COMPLETE: "A Tale of Two Cities" by Charles Dickens -jo
I have made the correction to section 42 below. It is now ready for Spot PL.
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_42_dickens_128kb.mp3
Time: 22:32
Rick
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_42_dickens_128kb.mp3
Time: 22:32
Rick
I have just uploaded to the MW, Section 45 of A Tale of Two Cities, "The Footsteps Die Out For Ever:"
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_45_dickens_128kb.mp3
Time: 16:29
This is the final section of the novel and so the final recording in the novel. Of course it may require correction as with all the other previous recorded sections.
Once I make the corrections on this, should there be correction needed, I wonder when I can expect this recording of the novel (Version 5 of A Tale of Two Cities) to "go live?"
Thanks,
Rick
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_45_dickens_128kb.mp3
Time: 16:29
This is the final section of the novel and so the final recording in the novel. Of course it may require correction as with all the other previous recorded sections.
Once I make the corrections on this, should there be correction needed, I wonder when I can expect this recording of the novel (Version 5 of A Tale of Two Cities) to "go live?"
Thanks,
Rick
-
- LibriVox Admin Team
- Posts: 22080
- Joined: November 18th, 2006, 4:37 pm
Hi Rick,
As soon as all the files are all PL'd and all are marked as PL OK, then the project will be ready to be cataloged. That process is done by your MC (me in this case), and can take anywhere from a few hours to a day or two depending on the amount of traffic at Internet Archive where our audiobooks are hosted and derived into multiple formats.
As soon as all the files are all PL'd and all are marked as PL OK, then the project will be ready to be cataloged. That process is done by your MC (me in this case), and can take anywhere from a few hours to a day or two depending on the amount of traffic at Internet Archive where our audiobooks are hosted and derived into multiple formats.
Jo
Hi Rick!rreiman wrote: ↑April 1st, 2021, 8:35 pm I have just uploaded to the MW, Section 43 of A Tale of Two Cities, "Fifty-Two:"
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_43_dickens_128kb.mp3
Time: 31:08
Thanks,
Rick
I love this chapter; it's one of my favorites, and your reading sounds great! Section 43 PL notes below:
-19:58 Repeat ("breathing more freely")
-23:23 Repeat ("the same shadows that are falling on the prison")
Section 43 is PL OK--nice job!rreiman wrote: ↑March 30th, 2021, 5:40 pm I have just uploaded to the MW, Section 44 of A Tale of Two Cities, "The Knitting Done:"
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_44_dickens_128kb.mp3
Time: 30:51
I have not yet uploaded section 43 but will do so in the next 24 hours or so.
Thanks,
Rick
Section 45 is PL OK!rreiman wrote: ↑April 3rd, 2021, 3:51 pm I have just uploaded to the MW, Section 45 of A Tale of Two Cities, "The Footsteps Die Out For Ever:"
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_45_dickens_128kb.mp3
Time: 16:29
This is the final section of the novel and so the final recording in the novel. Of course it may require correction as with all the other previous recorded sections.
Once I make the corrections on this, should there be correction needed, I wonder when I can expect this recording of the novel (Version 5 of A Tale of Two Cities) to "go live?"
Thanks,
Rick
The corrected file is PL OK!rreiman wrote: ↑April 3rd, 2021, 7:09 am I have made the correction to section 42 below. It is now ready for Spot PL.
https://librivox.org/uploads/knotyouraveragejo/taleoftwocities_42_dickens_128kb.mp3
Time: 22:32
Rick
-
- LibriVox Admin Team
- Posts: 22080
- Joined: November 18th, 2006, 4:37 pm
Hi Rick,
While you are waiting for the final PL spot checks, perhaps you might like to rewrite your summary of the book?
While you are waiting for the final PL spot checks, perhaps you might like to rewrite your summary of the book?
Jo
Section 43 is PL OK! And we are reading for cataloging! (Aside from your summary.) Thank you so much for allowing me to be part of your first solo and for being patient with me throughout the process! I can't wait to see your reading in the catalog!
Jo,
Here is my Summary (This one is slightly improved from the one I just direct messaged to you):
Charles Dickens’s A Tale of Two Cities is a novel that views the eighteenth century French Revolution through the lens of nineteenth century Victorian Romanticism. Dickens tells the story of a wide range of characters in London and Paris whose lives intersect in the turbulence of the revolution. Unusual among his novels, A Tale of Two Cities relies heavily on plot rather than characterization. The moralism so typical of Dickens is much in evidence, however, as the author stages his story in the most violent period of the revolution, the Reign of Terror (1792-1794). It is very much a tale of good versus evil, with Dickens essentially realizing in fiction the historian Thomas Carlyle’s now-discredited interpretation of the French Revolution as a struggle between oppressed poor and monstrous aristocrats. (The French Middle-Class, which began and ended the Revolution in reality, are nowhere to be found in the novel) Dickens situates the tensions of the period in the characters of the story: Charles Darnay, scion of the aristocracy but determined to atone for his family’s sins; Sydney Carton, a dissolute English barrister drawn to a plan of redemptive self-sacrifice to give his life to save Darnay, the husband of the woman Carton loves; Lucy Manette, the pure personification of saintly womanhood and the woman both men love; and a duo of comedic characters of a kind more familiar to Dickens’s readers, the shrill Miss Pross and the hapless “resurrectionist,” Jerry Cruncher.
