By C. S. Forester
The 19th century dawns and the Napoleonic Wars rage as Horatio Hornblower faces the fury of the French and Spanish fleets mixed. Amidst the hissing of rainy wads, the stifling warmth of white-hot cannonshot and the clamour of a mutinous group, new Lieutenant Hornblower will want all of his seafaring crafty to beat his first problem in self sufficient command at the excessive seas. And whereas blood and violence circulate thick and quick aboard a beleaguered HMS Renown, the aftermath of battle supplies intrigue of a completely varied order: Maria, a tender señorita, who may well simply melt the steely unravel of a tender lieutenant. this is often the second one of 11 books chronicling the adventures of C. S. Forester's inimitable nautical hero, Horatio Hornblower.
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Additional info for Lieutenant Hornblower (Hornblower Saga, Book 2)
If we shift our focus from endings to formal and conceptual beginnings, the sense of a binary structure, which valorizes an idyllic notion of motherhood over a demonized masculinity, is dislodged. What is revealed instead is that Wharton is as skeptical of an idealization of motherhood as she is of the patriarchal system under which the characters live. While Charity certainly seeks both a surrogate mother as well her own maternal biological origins, these origins are not the ideal she hopes to find.
As equals for good” (10). 5 A focus on the ending of Summer has sparked significant debate among critics. Many of these scholars accurately depict Wharton’s strong critique of patriarchal social structures that contain and appropriate female agency. But many of these same critics also want to see embedded in this critique a type of idealization of motherhood, which has been “depreciated, disdained, and ultimately, destroyed” by the representations of patriarchy in the novel (Elbert 4). Monika Elbert reads Wharton as mourning the loss of “motherhood,” represented by the “primeval mother within [Charity]” (7).
In many ways, Wharton’s novel is an example of what Margaret Homans and other theorists have called an adoption narrative. A particularly apt exemplification of what Homans calls “the unknowability of origins,” the narrative illustrates the fact that although knowledge about Charity’s past is “intensely but apprehensively sought” it is “not finally available” (“Adoption” 5). This unavailability or fictionality is directly connected by Wharton to the fictive nature of the maternal ideal. . usually understood as the key to a character’s identity” (Homans, “Adoption” 10).
Lieutenant Hornblower (Hornblower Saga, Book 2) by C. S. Forester