The function of the hero, John Berger

Berger

“The function of the hero in art is to inspire the reader or spectator to continue in the same spirit from where he, the hero, leaves off. He must release the spectator’s potentiality, for potentiality is the historic force behind nobility. And to do this the hero must be typical of the characters and class who at that time only need to be made aware of their heroic potentiality in order to be able to make their society juster and nobler. Bourgeois culture is no longer capable of producing heroes. On the highbrow level it only produces characters who are embodied consolations for defeat, and on the lowbrow level it produces idols—stars, TV “personalities,” pin-ups. The function of the idol is the exact opposite to that of the hero. The idol is self-sufficient; the hero never is. The idol is so superficially desirable, spectacular, witty, happy that he or she merely supplies a context for fantasy and therefore, instead of inspiring, lulls. The idol is based on the appearance of perfection; but never on the striving towards it.”

John Berger (b. 1926), British author, painter. “A Few Useful Definitions,” Permanent Red, Writers and Readers Publ. (1960).

Dylan Thomas, Love in The Asylum

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A stranger has come
To share my room in the house not right in the head,
A girl mad as birds

Bolting the night of the door with her arm her plume.
Strait in the mazed bed
She deludes the heaven-proof house with entering clouds

Yet she deludes with walking the nightmarish room,
At large as the dead,
Or rides the imagined oceans of the male wards.

She has come possessed
Who admits the delusive light through the bouncing wall,
Possessed by the skies

She sleeps in the narrow trough yet she walks the dust
Yet raves at her will
On the madhouse boards worn thin by my walking tears.

And taken by light in her arms at long and dear last
I may without fail
Suffer the first vision that set fire to the stars.

Dylan Thomas, Love in The Asylum, 1941

 

Enrico Caruso’s 1906 Eyewitness Account of 1906 San Francisco Earthquake

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You ask me to say what I saw and what I did during the terrible days which witnessed the destruction of San Francisco? Well, there have been many accounts of my so-called adventures published in the American papers, and most of them have not been quite correct. Some of the papers said that I was terribly frightened, that I went half crazy with fear, that I dragged my valise out of the hotel into the square and sat upon it and wept; but all this is untrue. I was frightened, as many others were, but I did not lose my head. I was stopping at the [Palace] Hotel, where many of my fellow-artists were staying, and very comfortable it was. I had a room on the fifth floor, and on Tuesday evening, the night before the great catastrophe, I went to bed feeling very contented. I had sung in “Carmen” that night, and the opera had one with fine eclat. We were all pleased, and, as I said before, I went to bed that night feeling happy and contented.

But what an awakening! You must know that I am not a very heavy sleeper—I always wake early, and when I feel restless I get up and go for a walk. So on the Wednesday morning early I wake up about 5 o’clock, feeling my bed rocking as though I am in a ship on the ocean, and for a moment I think I am dreaming that I am crossing the water on my way to my beautiful country. And so I take no notice for the moment, and then, as the rocking continues, I get up and go to the window, raise the shade and look out. And what I see makes me tremble with fear. I see the buildings toppling over, big pieces of masonry falling, and from the street below I hear the cries and screams of men and women and children.

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I remain speechless, thinking I am in some dreadful nightmare, and for something like forty seconds I stand there, while the buildings fall and my room still rocks like a boat on the sea. And during that forty seconds I think of forty thousand different things. All that I have ever done in my life passes before me, and I remember trivial things and important things. I think of my first appearance in grand opera, and I feel nervous as to my reception, and again I think I am going through last night’s “Carmen.”

And then I gather my faculties together and call for my valet. He comes rushing in quite cool, and, without any tremor in his voice, says: “It is nothing.” But all the same he advises me to dress quickly and go into the open, lest the hotel fall and crush us to powder. By this time the plaster on the ceiling has fallen in a great shower, covering the bed and the carpet and the furniture, and I, to, begin to think it is time to “get busy.” My valet gives me some clothes; I know not what the garments are but I get into a pair of trousers and into a coat and draw some socks on and my shoes, and every now and again the room trembles, so that I jump and feel very nervous. I do not deny that I feel nervous, for I still think the building will fall to the ground and crush us. And all the time we hear the sound of crashing masonry and the cries of frightened people.

