[ilds] Myths and Metaphors

William Godshalk william.godshalk at gmail.com
Mon Jan 31 18:14:55 PST 2011


Similes are not quite the same as metaphors. Durrell loved similes, and
realized that some of his similes are grotesque. He recurrently uses
similitudes that may verge on the metaphor, but are not.

Bill

On Mon, Jan 31, 2011 at 3:56 PM, Bruce Redwine
<bredwine1968 at earthlink.net>wrote:

> Marc,
>
> I don't see your point.  I'm talking about Durrell's usage of the cliché,
> and the idea of London as a cold, foggy, and inhospitable place, full
> drafty, poorly-insulated architecture, is very, very old — and undoubtedly
> true.  (That's probably why you see old LD going about in a sweater, pea
> jacket, and scarf all the time — he never got over his London days.)
>  Dickens's London illustrates this.  Read Dickens's *Bleak House *or
> Conrad's *Secret Agent.*  As to the "English death," I've never understood
> what that meant.
>
>
> Bruce
>
>
>
> On Jan 31, 2011, at 11:46 AM, Marc Piel wrote:
>
> Hello Bruce,
> If you are defending ideas, (out of their context)
> that were written over 50 years ago, then you are
> perpetuating. N'est ce pas?
>
> I could talk about the "French death" for so much
> has changed in 50 years. But LD would certainly
> object as he chose to live his last years here.
> But who am I to suggest what he might have said?
> Marc
>
> Le 31/01/11 18:32, Bruce Redwine a écrit :
>
> Marc,
>
>
> I'm not perpetuating the myth — Lawrence G. Durrell is. If you object to
>
> this portrayal of British architecture, then you should strenuously
>
> object to Durrell's lambasting of the English for their "English death."
>
> That is a much bigger myth, as your "wonderful time" with the English
>
> girls suggests. By the way, just what is the "English death?" I read
>
> through /The Black Book/ and could never find a clear statement of
>
> whatever LGD meant by it. Clarity, however, is not something we should
>
> expect of our author. The man lives for metaphors, and metaphors are not
>
> the clear statements of analytic philosophy (another English vice).
>
>
>
> Bruce
>
>
>
>
>
> On Jan 31, 2011, at 8:55 AM, Marc Piel wrote:
>
>
> Bruce,
>
> Why perpetrate this Myth?
>
> British often put on the "outside architecture"
>
> that you describe, but inside it is very different.
>
>
> I lived in Norht America for 4,5 years, and often
>
> people would say to me "you must come to dinner
>
> one night", but it was not until a week before I
>
> left that we were really invited to dinner on
>
> "Saturday night".
>
>
> I also lived in London for 1,5 years and had a
>
> wonderful time with the english that I met....
>
> especially the girls....
>
>
> B.R.
>
> Marc
>
>
> Le 31/01/11 16:55, Bruce Redwine a écrit :
>
> Meta,
>
>
> I take "Draught" to mean air, i.e., a "current of /cold/ air." English
>
> buildings, particularly houses and flats, are not well designed, so they
>
> let in the cold easily. How does this transfer to English character?
>
> Well, Durrell is being cute, I think, being funny. In the context of
>
> "the English death," however, Durrell may mean that his fellow
>
> countrymen are inherently "cold," i.e., emotionally frigid and
>
> unresponsive, sexually repressed, probably, unlike the warm-blooded
>
> people of the Mediterranean, who express their feelings readily and
>
> openly, especially in the sexual sense. That's my guess.
>
>
>
> Bruce
>
>
>
>
> On Jan 31, 2011, at 6:50 AM, Meta Cerar wrote:
>
>
> Hello, everyone,
>
>
> My sincerest thanks to everyone who responded to my post about the
>
> Dark Labyrinth and supplied me with lots of useful articles. I haven't
>
> had time to read them yet as I'm just finishing the translation
>
> revision. Although I have gone through the text a couple of times, I'm
>
> still at a loss with a few sentences. Perhaps you can help me with
>
> suggestions.
>
>
> There is a sentence in the chapter /Portraits/ where Campion is
>
> complaining about The English not being able to appreciate artists. I
>
> quote:
>
>
> *English architecture, like the English character, is founded on the
>
> Draught.*
>
>
> I compared three translations of D.L. – French, Italian and German –
>
> and they're all different. The French translate Draught as dessin
>
> (drawing), Italians as rigidity, Germans as Zug (stroke?
>
> Draughtiness?). My friend, himself an English writer, suggests »hard
>
> work« or perhaps »draught as current of air«. How can nation's
>
> character be founded on drawing, hard work, draughtiness …?
>
>
> I'm a bit desperate about this one, so I could use a few suggestions.
>
> It's interesting to read translations of the same book into different
>
> languages – worth a comparative study, really. Sometimes it's hard to
>
> believe it's the same book.
>
>
> Thank you and all best,
>
>
> Meta Cerar
>
>
>
>
>
> _______________________________________________
> ILDS mailing list
> ILDS at lists.uvic.ca
> https://lists.uvic.ca/mailman/listinfo/ilds
>
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://lists.uvic.ca/pipermail/ilds/attachments/20110131/2dfa9650/attachment.html 


More information about the ILDS mailing list