Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for...

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Kate Chopin and Stephen Crane Crane, 1871-1900 Chopin, 1850-1904

Transcript of Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for...

Page 1: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Kate Chopin and Stephen Crane

Crane, 1871-1900Chopin, 1850-1904

Page 2: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Impressionist Writersn Both known for

brilliant, innovative style

n Learned from realist writers (Chopin--Emile Zola, Guy de Maupassant; Crane--Howells, Kipling, Tolstoy especially)

Page 3: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Impressionist Writersn Sometimes called

Impressionist writersn Reality not simply out

there, unchanging, eternaln Reality depends on

observer, point-of-viewn Concerned with mood,

sensationsn The artist attempts to

present the impressions an object makes upon him or her, rather than an objectively realistic version of the object itself.

Page 4: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

19th Century Realism: verisimilitude

Gustave Corbet, “The Stone Breakers, 1849-1850

Page 5: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Impressionist Painting

Claude Monet’s Paintings of Rouen Cathedral

Page 6: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Impressionism and ChopinCalixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She was greatly occupied and did not notice the approaching storm. But she felt very warm and often stopped to mop her face on which the perspiration gathered in beads. She unfastened her white sacque at the throat. It began to grow dark, and suddenly realizing the situation she got up hurriedly and went about closing windows and doors (436).

Page 7: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Impressionism and “The Open Boat”

“NONE of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks” (603).

U.S.S. Commodore

Page 8: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Stephen Cranen Wrote Maggie, A Girl of the

Streets (published 1893) when he was only 21

n His masterpiece, The Red Badge of Courage (1895) published before he was 24

n Worked as a war correspondent in Greece, Cuba, and Mexico

n Died at age 28 in 1900 from tuberculosis

Crane posing in Greece during Greco-Turkish War in 1897

Page 9: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Maggie and Naturalism

n Crane (largely through Maggie, A Girl of the Streets) associated with Literary Naturalism

New York City Tenements, circa 1900

Page 10: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Naturalismn Literary movement starting in the late 19th C, influential on first half

of 20th Cn Sub-set of Realismn Realism interested in ordinary; Naturalism in extraordinaryn Fringes of society: the criminal, the fallen, the down-and-outn Scientific determinismn Fate = Environment + Chancen Realists as observers; Naturalists as experimental scientistsn Characters as representative of social groupsn Symbols used to express social messages

Page 11: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Rebecca Harding Davis:An Early Naturalist?

n “Life in the Iron Mills” follows pattern of naturalist works:n Focus on fringes of societyn Characters representative of social groupsn Environment +Chance Happening= Hugh Wolfe’s fate

Page 12: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Futility and “The Open Boat”:A Sisyphus Parable?

n “A singular disadvantage of the sea lies in the fact that after successfully surmounting one wave you discover that there is another behind it just as important and just as nervously anxious to do something effective in the way of swamping boats. In a ten-foot dingey one can get an idea of the resources of the sea in the line of waves that is not probable to the average experience, which is never at sea in a dingey (604).

Page 13: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

How is Nature Initially Presented?

n p. 604: Animal imageryn p. 604: “ . . .it was not

difficult to imagine that this particular wave was the final outburst of the ocean, the last effort of the grim water. There was a terrible grace in the move of the waves, and they came in silence save for the snarling of the crests.

Page 14: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Importance of Perspectiven In the wan light, the faces of the men must have been

gray. Their eyes must have glinted in strange ways as they gazed steadily astern. Viewed from a balcony, the whole thing would doubtlessly have been weirdly picturesque. But the men in the boat had no time to see it, and if they had had leisure there were other things to occupy their minds. The sun swung steadily up the sky, and they knew it was broad day because the color of the sea changed from slate to emerald-green, streaked with amber lights, and the foam was like tumbling snow. The process of the breaking day was unknown to them. They were aware only of this effect upon the color of the waves that rolled toward them (604).

Page 15: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

The Men in the Boat

n Who’s in the boat?n What is each man like?

Page 16: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

Reality as Interpretedn Men in the boat see people on shoren They interpret what they see in terms of their

own situationn Initially, they think a man is waving to them, then

hauling a lifeboat on wheelsn Finally, they have to realize the people on shore

have nothing to do with themn An indifferent universe, in which humans

themselves supply order, meaning?

Page 17: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

When it occurs to a man that nature does not regard him as important, and that she feels she would not maim the universe by disposing of him, he at first wishes to throw bricks at the temple, and he hates deeply the fact that there are no bricks and no temples. Any visible expression of nature would surely be pelleted with his jeers.

Then, if there be no tangible thing to hoot he feels, perhaps, the desire to confront a personification and indulge in pleas, bowed to one knee, and with hands supplicant, saying: "Yes, but I love myself.

A high cold star on a winter's night is the word he feels that she says to him. Thereafter he knows the pathos of his situation (614).

A Godless Universe

Page 18: Kate Chopin and Stephen Crane · Impressionism and Chopin Calixta, at home, felt no uneasiness for their safety. She sat at a side window sewing furiously on a sewing machine. She

So, what are we left with?n If, ultimately, nature and God are

indifferent to man, how do we get along in the world?

n Does the story leave us with any hope?