Henry and Cato (Vintage Classics) by Iris Murdoch

By Iris Murdoch

Henry and Cato is the tale of 2 prodigal sons. Henry returns from a self-imposed exile in the United States to an unexpected inheritance of wealth and land in England. he's additionally returning to his mom. His good friend Cato is suffering from ambiguous intermingled passions, one for a God who could or won't exist, the opposite for a petty felony who may well or is probably not able to salvation. Cato's father and his sister Colette wait anxiously to welcome Cato again to sanity after his doubtful escapades. Henry in the meantime confronts his mom, the unappeased furies of infantile resentment, and diverse chances of revenge. Henry's cool mom watches, Cato's impetuous sister intervenes. Can love right here turn into a saving strength, or is it condemned to be possessive and demonic? Blackmail and violence take a hand, and either Henry and Cato go back domestic ultimately.

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Extra info for Henry and Cato (Vintage Classics)

Sample text

With apparent disdain for romanticism, in ‘Hamlet and His Problems’ Eliot conceives of a technique that serves as the foundation for his poetics of impersonality – the objective correlative. As he explains, ‘the only way of expressing emotion in the form of art is by finding an objective correlative; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked’ (789).

When studying the poem or fiction, the archetypal critic, like the formalist, assumes that the art object represents a special space, one that is more or less selfcontained, and in some fashion outside the strictures of history or personage. But Frye differs from some formalists in his understanding of literature as permanent and universal, applicable to and connected with human life throughout time. ‘The true father or shaping spirit of the poem is the form of the poem itself,’ Frye explains in Anatomy of Criticism (1957), ‘and this form is a manifestation of the universal spirit of poetry, the “onlie begetter” of Shakespeare’s sonnets who was not Shakespeare himself’ (98).

Eliot’s tradition is exclusive and hierarchical and does not account for the many other cultural forces that might make a popular novel or rock lyric or situation comedy as important in the creation of a given text as Dante’s Inferno. Aren’t all of the forces the artist experiences important in the culminating art object? Eliot responds with a resounding ‘no’ and asserts that if we approach a poet with his idea of tradition in mind, ‘we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously’ (784).

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