On that IV fog and the corporation as a person in AtD

[alice wellintown]

But the fog, like the mud (Tale of Two Cities), and the use of imagery
(note that Nabokov, in one of his lectures, attempts to rescue Dickins
from the those who would diminish the creative genius of Dickens--most
evident in his use of imagery-- to a mere political satirist or early
muck-raker) by Charles the Great, is of another period. It is to
Pound, Eliot (yellow fog & Co.), the French, and Conrad, or  the
Modernist experiments with imagery and sybolism that Pynchon is most
indebted to.



see The opaque and the clear: the white fog incident in Conrad's
"Heart of Darkness" - Critical Essay
http://findarticles.com/p/articles/mi_m2455/is_4_35/ai_91040891/


On Thu, Apr 22, 2010 at 5:15 PM, Heikki Raudaskoski
<hraudask at sun3.oulu.fi> wrote:
>
> And both intermingled at the beginning of _Bleak House_:
>
> "Fog everywhere. Fog up the river, where it flows among green aits and
> meadows; fog down the river, where it rolls deified among the tiers of
> shipping and the waterside pollutions of a great (and dirty) city. Fog on
> the Essex marshes, fog on the Kentish heights. Fog creeping into the
> cabooses of collier-brigs; fog lying out on the yards and hovering in the
> rigging of great ships; fog drooping on the gunwales of barges and small
> boats. Fog in the eyes and throats of ancient Greenwich pensioners,
> wheezing by the firesides of their wards; fog in the stem and bowl of the
> afternoon pipe of the wrathful skipper, down in his close cabin; fog
> cruelly pinching the toes and fingers of his shivering little 'prentice
> boy on deck. Chance people on the bridges peeping over the parapets into a
> nether sky of fog, with fog all round them, as if they were up in a
> balloon and hanging in the misty clouds.
>
> Gas looming through the fog in divers places in the streets, much as the
> sun may, from the spongey fields, be seen to loom by husbandman and
> ploughboy. Most of the shops lighted two hours before their time--as the
> gas seems to know, for it has a haggard and unwilling look.
>
> The raw afternoon is rawest, and the dense fog is densest, and the muddy
> streets are muddiest near that leaden-headed old obstruction, appropriate
> ornament for the threshold of a leaden-headed old corporation, Temple Bar.
> And hard by Temple Bar, in Lincoln's Inn Hall, at the very heart of the
> fog, sits the Lord High Chancellor in his High Court of Chancery.
>
> Never can there come fog too thick, never can there come mud and mire too
> deep, to assort with the groping and floundering condition which this High
> Court of Chancery, most pestilent of hoary sinners, holds this day in the
> sight of heaven and earth."
>
> http://www.online-literature.com/dickens/bleakhouse/2/
>
> Heikki
>
> On Wed, 21 Apr 2010, Mark Kohut wrote:
>
>> Didja all remember---I din't---that 'microscopic droplets of salt fog inevitably got folded' into Hunter Penhallow's paintings?
>> 'Though not mixed in with the Payne's gray and Naples yellow.....[which] introduced modelings, shadows, redefinitions of space"
>> into his work? p.129
>>
>> And, yes, our discussion of the Corporation as person is anticipated in AtD, in the chapter headed as "From the Journals of
>> Fleetwood Vibe"....'a new living species, one that can outperform most anything an individual can do by himself, no matter how
>> smart or powerful he is." p.148
>>
>>
>>
>>
>