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Another random document with
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The Project Gutenberg eBook of Masterpieces
of the masters of fiction
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
Language: English
SLAV OR SAXON
PROTEAN PAPERS
DOROTHY DAY
MASTERPIECES OF THE
MASTERS OF FICTION
BY
NEW YORK
THE COSMOPOLITAN PRESS
1912
Copyright, 1912, by
William Dudley Foulke
MASTERPIECES OF THE
MASTERS OF FICTION
PREFACE
I think I see many picking out here and there a name, and hear
them saying, “What a bad selection! Wilkie Collins ought to be in the
list rather than Charles Reade; ‘Vanity Fair’ ought to be in the place
of ‘Henry Esmond,’ ‘Waverly’ in the place of ‘Ivanhoe’,” etc., etc. But
if we except two or three names like Manzoni and Gogol, who are
not yet estimated at their full value by English and American
readers, I think common opinion will justify, in a general way, my
catalogue of authors, and I feel sure that the works chosen, if not
the masterpieces, are at least fairly typical of each.
CONTENTS
PAGE
Preface 5
Rabelais “Gargantua” 11
Cervantes “Don Quixote” 16
Le Sage “Gil Blas” 25
Defoe “Robinson Crusoe” 36
Swift “Gulliver’s Travels” 39
Prévost “Manon Lescaut” 43
Fielding “Tom Jones” 45
Johnson “Rasselas” 49
Voltaire “Candide” 55
Sterne “Tristram Shandy” 60
Goldsmith “The Vicar of Wakefield” 64
“The Sorrows of Young
Goethe 72
Werther”
Saint Pierre “Paul and Virginia” 76
Chateaubriand “Atala” 79
Austen “Pride and Prejudice” 82
Fouqué “Undine” 93
Chamisso “Peter Schlemihl” 95
“The Legend of Sleepy
Irving 99
Hollow”
Scott “Ivanhoe” 101
Manzoni “The Betrothed” 107
Balzac “Eugenie Grandet” 125
Gogol “Dead Souls” 130
Dumas “The Three Guardsmen” 132
Brontë “Jane Eyre” 134
Merimée “Carmen” 138
Dickens “David Copperfield” 141
Hawthorne “The Scarlet Letter” 150
Thackeray “Henry Esmond” 158
Stowe “Uncle Tom’s Cabin” 176
Gaskell “Cranford” 180
Auerbach “Barfüssele” 183
Von Scheffel “Ekkehard” 189
“The Romance of a Poor
Feuillet 192
Young Man”
Flaubert “Madame Bovary” 194
“The Ordeal of Richard
Meredith 196
Feverel”
“The Cloister and the
Reade 200
Hearth”
Hugo “Les Misérables” 209
Eliot “Romola” 215
Dostoyevsky “Crime and Punishment” 228
Turgenieff “Smoke” 231
Blackmore “Lorna Doone” 237
Tolstoi “Anna Karenina” 240
Stevenson “Treasure Island” 267
GARGANTUA
FRANÇOIS RABELAIS
A strife arises between the shepherds of the country and some cake-
bakers of the neighboring kingdom of Lerne. The cake-bakers, being
worsted, complain to Picrochole, their king, who collects an army
and invades the country of Grangousier, pillaging and ravaging
everywhere. But when the invaders come to steal the grapes of the
convent of Seville, the stout Friar John with his “staff of the cross”
lays about him energetically dealing death and destruction on every
side. Picrochole storms the rock and castle of Clermond, and news is
brought to Grangousier of the invasion. The good old king at first
tries to conciliate his neighbor, and sends him a great abundance of
cakes and other gifts, but the choleric Picrochole will not retire,
though he keeps everything that is sent to him. The Duke of
Smalltrash, the Earl of Swashbuckler, and Captain Durtaille persuade
him that he is about to conquer the world, and there is a long
burlesque catalogue of all the countries they are to subdue, after
which they will return, sit down, rest and be merry. But the wise
Echephron, another of the king’s counsellors, tells him that it will be
more prudent to take their rest and enjoyment at once and not wait
till they have conquered the world. Meanwhile Gargantua is sent
forth against Picrochole. The enemy’s artillery has so little power
against him that he combs the cannonballs out of his hair. Among
other episodes, he unwittingly eats up six pilgrims in a salad, but
one of them strikes the nerve of a hollow tooth in his mouth, upon
which he takes them all out again. They escape, and then one of
them shows the others how their adventure had been foretold by
the Prophet David in the Psalms.