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Then we run down the stairs and into the street, and my valet, brave fellow that he is, goes back and bundles all my things into trunks and drags them down six flights of stairs and out into the open one by one. While he is gone for another and another, I watch those that have already arrived, and presently someone comes and tries to take my trunks saying they are his. I say, “no, they are mine”; but he does not go away. Then a soldier comes up to me; I tell him that this man wants to take my trunks, and that I am Caruso, the artist who sang in “Carmen” the night before. He remembers me and makes the man who takes an interest in my baggage “skiddoo” as Americans say.

Then I make my way to Union Square, where I see some of my friends, and one of them tells me he has lost everything except his voice, but he is thankful that he has still got that. And they tell me to come to a house that is still standing; but I say houses are not safe, nothing is safe but the open square, and I prefer to remain in a place where there is no fear of being buried by falling buildings. So I lie down in the square for a little rest, while my valet goes and looks after the luggage, and soon I begin to see the flames and all the city seems to be on fire. All the day I wander about, and I tell my valet we must try and get away, but the soldiers will not let us pass. We can find no vehicle to find our luggage, and this night we are forced to sleep on the hard ground in the open. My limbs ache yet from so rough a bed.

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Then my valet succeeds in getting a man with a cart, who says he will take us to the Oakland Ferry for a certain sum, and we agree to his terms. We pile the luggage into the cart and climb in after it, and the man whips up his horse and we start.

We pass terrible scenes on the way: buildings in ruins, and everywhere there seems to be smoke and dust. The driver seems in no hurry, which makes me impatient at times, for I am longing to return to New York, where I know I shall find a ship to take me to my beautiful Italy and my wife and my little boys.

When we arrive at Oakland we find a train there which is just about to start, and the officials are very polite, take charge of my luggage, and tell me go get on board, which I am very glad to do. The trip to New York seems very long and tedious, and I sleep very little, for I can still feel the terrible rocking which made me sick. Even now I can only sleep an hour at a time, for the experience was a terrible one.

Shakespeare’s One Star reviews on Amazon

Boring boring boring boring boring boring boring boring boring boring boringness boring boring boring boring boringness boring boring boringness boring boobs ass tits balls

I would give this book one star for trying. I didn’t really enjoy it, but maybe that’s just because I don’t like love stories.

I would reccomend this to theatre people.

I tried to read Shakepeare as a kid, and couldn’t stand it. It still sucks 50 years later.

it would have been nice to hav some scene setting or descriptions

This book is very boring and doesn’t say much for the man who wrote it! Ofcourse Willy is acclaimed as the best writer of all time, but this is only because of British Media hyping the man, after 400 years.

It was ok compared to some other books I have read in the pasts but not that good

Heres what i would say to Shakespear… Welcome to America Now speak english

shakespeare was obviously taking some shortcuts here. still, a pretty good play,

I wish that William Shakespeare would have wrote it like a regular book

All and all this play is atrocious. Though it is acclaimed as the greatest work of drama ever, it is hardly that. People who say such things, have absolutely no credibility. Hamlet’s only purpose is to confuse the reader. Any intelligent person can see through his character and realize that he is little more than a feeble mind with a large vocabulary

Wasn’t such a big fan. I prefer more modern novels, without the big words

Having researched great authors as part my PhD at Princeton, it is surprising how poorly Shakespeare has written this particular book. The plot is weak and lacks imagination, the character development is all over the shop and writing style is quite muddled in places.

I hate all the stupid fairy stuff almost as much as I hate those be damn communists

The poetry could be much better.

The book has some high points and a lot of low points. Shakespeare’s wordplay is on full display but the bard has definitely been beaten by later books with the same plot but more interesting treatment. I recommend this on an uncertain day when you want a light and refreshing read of old school drama.

I’m an Arts and Letters major and you won’t find me reading Shakespeare. I don’t share the common fondness that folks nationwide has with this particular author. I think most people simply quote and adore him because he obviously heralded something new to the world of theater and literature.

I was very disappointed

Macbeth I found to be tacky with very few memorable quotes.

I’m not saying I didn’t like it – I did and it has it’s peaks and valleys, but when the good writing is so good and the bad so bad, the whole piece loses it’s magic a bit.

