By Michael Ferber
This can be the 1st dictionary of symbols to be in response to literature, instead of 'universal' mental archetypes or myths. It explains and illustrates the literary symbols that all of us usually come upon (such as swan, rose, moon, gold), and offers hundreds and hundreds of cross-references and quotations. The dictionary concentrates on English literature, yet its entries diversity broadly from the Bible and classical authors to the 20th century, taking in American and ecu literatures. For this re-creation, Michael Ferber has incorporated over twenty thoroughly new entries (including endure, holly, sunflower and tower), and has further to a number of the latest entries. Enlarged and enriched from the 1st version, its knowledgeable kind and wealthy references make this e-book a necessary instrument not just for literary and classical students, yet for all scholars of literature.
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Additional resources for A Dictionary of Literary Symbols (2nd Edition)
Far from American shores, Fitzgerald nonetheless labored over the complexity of his new novel. This book would stand apart from his earlier novels and stamp him as one of the world’s great literary stars, not just another “popular” author who rode on the back of sales and publicity successes. Every decision about scene, place, and character seemed to hang the entire novel in the balance, yet he carried forth, throwing himself completely into its creation. Reality also pounded its way into Fitzgerald’s work life when Zelda began an affair with a suave French aviator named Edouard Jozan.
In Gatsby, he finds a fellow traveler who ultimately gives his life in an attempt to achieve his aspirations. The title character’s commitment to the dream earns him greatness in Nick’s mind, since the narrator’s own life contrasts rather negatively in comparison. The reader cannot imagine that anyone would consider Nick anything other than average. Ironically, what makes Gatsby appear “great” is that Fitzgerald/Nick is so reserved in making him real. As a result, the reader is more or less invited to make his or her own determination.
And, since the novel carries so many ambiguities, it makes good fodder for doing so. According to literary critic Harold Bloom, this universality is an appealing trait across the lines that usually divide people. ” 34 We are all at some point and time dreamers, obsessive, status conscious, lovesick, friends, enemies, voyeurs, among the multitude of ideas and moments that make up a life. What all this adds up to is a situation in which a novel (of all things) has laid the groundwork for addressing many quintessentially American qualities.