There is much droll conversation at a feast given by Gargantua to
Friar John. The stout friar has many adventures, and plays an
important part in the attack upon Picrochole’s army, when the poor
choleric king flees in disguise and at last becomes a porter at Lyons.
Here he is as testy and pettish as ever, and hopes for the fulfillment
of a prophecy that he should be restored to his kingdom “at the
coming of the Cocklicranes,” who it seems could never come at all.
Don Quixote goes forth upon his battered Rocinante, to redress all
wrongs, actual or imaginary, to fight windmills, to engage in
desperate battles with flocks of sheep; to sail upon enchanted barks;
to fly through the air on a wooden horse; and perform a thousand
extravagances, travesties of the impossible prodigies recorded in
books of chivalry and enchantment.
I am not sure but that the Englishman or the American can grasp
the sum total of his qualities better through a good translation than
even in the original. The Spanish of “Don Quixote” is somewhat
archaic, and in places a little obscure, even to the most proficient in
the living tongue. So elusive is the pleasure which comes with the
dry humor of such a book that it must offer itself spontaneously, it
must fit the mood of the reader, it must be the luxury of an idle
hour, or much of the charm of it will escape. Therefore it is that I
have found in Shelton’s translation, and still more in the recent
rendering of Mr. Watts, a keener pleasure than I have ever been able
to dig out of the original mine.
“Prithee, tell me, hast thou not seen some comedy played
wherein are introduced kings, emperors, pontiffs, knights, ladies
and divers other personages? One plays the bully, another the
knave; one the merchant, one the soldier; others the witty fool
and the foolish lover; and, the comedy ended and their apparel
put off, all the players remain equal.”
“Yes, marry have I,” answered Sancho.
“I only know that while I sleep I have no fear, nor hope, nor
trouble, nor glory; and good luck to him who invented sleep, a
cloak which covers all a man’s thoughts, the meat which takes
away hunger, the water which quenches thirst, the fire which
warms the cold, the cold which tempers the heat; to end up, the
general coin with which all things are bought, the balance and
weight which levels the shepherd with the king and the fool with
the wise man. There is only one thing, as I have heard say, is bad
about sleep, and it is that it looks like death, for between the
sleeping and the dead there is very little difference.”
Then, too, the long episodes, the story of Cardenio, the tale of the
captive and of Impertinent Curiosity, would be better told as
separate narratives rather than as parts of a book with which they
have no proper connection. The introduction of such stories was one
of the tricks of the time, but it is an artistic blemish. On the other
hand, Cervantes’s use of the Moorish historian, Ben Engeli, is a
literary device admirably employed, and the point at which he first
introduces Ben Engeli’s narrative is a delicious satire upon a literary
trick common to novelists even of the present time. For it will be
remembered that the terrible conflict between Don Quixote and the
Biscayan was left suspended, as it were, in mid-air, each of the
mighty combatants having raised his sword and being prepared to
dash at the other, at which point the narrative was interrupted, the
author being unable to learn anything of the outcome of the fray
until he discovered in the Alcazar of Toledo the manuscript of the
Arabian historiographer.
“Don Quixote” has been the model upon which many of the best
works of fiction have been based. One can see distinct traces of
Cervantes’s methods in “Pickwick Papers.” There are undoubtedly
many points of difference between Mr. Pickwick and Don Quixote,
yet the points of resemblance are very clear; and Sam Weller
corresponds more nearly to Sancho than any character in modern
fiction. The lugubrious episodes in the “Pickwick Papers” are not
wholly unlike those in “Don Quixote,” and the solemnity of these
episodes furnishes the same contrast to the merry absurdities of the
narrative itself.