As a twentieth century novelist, essayist, and poet, David Herbert Lawrence brought the subjects of sex, psychology, and religion to the forefront of literature. One of the most widely read novels of the twentieth century, Sons and Lovers, which Lawrence wrote in 1913, produces a sense of Bildungsroman1, where the novelist re-creates his own personal experiences through the protagonist in (Niven 115). Lawrence uses Paul Morel, the protagonist in Sons and Lovers, for this form of fiction. With his mother of critical importance, Lawrence uses Freud’s Oedipus complex, creating many analyses for critics. Alfred Booth Kuttner states the Oedipus complex as: “the struggle of a man to emancipate himself…show more content…
This profound situation puts Paul to the emotional test of Oedipal versus physical love. As Kuttner goes on to state: “Paul’s admiration for his mother know no bounds; her presence is always absorbing. Often at the sight of her, ‘his heart contracts with love’” (278). Paul’s maternal relationship defines the Oedipus complex. Miram pulls Paul away from his mother, while Paul’s mother, Gertrude, sees Miram as a threat to her son. Paul, even though Miram is around, still will not commit totally to her because of the strong ties between mother and son. Paul says to his mother, “I’ll never marry while I’ve got you – I won’t…” (Lawrence 240). Lawrence wrote frequently of Paul’s love belonging to his mother and only his mother (212). Though Miram Leivers could not truly find Paul’s heart, another woman named Clara Dawes provides more stress on Paul’s maternal relationship. Although Paul loved Clara, he still kept his attraction toward his mother. “Everything he does is for her, the flowers he picks as well as the prizes he wins at school. His mother is his intimate and his confidant” (Kuttner 278). Clara tried desperately to win Paul over, but her social sophistication was too much for him. Paul tells his mother: “I don’t want to belong to the well-to-do middle class. I like my common people the best. I belong to the common people” (Lawrence 250). Clara shows frustration with Paul because of his maternal
- William Shakespeare (1564-1616), `The Bard of Avon', English poet and playwright wrote the famous 154 Sonnets and numerous highly successful oft quoted dramatic works including the tragedy of the Prince of Denmark, Hamlet; 'Neither a borrower nor a lender be; For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry.
- AP English: Major Works Data Sheet Title: Romeo and Juliet Author: Shakespeare Date of Publication: Mid 1590s Genre: Tragic Drama Historical information about life of Author: Romeo and Juliet.
- Romeo ended up attacking back soon after, “In my behalf. My reputation stained, With Tybalt’s slander- Tybalt, that an hour, Hath been my cousin”(3.1.116-118). This quote supports that even though Romeo loved Juliet, he immediately thinks about his own reputation and how it had been ruined by Tybalt. He doesn’t think about Juliet’s family member, proving that Romeo only cared about.
1.1 Works Cited; Introduction. Romeo and Juliet is one of the plays that has been extensively watched and reenacted across the world. Perhaps it is one of the most adored plays fall time, and much of the attention that the play has received is linked to the impact that it has had on the lives of many audiences.
| String Quartet | |
|---|---|
| No. 1 | |
| Early string quartet by Ludwig van Beethoven | |
| Key | F major |
| Opus | Op. 18, No. 1 |
| Composed | 1798–1800 |
| Dedication | Joseph Franz von Lobkowitz |
| Published | 1801 |
| Movements | Four |
Played by the Pascal Quartet | |
| Problems playing these files? See media help. | |
The String Quartet No. 1 in F major, Op. 18, No. 1, was written by Ludwig van Beethoven between 1798 and 1800, published in 1801, dedicated to the Bohemian aristocrat Joseph Franz von Lobkowitz. It is actually the second string quartet that Beethoven composed.
The quartet consists of four movements:
- Allegro con brio (F major)
- Adagio affettuoso ed appassionato (D minor)
- Scherzo: Allegro molto (F major)
- Allegro (F major)
According to Karl Amenda, Beethoven's friend, the second movement was inspired by the tomb scene from William Shakespeare's Romeo and Juliet. The quartet was heavily revised between the version that Amenda first received and the one that was sent to the publisher a year later, including changing the second movement's marking from Adagio molto to the more specific Adagio affettuoso ed appassionato. Of these modifications, Beethoven wrote: 'Be sure not to hand on to anybody your quartet, in which I have made some drastic alterations. For only now have I learnt to write quartets; and this you will notice, I fancy, when you receive them.'[1]
The theme of the finale is almost directly borrowed from the finale of his earlier string trio, Op. 9, No. 3 in C minor; the themes are very closely related. The principal theme of the first movement echoes that of Mozart's Violin Sonata No. 32 K. 454 (1784) and Haydn's 1787 Opus 50, No. 1 quartet.[2]
The 'Amenda' manuscript, as it is sometimes known, was edited by Paul Mies and published by Bärenreiter around 1965, and by Henle-Verlag of Munich (perhaps also edited by Mies) in 1962.[3] This early version of one of Beethoven's best-known works has been recorded perhaps less than a half-dozen times as of July 2014.[4]
Notes[edit]
- ^Winter & Martin 1994, p. 151.
- ^Sutcliffe 1992, p. 67.
- ^See OCLC803615623, OCLC59009141.
- ^The first movement by the Juilliard String Quartet in 2008- OCLC319178284 but before that, the premiere was given by the Pro Arte Quartet on a Laurel Records cassette/long-playing record in 1981 - OCLC612773288 (with notes by musicologist Lewis Lockwood.) ('Original version' in the title of that record should perhaps be recast as earliest surviving version.) There is another complete recording - listed as Hess 32 - here: OCLC156914724, played by the Quartetto Paolo Borciani, released 2007; also by the Hagen Quartet on a Deutsche Grammophon set (OCLC38129193) ;
References[edit]
- Sutcliffe, W. Dean (1992). Haydn: String Quartets, Op. 50. Cambridge: Cambridge University Press. ISBN0521399955.
- Winter, Robert; Martin, Robert, eds. (1994). The Beethoven Quartet Companion. University of California Press. ISBN0-520-08211-7. (Especially the essay by Michael Steinberg, pp. 150–155.)
Major Works Data Sheet Romeo And Juliet Play
External links[edit]
- String Quartet No. 1 in F major, Op. 18: Scores at the International Music Score Library Project
- Programme notes on the Beethoven string quartets by the British broadcaster and composer Robert Simpson