By Laurence Sterne
A Sentimental Journey is a unique with out a plot, a trip with no vacation spot. It files the adventures of the amiable Parson Yorick, as he units off on his travels via France and Italy, relishing his encounters with all demeanour of guys and women-particularly the beautiful ones. Sterne's story quickly strikes clear of the narrative of go back and forth to develop into a chain of dramatic sketches, ironic incidents, philosophical musings, memories, and anecdotes; sharp wit is blended with gaiety, irony with soft feeling. With A Sentimental Journey, in addition to his masterpiece, Tristram Shandy, Sterne solid a very unique variety and demonstrated himself because the first of the stream-of-consciousness writers.
This new Penguin Classics version beneficial properties an advent that discusses the radical relating to Sterne's different writing and areas it in the context of "sentimental" literature. additionally incorporated are a chronology, feedback for extra examining, and whole explanatory notes.
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Extra resources for A Sentimental Journey (Penguin Classics)
6o David Barr is even more confident of the text's transforming power. )', he too uses the language of catharsis to claim that its transformation of symbols actually 'transforms reality' for its readers, in the way that Levi-Strauss saw myth doing: The liturgical recital of the Apocalypse becomes a real experience of the Kingdom of God .... This is no ephemeral experience. The hearers are decisively changed. They now live in another world. Persecution does not shock them back to reality. They live in a new reality in which lambs conquer and suffering rules.
The text resists its spiritualisation into some ethereal 'grammar' or 'geometry' and insists on returning its reader into the rhetoric and conflict of the material world. 53If music itself cannot ultimately escape time, a fortiori words cannot and in the case of the Apocalypse are not designed to. The failed attempt to read the book as straining towards a kind of music could be seen as providing evidence that the book cannot ultimately be treated in a formalist way as self-enclosed or fugal, a work that is its own meaning; or, to put it another way, that it is inescapably rhetorical.
Perhaps the former kept their tongues silent and their pens idle neither because of lack of knowledge nor because of political conservatism, but out of the religious sense that whatever mysteries are contained in the book's symbols and structures can not be represented diagramatically, discursively or historically. Examining the way the book was or was not interpreted under the impact first of the Enlightenment then (in subsequent chapters) of the upheavals in political and poetic consciousness and in biblical criticism at the end of the eighteenth century may help to determine whether there can be any appropriate exegetical criteria for the Apocalypse, or whether the biblical scholars would be better handing the book over to artists, poets, liturgists and (possibly) preachers.