Project Gutenberg · 59, free ebooks · 29 by George Eliot. Silas Marner by George Eliot. No cover available. Download; Bibrec. Silas Marner. GEORGE ELIOT. . In the early years of this century, such a linen-weaver, named Silas Marner, worked at his vocation in a stone cottage that . Silas Marner by George Eliot. Adobe PDF icon. Download this document as a. pdf: File size: MB What's this? light bulb idea Many people prefer to read.
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Free download of Silas Marner by George Eliot. Available in PDF, ePub and Kindle. Read, write reviews and more. makna hidup dalam dinamika eksistensi tokoh silas marner dalam novel silas marner karya The Project Gutenberg EBook of Silas Marner, by George Eliot. GEORGE ELIOT'S SILAS MARNER Holly Hughes SERIES COORDINATOR Murray Bromberg, Principal, Wang High School of Queens, Holliswood, New.
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Topics librivox , audiobook , literature. Librivox recording of Silas Marner, by George Eliot. Read by rachelellen. Silas Marner originally published in He exiles himself in the remote village of Raveloe. Friendless and without family, set apart from the villagers by their superstition and fear of him, he plies his weaving trade day after day, storing up gold which becomes his idol. When his gold is stolen, he is rescued from despair by the arrival on his lonely hearth of a beautiful little girl, whom he adopts, and through whom he and the other people of the village learn that loving relationships are more fulfilling than material wealth.
Summary by rachelellen For more information on our readers, please visit the catalog page For more free audiobooks, or to become a volunteer reader, please visit librivox. Download M4B MB. Boxid OL Ppi Run time 6: Source Librivox recording of a public-domain text.
Taped by LibriVox. Donald R Miller - favorite favorite favorite favorite favorite - August 11, Subject: An excellent job of reading this story I was thinking about doing a recording of this book.
In other words, Kierkegaard places premium on the notion of Christianity, putting a lot of effort into revising this conception in his time; he, from the onset to the end of his career, opened fire at the Danish Protestant Christianity and its institutional rituals.
Having written his M. All of his works gingerly feature in his daring quest to define true Christianity and Christian, to propound the concept of subjective truth, to dispel the Hegelian collective spirit, to mold the idea of angst and freedom, and to draw a line between three modes of existence. Fredric Copleston in his gigantic work of philosophy, A History of Philosophy 7 spells the aesthetic mode out in this way: The aesthetic man is governed by sense, impulse and emotion.
But we must conceive him as being simply and solely the grossly sensual man. The aesthetic stage can also be exemplified, for instance, in the poet who transmutes the world into an imaginative realm and in the romantic.
The essential features of aesthetic consciousness are the absence of the fixed universal moral standards and of determinate religious faith and the presence of desire to enjoy the whole range of emotive and sense experience. An obvious instance of the transition from the aesthetic to the moral is the man who renounces the satisfaction of sexual impulse and enters into the state of marriage.
Abraham forsakes the universal moral law for the sake of a higher being. In the point of fact, a man of faith is directly related to personal God whose demands is absolute and cannot be measured simply by the standards of the human reason.
Staying in ethical sphere assumes a relationship between people and the universal law, external values, mores. The first one consisted of negative element in which Abraham renounces Isaac and the second is positive element in which Abraham gets Isaac back.
The paradox is that both occur at the same time. This is the highest form of individuality in the process of becoming. Kierkegaard himself clarifies this movement in Fear and Trembling: Infinite resignation is that shirt that we read about in the old fable. The thread is spun under tears, the cloth is bleached with tears, the shirt is sewn with tears, but then it is better protection that iron and steel…..
The secret in life that everyone must sew for himself….. What I gain is myself and only then can be any question of grasping existence by virtue of faith. The knight of faith performs leap of faith through inwardness and passion.
Discussion I. These spheres of being, namely aesthetic, ethical and religious are interconnected in that individuals can move from one ladder of existence to another by subjectivity and choices. If the aesthetic is the lowest ladder in the existence of an individual who can fluctuates between the mean decadence to the highest sense of beauty peppered with the main elements of pleasure and enjoyment, the ethical requires to drift in the realm of universal laws and social mores which is in stark contrast to religious existence.
The religious person contravenes the moral conventions of his society and is only accountable to God.
These spheres are also relevant to subjective facet of life, to the howness of existence, i. Silas, in the first stance, lives as a respectable weaver and a faith-laden fellow in his religious community in the Lantern Yard in an unnamed city in the North. The narrator provides sketches of Silas in Lantern Yard: Marner was highly thought of in that little hidden world, known to itself as the church assembling in Lantern Yard; he was believed to be a young man of exemplary life and ardent faith; and a peculiar interest had been centered in him ever since he had fallen, at a prayer-meeting, into a mysterious rigidity and suspension of consciousness, which, lasting for an hour or more, had been mistaken for death…..
Silas was both sane and honest, though, as with many honest and fervent men, culture had not defined any channels for his sense of mystery.
Each character stands in one sphere of life relevant to his subjective position and attitude toward life. The drawing lot is the moment when he descents into alienation and hatred because he cannot resign to what appears to be the existence of evil in the world.
Past becomes a burden, a sin and a dream. From this time up to the appearance of Eppie at Christmas Eve he loses his connection to his past, his Christian community, his Christian beliefs and his shared love.