Would like to watch a play it sounds fun

I absolutely hated it. Don’t really know what all the hype was about. It felt like forever trying to get through it. The end could not come fast enough!

A good piece of writing, not too much to brag about though

This has to be one of the worst plays ever written, Shakespeare or no Shakespeare. While the Bard was the master of English drama, he really slipped up here. The plot makes no sense, the characters motivations are contrived, and the jokes fall flat. I have read this play hundreds of times, seen umpteen productions and films, and am astonished at the plaudits universally accorded to it.

Too much time is taken betwwen the action scenes

The utter stupidity of the script and the horrible ending drag it down.

i liked it that hal killed hotspur because in the movie hotspur was ugly and disgusting. everytime i looked at him i felt like i wanted to puke.

This book is the worst book i have ever read in my life. It was only good for making me fall asleep

This book was absolutely ridiculous. No copyright or publishing information.

The language is very poetic and the story interesting. However, the main characters are extremely shallow

This may be one of the great works of humanity, but it just doesn’t cut it for me. The gender sterotypes are nauseating, to say the least

In my opinion all of Shakespeare’s writings are long winded, drawn out words with no possibility of ever coming close to being remotly interesting. Hamlet was actually one of the most terribly boring, predictable, useless book ever written. The plot had no vital juices. The charachters were devoid of all emotion and energy. Even more devastating to the book is how it all ended. I actually got to say once Hamlet,Gertrude, and Claudius died I was leaping with joy, it was impossible to contain my excitment. Why? Because it meant that if every one is dead, well, IT IS FINALLY OVER!

There’s nothing here that tells us anything about the human condition other than what we already know and acknowledge as some of our worst traits: that we can be impulsive, gullible, stubborn, hateful, and murderous.

This was by far the worst science fiction novel I have ever watched

I think that Shakespeare made up some of the words. Also, the story was so hard to understand because Shakespeare uses so many metaphors, and doesn’t describe what is going on too well. Even if this story were written in today’s language, it still wouldn’t have appealed to me because I don’t think the plot is any good.

I’m sorry, but this book was awful. You can burn me for a heretic, but it was

i just read this book. everybody like always talks about how great it is and everything. but i don’t think so. like, it’s been done before, right?? soooo cliched. omg.

Play was very stupid it sucks no one should read it because there is no point of reading this because all this play is taking up your time.

English class will not be fun this year

This is probably the most cliche novel ever written. It’s boring as well and isn’t even in English. Fail!

This absolutely SUCKS!!!!!!!!!!!!!

If you are here looking for a good read for casual use, I would go in search elsewhere. The times have changed and this did not keep my attention. I’m it was a big hit back in its time.

The most boring read ever! The main character spends all his time doing nothing — and, worse, makes us all listen to his tedious CONTEMPLATIONS on how he does nothing. Much too slow; there should be more action here. Moreover, the author reverts time and time again to tired cliches — e.g., “outrageous fortune,” “murder most foul,” “primrose path,” “the time is out of joint,” “more honored in the breach than the observance.” The list could go on and on: we’ve heard them millions of times before, and we hear them every day. Finally, the story is too grim and sad. Why do so many people have to die? Why can’t the main character just realize that it’s better to forgive and forget than to take revenge and CONSTANTLY PONTIFICATE about EVERYTHING. Stay away from this book. There are lots of better and more entertaining books to buy.

It is a little hard to read since its likes a script but I guess it is alright, though it would be better if it is written in story like.

The beginning of every line is a capital letter no matter if it is a new sentence. I don’t know if it ought to be like that, but I don’t like it.

Man, this English was older than my mom. I was like, “What is this?”

If you enjoy confused characters, boring plots, and massive amounts of footnotes, this book about nothing is for you.

Crossing Brooklyn Ferry by Walt Whitman

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1
Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.

Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.

2
The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others.

Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.

