness, which Dumas abruptly turns around with his humour and the plot line. D'Artagnan exhibits all of these traits as he searches for the Man of Meug, insists on having a duel with anyone who mildly offends him, and has an affair with a married lady. These negative aspects each of the musketeers refuse to resist,and are what get them into and out of calamities. However, it is always apparent to the reader that having this demeanor is not typically advantageous, as the antagonists attempt thriving off that same resistance. The Man of Meung initiates duels with D'Artagnan over pride, and nearly gets killed by it. Milady feels enraged when D'Artagnan discovers a fleur-de-lis on her shoulder, and poses as a man she is infatuated with. It is apparent D'Artagnan could easily ruin Milady's future plans if she becomes on bad terms with him. However, Milady feels a great need to avenge her pride, and on multiple occasions tries to kill D'Artagnan.
Not only is The Three Musketeers still relevant over 100 years later, it also re-establishes forgotten moral beliefs of the general population. While the musketeers are far from being saintly, they hold one of the greatest values of all close to them; loyalty. In this way, readers continue to comprehend, and relate to the novel. They can also recall a moment full of nostalgia when they and their comrades too went off gallivanting on gripping adventures and believed in all for one, and one for all. This is what makes The Three Musketeers a classic; its compassion perpetually resonates from generation to generation.
So why did Dumas' novel seem to triumph over Sandraz'? Both are semi-fictional. The big difference between the two is that Sandraz' novel is written in first person (1 Gatien de Courtilz de Sandras). Part of what makes The Three Musketeers so engaging is Dumas' added commentary to the tale. There are little interjections hear and there, such as "This, reader, is a mousetrap!" (The Three Musketeers 114); every now and then Dumas addresses the reader directly. Sometimes the only difference between being successful and not is adding personal touch.
Dumas was not initially as successful in writing as one might presume. Dumas began his literary career writing plays, such as The Chase and Love, and Tales of Today, many of which did not recieve much audience or recommendation. After his play Henri III and his Court entered the theatre though, Dumas' future plays reaped more success (xxiv Oxford's World Classics). Dumas attempted many literary mediums such as short stories, essays, children's tales, plays, and novels. Perhaps this is what aided him in finding his writing niche.
While Dumas' novels are historically fictitious, many of them coincide with his own life experiences. Analyzing the character of Porthos alone, it's hardly difficult to identify Dumas' disposition in him. Both eat copiously, and have a number of liaisons with women. Catherine Labay, Adele Dalvin, Ida Ferrier, Lola Montes, Isabella Constant, Emilie Cordier, and Belle Krelsamer are only a few of Dumas' documented mistresses (Oxford's World Classics xxv). It's not surprising that Dumas lived his life thously, as he himself was born out of wedlock (3 Biography.com). Dumas was also one for reveling in a life of extravagance, and more than once, as a consequence, became broke by it. (7 Biography.com). This occurs to D'Artagnan and the musketeers multiple times, for they are also quite fond of indulging in the 'good life'. Miraculously though, they always contrive a plan to get around the conflict.
Dumas formulated a way around this conflict too: he began writing novels, some of which were serialized in magazines such as The Count of Monte Cristo (Oxford's World Classics). Some individuals create their best compositions under pressure, especially when their livelihood depends on it. For a novel to be considered a 'classic', one must feel as though the author is truly dedicated to their story; Dumas undoubtedly was in his circumstances.
What has made The Three Musketeers truly a renowned classic is that, while it deals in humour, it also addresses the struggles of the daily life of a considerable number of people in the 17th century which still resonates today. There are the royals; celebrities with great scandals; the loyal and valiant musketeers; our modern day soldiers; Milady; any form of con artist; and the lover of D'Artagnan; Mme. Bonacieux; the symbol of naivety in any conflict. For a novel to be defined as a classic, it must have a sense of eternally being valid to the society who reads it. The great struggles demonstrated in The Three Musketeers are not much different from present day issues.
The musketeers are by far the most prominent of all the comparisons. Most musketeers and modern soldiers are relatively young people; D'Artagnan joins M. Desessarts' Guards at the age of 19. There is this lack of fear of dying in battle that pertains to both the musketeers, and modern soldiers. Youth often also have an instinctual opinion that it is better to die stoicly in action, than old and decrepid on a bed. For example, D'Artagnan shows no ounce of fear when he schedules three duels with men all of higher ranking, and experience. Although these youth seem valiant, there is still a fear amongst these individuals. To lose one's vigour, and die alone often seems immenent to youth, as it is very difficult for them to grasp what their future truly holds. D'Artagnan strives to become a musketeer, but otherwise lives life in the moment what with his multiple confrontations, and financial struggles.
Then there are more broad comparisons. Everyone struggles with fighting their pride, resisting taking vengeance, being rational, and not becoming overly passionate. These recurring struggles allude to weakness, which Dumas abruptly turns around with his humour and the plot line. D'Artagnan exhibits all of these traits as he searches for the Man of Meug, insists on having a duel with anyone who mildly offends him, and has an affair with a married lady. These negative aspects each of the musketeers refuse to resist,and are what get them into and out of calamities. However, it is always apparent to the reader that having this demeanor is not typically advantageous, as the antagonists attempt thriving off that same resistance. The Man of Meung initiates duels with D'Artagnan over pride, and nearly gets killed by it. Milady feels enraged when D'Artagnan discovers a fleur-de-lis on her shoulder, and poses as a man she is infatuated with. It is apparent D'Artagnan could easily ruin Milady's future plans if she becomes on bad terms with him. However, Milady feels a great need to avenge her pride, and on multiple occasions tries to kill D'Artagnan.
Not only is The Three Musketeers still relevant over 100 years later, it also re-establishes forgotten moral beliefs of the general population. While the musketeers are far from being saintly, they hold one of the greatest values of all close to them; loyalty. In this way, readers continue to comprehend, and relate to the novel. They can also recall a moment full of nostalgia when they and their comrades too went off gallivanting on gripping adventures and believed in all for one, and one for all. This is what makes The Three Musketeers a classic; its compassion perpetually resonates from generation to generation.
So why did Dumas' novel seem to triumph over Sandraz'? Both are semi-fictional. The big difference between the two is that Sandraz' novel is written in first person (1 Gatien de Courtilz de Sandras). Part of what makes The Three Musketeers so engaging is Dumas' added commentary to the tale. There are little interjections hear and there, such as "This, reader, is a mousetrap!" (The Three Musketeers 114); every now and then Dumas addresses the reader directly. Sometimes the only difference between being successful and not is adding personal touch.
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