The novel threads a continuous dualism through the story, a dualism both in plot and characterization. Opposite Lucy’s sacredness as a human symbol of love, Dickens gives us Madame Defarge, a human dynamo hell-bent on murderous revenge against Darnay’s family and all its descendants. The Revolution is portrayed as an understandable reaction to the aristocrats’ cruelty toward the poor, but the latter’s response--the guillotine and the trumbrils that supply its steady “wine”--simply represent the poor repeating the same mistakes as their oppressors. The “two cities.” too, are opposites. Dickens’s London is a place where change is often impossibly stymied by stuffiness, but on which the world can rely for the preservation of law and freedom. Paris is a city of hate and lawless vengeance, high in risk but also pregnant with the possibility of regeneration. It is in Paris that Darnay and Carton, so like each other in appearance, so different in their life paths, experience completely different fates, but fates that allow them equally to realize their common dream for a life well lived.
Dickens, who liked to act in this later stage of his career, very much portrays his scenes as set-pieces heavy on dialogue, almost like a play. This poses a challenge to the reader. The novel’s romanticism and symbolism virtually invites exaggeration in the reading of the dialogue, and provides forgiveness for any failures to render these readings “realistic.” Yet there is a complete seriousness to the messages Dickens is trying to convey that must not be undermined by excessive mannerism. For generations to come, audiences will surely continue to love this novel and its reflection on life, and on what makes life worth living.
Here is my Summary (This one is slightly improved from the one I just direct messaged to you):
Charles Dickens’s A Tale of Two Cities is a novel that views the eighteenth century French Revolution through the lens of nineteenth century Victorian Romanticism. Dickens tells the story of a wide range of characters in London and Paris whose lives intersect in the turbulence of the revolution. Unusual among his novels, A Tale of Two Cities relies heavily on plot rather than characterization. The moralism so typical of Dickens is much in evidence, however, as the author stages his story in the most violent period of the revolution, the Reign of Terror (1792-1794). It is very much a tale of good versus evil, with Dickens essentially realizing in fiction the historian Thomas Carlyle’s now-discredited interpretation of the French Revolution as a struggle between oppressed poor and monstrous aristocrats. (The French Middle-Class, which began and ended the Revolution in reality, are nowhere to be found in the novel) Dickens situates the tensions of the period in the characters of the story: Charles Darnay, scion of the aristocracy but determined to atone for his family’s sins; Sydney Carton, a dissolute English barrister drawn to a plan of redemptive self-sacrifice to give his life to save Darnay, the husband of the woman Carton loves; Lucy Manette, the pure personification of saintly womanhood and the woman both men love; and a duo of comedic characters of a kind more familiar to Dickens’s readers, the shrill Miss Pross and the hapless “resurrectionist,” Jerry Cruncher.
The novel threads a continuous dualism through the story, a dualism both in plot and characterization. Opposite Lucy’s sacredness as a human symbol of love, Dickens gives us Madame Defarge, a human dynamo hell-bent on murderous revenge against Darnay’s family and all its descendants. The Revolution is portrayed as an understandable reaction to the aristocrats’ cruelty toward the poor, but the latter’s response--the guillotine and the trumbrils that supply its steady “wine”--simply represent the poor repeating the same mistakes as their oppressors. The “two cities.” too, are opposites. Dickens’s London is a place where change is often impossibly stymied by stuffiness, but on which the world can rely for the preservation of law and freedom. Paris is a city of hate and lawless vengeance, high in risk but also pregnant with the possibility of regeneration. It is in Paris that Darnay and Carton, so like each other in appearance, so different in their life paths, experience completely different fates, but fates that allow them equally to realize their common dream for a life well lived.
Dickens, who liked to act in this later stage of his career, very much portrays his scenes as set-pieces heavy on dialogue, almost like a play. This poses a challenge to the reader. The novel’s romanticism and symbolism virtually invites exaggeration in the reading of the dialogue, and provides forgiveness for any failures to render these readings “realistic.” Yet there is a complete seriousness to the messages Dickens is trying to convey that must not be undermined by excessive mannerism. For generations to come, audiences will surely continue to love this novel and its reflection on life, and on what makes life worth living.