3
It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.

I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look’d at the fine centrifugal spokes of light round the shape of my head in the sunlit water,
Look’d on the haze on the hills southward and south-westward,
Look’d on the vapor as it flew in fleeces tinged with violet,
Look’d toward the lower bay to notice the vessels arriving,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops, saw the ships at anchor,
The sailors at work in the rigging or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sunset,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite storehouses by the docks,
On the river the shadowy group, the big steam-tug closely flank’d on each side by the barges, the hay-boat, the belated lighter,
On the neighboring shore the fires from the foundry chimneys burning high and glaringly into the night,
Casting their flicker of black contrasted with wild red and yellow light over the tops of houses, and down into the clefts of streets.

4
These and all else were to me the same as they are to you,
I loved well those cities, loved well the stately and rapid river,
The men and women I saw were all near to me,
Others the same—others who look back on me because I look’d forward to them,
(The time will come, though I stop here to-day and to-night.)

5
What is it then between us?
What is the count of the scores or hundreds of years between us?

Whatever it is, it avails not—distance avails not, and place avails not,
I too lived, Brooklyn of ample hills was mine,
I too walk’d the streets of Manhattan island, and bathed in the waters around it,
I too felt the curious abrupt questionings stir within me,
In the day among crowds of people sometimes they came upon me,
In my walks home late at night or as I lay in my bed they came upon me,
I too had been struck from the float forever held in solution,
I too had receiv’d identity by my body,
That I was I knew was of my body, and what I should be I knew I should be of my body.

6
It is not upon you alone the dark patches fall,
The dark threw its patches down upon me also,
The best I had done seem’d to me blank and suspicious,
My great thoughts as I supposed them, were they not in reality meagre?
Nor is it you alone who know what it is to be evil,
I am he who knew what it was to be evil,
I too knitted the old knot of contrariety,
Blabb’d, blush’d, resented, lied, stole, grudg’d,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant,
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting,
Was one with the rest, the days and haps of the rest,
Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat,
Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,

Play’d the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.

7
Closer yet I approach you,
What thought you have of me now, I had as much of you—I laid in my stores in advance,
I consider’d long and seriously of you before you were born.

Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows, for all the distance, but I am as good as looking at you now, for all you cannot see me?

8
Ah, what can ever be more stately and admirable to me than mast-hemm’d Manhattan?
River and sunset and scallop-edg’d waves of flood-tide?
The sea-gulls oscillating their bodies, the hay-boat in the twilight, and the belated lighter?

What gods can exceed these that clasp me by the hand, and with voices I love call me promptly and loudly by my nighest name as I approach?
What is more subtle than this which ties me to the woman or man that looks in my face?
Which fuses me into you now, and pours my meaning into you?

We understand then do we not?
What I promis’d without mentioning it, have you not accepted?
What the study could not teach—what the preaching could not accomplish is accomplish’d, is it not?

9
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg’d waves!
Gorgeous clouds of the sunset! drench with your splendor me, or the men and women generations after me!
Cross from shore to shore, countless crowds of passengers!
Stand up, tall masts of Mannahatta! stand up, beautiful hills of Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
Suspend here and everywhere, eternal float of solution!
Gaze, loving and thirsting eyes, in the house or street or public assembly!

Sound out, voices of young men! loudly and musically call me by my nighest name!
Live, old life! play the part that looks back on the actor or actress!
Play the old role, the role that is great or small according as one makes it!
Consider, you who peruse me, whether I may not in unknown ways be looking upon you;
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
Receive the summer sky, you water, and faithfully hold it till all downcast eyes have time to take it from you!
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sunlit water!
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!
Flaunt away, flags of all nations! be duly lower’d at sunset!
Burn high your fires, foundry chimneys! cast black shadows at nightfall! cast red and yellow light over the tops of the houses!

Appearances, now or henceforth, indicate what you are,
You necessary film, continue to envelop the soul,
About my body for me, and your body for you, be hung out divinest aromas,
Thrive, cities—bring your freight, bring your shows, ample and sufficient rivers,
Expand, being than which none else is perhaps more spiritual,
Keep your places, objects than which none else is more lasting.

You have waited, you always wait, you dumb, beautiful ministers,
We receive you with free sense at last, and are insatiate henceforward,
Not you any more shall be able to foil us, or withhold yourselves from us,
We use you, and do not cast you aside—we plant you permanently within us,
We fathom you not—we love you—there is perfection in you also,
You furnish your parts toward eternity,
Great or small, you furnish your parts toward the soul.