Silas fills this void in the incessant act of spinning and hoarding money: Silas in his solitude, had to provide his own breakfast, dinner, and supper, to fetch his own water from the well, and put his own kettle on the fire; and all these immediate promptings helped, along with the weaving, to reduce his life to the unquestioning activity of a spinning insect. He hated the thought of the past; there was nothing that called out his love and fellowship towards the strangers he had come amongst; and the future was all dark, for there was no unseen love that cared for him.
First this money- hoarding, apart from being an emblem of degradation, is a descent from faith to foulness, a collapse from sky of piety to the ground of faith- poverty: Similarly Silas's miserly obsession with his gold coins is shown to be a means of filling the void left by his loss of faith in God and man.
The emphasis placed on the 'bright faces' of the coins, which become so familiar to him that he would not exchange them for others 'with unknown faces' , defines them as substitutes for the human beings they replace, and will eventually be replaced by in their turn. Providence works wonderfully and mysteriously, calling the past to remembrance, turning sin and suffering into a path of salvation.
In this regard, Silas is shorn of enough courage and valor in opposition to alienating power which draws him to a seclusion of fifteen years.
He backslides to alienation and exile in stone cottage in Raveloe. In responding to his suffering and his tragedy, Silas easily fails. Silas is entangled in ethics in the sense of rights and wrongs in ethics. In true Kierkegaardian sense, his faith in God is only illusion. Silas has no true one-to-one relationship to God to transcend his mores of religious society. According to John De Caputo, Knight of infinite resignation a person ready to sacrifice his own judgment so as to embrace what he cannot prove through his inwardness: A lesser man might be capable of a movement of infinite resignation, of giving up on the finite, surrendering his own will, for the sake of the infinite, of doing the will of God.
A lesser man could understand that sons must sometimes be sacrificed for a cause and would be able to resign himself to the loss of something finite in order to conform to the infinite, to the law of God. That is what de Silentio means by the 'knight of infinite resignation.
A person who with all the courage of a knight goes to the limit of giving up his own will, but who does this with no expectation that his loss will ever be recovered. Silas cannot face and endure the existence of evil and treachery. Dane you stole the money, and you have woven a plot to lay the sin at my door.
Silas reflects and therefore he fails. For Kierkegaard reflection will lead to mire of facts.
Reflection on the status of existence is to keep the self in the eternal abeyance. A decision to end the process of reflection is necessary and such a decision must be generated by passion. Fifteen-year-of-hoarding gold is also a surrogate for his previous state of being.
His existence as a recluse in Raveloe defies any classifications. Silas should not be regarded also as ethical person since he is hermit in a stone cottage living by his own sole principle of piling gold by means of weaving to see them shine in his hands and to slip in his fingers as Nancy Henry says: His spiritual, affectionate and even erotic love is all displaced on to the coins.
He knows their faces intimately and would not think of parting with them. He is crushed when, in a reversal of the theft of which he was once accused, his carefully hidden treasure is stolen. If Christianity is a way of life to be lived with infinite passion and inwardness, Silas beyond any doubt cannot consummate his existence with passion-laden faith.
Kierkegaard in Concluding Unscientific Postscript which appeared in under the pseudonymous name, Johannes the Climacus as a postscript to another work, Philosophical Fragments pays attention to this seminal question, how must one live a Christian life? What is the truth of Christianity? Religious belief is not the matter of accepting or reassuring information about how things are up there. It is a challenge to commit you to a way of life. Faith is an act of pure freedom by which we choose our path, self in life.
One aspect of subjective truth is decisiveness. Your self is nothing but your decisions and these are based on values you have.
Inwardness at its highest in an existing subject is passion; to passion there corresponds truth as a paradox; and the fact that truth becomes the paradox is grounded precisely in its relation to an existing subject. This is how the one corresponds to the other. Through forgetting that one is an existing subject, passion dies out and the truth in return no longer becomes something paradoxical, but the knowing subject. It seems that he stands at a distance to God; for who has the passion and inwardness God is always close.
He reflects on his status quo, on his catalepsis, on something to rationalize or to prove his innocence but all in vain.
Reflection alone can end in stalemate. Fact alone also will lead you to the objective distance. In respect to truth, Kierkegaard clearly gives priority to inwardness and passion to fill the gap of objective uncertainty. Here we can hear the sound of leap of faith as a bridge between the finite and infinite. What Silas lacks is this passion to fill the gap between what is temporal - - i. Rationality is inadequate. Silas cannot make the leap of faith to overcome uncertainty, iniquity and his doubt that God does not exist to extricate him from allegation.
The question of truth for Kierkegaard is framed only subjectively and existentially. Tied to inwardness, self-forgetting as Kierkegaard hints is a tendency to thwart yourself from your authentic selfhood. It seems that a human subject is hovering between these two polar axes of inwardness and self-forgetting.
In the novel, self-forgetting takes various shapes. For Silas, this process of self-forgetting is symbolized in his gold-hoarding, just to evade his prior selfhood in the shape of his love for God and people. The process of self-forgetting can work through gratification and hedonism.
In contrast to Dunstan who performs this self-forgetting via gratifying and pleasurable action, Silas seems to reach a moral descent defying any aesthetic action. Nor can Silas be considered rogue like Dunstan for, as we see later, he reserves the potentiality to return to ethical sphere by the arrival of Eppie.
Kierkegaard emasculates the belief in truth in the face of the belief in untruth providing the former is done in bad faith and the latter is done through self- commitment and passion. Analysis of other minor characters This notion is more obvious in the case of William Dane, who frames for Silas the accusation of robbery.
Dane certainly is the prime example of worshipping true God but in untruth. He lacks the passion for God since those who have inwardness are capable of sharing it.