

Fai clic su di un'immagine per andare a Google Ricerca Libri.
Sto caricando le informazioni... Re in eterno (1940)di T. H. White
![]()
Best Fantasy Novels (30) Favorite Childhood Books (104) » 53 altro Favourite Books (68) BBC Big Read (74) Best Historical Fiction (217) Folio Society (55) 20th Century Literature (127) 1950s (33) 1940s (31) Favorite Long Books (78) Top Five Books of 2013 (1,274) A Novel Cure (155) Books Read in 2019 (714) Ambleside Books (166) United Kingdom (14) Movie Adaptations (78) Historical Fiction (614) Parallel Novels (14) Celtic Fiction (9) Books Read in 2018 (3,588) Five star books (1,086) Books Read in 2009 (257) Books tagged favorites (336) Books Read in 2016 (65) Books Read in 2022 (284) Put a Bird On It (3) A's favorite novels (61) Unread books (882) Sto caricando le informazioni...
![]() Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro.
DNF This did not work for me at all. This has been on the ol' to-read list more than half my life. I was finally in a state of mind to be captured by it. It was more episodic and philosophical than I expected. I had anticipated magic, action, and sensory details. Instead, I was pleasantly surprised by a thoughtful, self-aware, humorous narrator who pivoted quickly from grand, sweeping views of the historical period (a mix of real and fantasy UK) to suddenly intimate, psychological character studies of the main figures. For the most part, when there was dramatic violence or unusual magic or other classic elements of the genre, White presented them quickly, almost perfunctorily. The first book lays the groundwork for this, though. It sort of gets "the fun" out of the way when Arthur is a child by indulging the most fantastic episodes of all four books. Once Arthur is king, the fundamentals of Merlyn's lessons are reflected in the shift in narrative style from magical fantasy to historical, human drama. It's still fanciful, but it becomes quite tragic and depressing. I clearly had not really known anything about this classic beyond a general acquaintance with the characters and plot, so this style came out of left field. I liked it, but it still felt plodding at times. It is irresistably quotable. A few that I highlighted: "Don't ever let anybody teach you to think, Lance: it is the curse of the world." "The heart of tragedy does not lie in stealing or taking away. Any featherpated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without the pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself..." "Perhaps man was neither good nor bad, was only a machine in an insensate universe, his courage no more than a reflex to danger, like the automatic jump at the pin-prick. Perhaps there were no virtues, unless jumping at pin-pricks was a virtue, and humanity only a mechanical donkey led on by the iron carrot of love, through the pointless treadmill of reproduction. Perhaps Might was a law of Nature, needed to keep the survivors fit." "We begin to forget, as we go stolidly balancing along, that there could have been a time when we were young bodies flaming with the impetus of life. It is hardly consoling to remember such a feeling, and so it deadens in our minds. But there was a time when each of us stood naked before the world, confronting life as a serious problem with which we were intimately and passionately concerned... All these problems and feelings fade away when we get the seventh sense... The bodies which we loved, the truths which we sought, the Gods whom we questioned: we are deaf and blind to them now, safely and automatically balancing along toward the inevitable grave, under the protection of our last sense." This has been on the ol' to-read list more than half my life. I was finally in a state of mind to be captured by it. It was more episodic and philosophical than I expected. I had anticipated magic, action, and sensory details. Instead, I was pleasantly surprised by a thoughtful, self-aware, humorous narrator who pivoted quickly from grand, sweeping views of the historical period (a mix of real and fantasy UK) to suddenly intimate, psychological character studies of the main figures. For the most part, when there was dramatic violence or unusual magic or other classic elements of the genre, White presented them quickly, almost perfunctorily. The first book lays the groundwork for this, though. It sort of gets "the fun" out of the way when Arthur is a child by indulging the most fantastic episodes of all four books. Once Arthur is king, the fundamentals of Merlyn's lessons are reflected in the shift in narrative style from magical fantasy to historical, human drama. It's still fanciful, but it becomes quite tragic and depressing. I clearly had not really known anything about this classic beyond a general acquaintance with the characters and plot, so this style came out of left field. I liked it, but it still felt plodding at times. It is irresistably quotable. A few that I highlighted: "Don't ever let anybody teach you to think, Lance: it is the curse of the world." "The heart of tragedy does not lie in stealing or taking away. Any featherpated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without the pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself..." "Perhaps man was neither good nor bad, was only a machine in an insensate universe, his courage no more than a reflex to danger, like the automatic jump at the pin-prick. Perhaps there were no virtues, unless jumping at pin-pricks was a virtue, and humanity only a mechanical donkey led on by the iron carrot of love, through the pointless treadmill of reproduction. Perhaps Might was a law of Nature, needed to keep the survivors fit." "We begin to forget, as we go stolidly balancing along, that there could have been a time when we were young bodies flaming with the impetus of life. It is hardly consoling to remember such a feeling, and so it deadens in our minds. But there was a time when each of us stood naked before the world, confronting life as a serious problem with which we were intimately and passionately concerned... All these problems and feelings fade away when we get the seventh sense... The bodies which we loved, the truths which we sought, the Gods whom we questioned: we are deaf and blind to them now, safely and automatically balancing along toward the inevitable grave, under the protection of our last sense." 2563 Appartiene alle SerieThe Once and Future King (compilation 1-4) È contenuto inContieneThe Witch in the Wood di T. H. White (indirettamente) The Ill-Made Knight di T. H. White (indirettamente) Ha l'adattamentoÈ ispirato aHa uno studioHa come guida per lo studente
The complete box set of T. H. Whites epic fantasy novel of the Arthurian legend. The novel is made up of five parts: The Sword in the Stone, The Witch in the Wood, The Ill-Made Knight, The Candle in the Wind and The Book of Merlyn. Merlyn instructs the Wart (Arthur) and his brother Sir Kay in the ways of the world. One of them will need it the King has died leaving no heir, and a rightful one must be found by pulling a sword from an anvil resting on a stone. In the second and third parts of the novel, Arthur has become King and the kingdom is threatened from the north. In the final two books, the ageing king faces his greatest challenge, when his own son threatens to overthrow him. In The Book of Merlyn, Arthurs tutor Merlyn reappears, and teaches him that, even in the face of apparent ruin, there is hope. Non sono state trovate descrizioni di biblioteche |
Copertine popolari
![]() GeneriSistema Decimale Melvil (DDC)823.912 — Literature English {except North American} English fiction Modern Period 1901-1999 1901-1945Classificazione LCVotoMedia:![]()
Sei tu?Diventa un autore di LibraryThing. |
* Vajon megmenthetnénk a haláltól mondjuk Zola regényeinek hőseit, ha soha többé nem olvasnánk Zola-regényt? (