Förnya äldre noveller med AI

• Färdig text
• Svensk text, utkast
• Engelsk text, utkast
• Engelsk text, original

Med alla nya hjälpmedel som kommer i en aldrig sinande ström så finns numera möjligheten att relativt enkelt ta fram äldre texter där copyrighten förfallolit, skriva m dem med AI till ett språk mer likt vårt nutida för att sedan kunna använda texterna i undervisningen.

Här finns exemplet novellen "The Adventure Of The German Student" av Washington Irving från 1824. Den är bra på det viset att den tar upp händelser under franska revolutionen. Trots att det var så viktig period i historien finns det inte särskilt många texter som lämpar sig för dagens elever. Dessutom är den en spökhistoria som fått en hel del uppföljare.

Var finns det texter?

Det går att diskutera om det är rätt att skriva om en originaltext till någonting annat. Om syftet är att få elever att läsa texter från andra tider, tycker jag att det är motiverat. Så länge det finns en länk till originaltexten någonstans så har eleven en möjlighet att läsa ursprungstexten, om eleven vill.

Det finns en hel del fria noveller och texter att välja på I Sverige är det Runeberg som har största mängden ( https://runeberg.org/ ) och för den som är ute efter andra svenska texter finns även Wikisource: ( https://sv.wikisource.org/wiki/Wikisource:Huvudsida ).

Den som söker äldre engelska texter kan naturligtvis gå in på den engelska versionen av Wikisource: ( https://en.wikisource.org/wiki/Main_Page ) men när det gäller noveller på engelska är Gutenberg den bästa platsen, och helst den version som finns i Australien eftersom deras copyrightregler är mer tillåtande än de i USA: ( https://gutenberg.net.au/ )

Skriva om texten?

Texter från 1800-talet är skrivna på ett speciellt sätt, och det måste skrivas om för att texten ska uppfattas som lättläst för dagens elever också:

• Show, don't tell - vi är så vana i dagens samhälle att berättande texter skrivs som filmmanus. Författaren beskriver vad personer i texten säger och gör, och vi tolkar handlingen efter det. Förr gällde istället motsatsen, Tell, don't show. Författaren har långa textstycken där den beskriver varför olika personer gör som de gör. Merparten av all Tell, don't show bör skrivas om så att texten följer det mer moderna sättet att skriva.
• Dialoger - vi är vana med många och långa dialoger som för handlingen framåt. På den tiden skrevs dialogerna som passiv anföring. Författaren beskrev vad som sas, utan att skriva någon egentlig dialog. Det innebär att i alla fall merparten av all passiv anföring måste skrivas om till riktiga dialoger så att beskrivningarna av vad som sägs uppfattas som om läsaren är en fluga på väggen bredvid de som samtalar.
• Inre monologer - texterna är fulla till brädden med samtal som huvudpersonen håller med sig själv och ofta är det monologerna som förklarar varför huvudpersonerna gör som de gör. Merparten av de inre monologerna bör arbetas bort och det som finns i dem bör istället synas som del i handlingen.
• Jesus, gud och antikens gudar - äldre texter är fulla av referenser till Jesus, Gud och Bibeln. Även när det är helt obefogat. Något som vi i vår tid tycker är tröttsamt att ta sig igenom. Om den typen av referenser inte behövs, ska de strykas eller skrivas om. Samma sak häller antikens gudar. Under 1700-1800-talen var antiken på modet bland författare och de skrev ofta in olika gudar eller händelser från antikens Grekland och Rom i texten. Något om även det bör tas bort.
• Drömsekvenser - även det är vanligt i äldre texter. Stora delar av handlingen utspelar sig i olika drömmar istället för att vara en del av spänningskurvan. Även de sekvenserna bör skrivas om så att de blir en del av det personerna verkligen säger eller gör, eller raderas helt.

Med det sagt, här följer "The Adventure Of The German Student" från originaltexten till den färdiga, elevanpassade texten.

Rubrik

Av FÖRFATTARE

Källa:

1: Ta reda på vad orden i texten betyder innan du läser texten så förstår du den bättre. Använd: svenska.se, ordbok, Wikipedia eller Wiktionary.

2; Att läsa på raderna innebär att söka information som finns tydligt angiven i texten:

A:

3: Att läsa mellan raderna innebär att man söker fram information som man förstår av textens sammanhang.

A:

4: Att läsa bortom raderna innebär att man kopplar ihop den kunskap man har sedan tidigare för att förstå sammanhanget i en text

A:

5: Öppna frågor saknar ett rätt svar, man kan bara diskutera kring dem.

A:

1: Ta reda på vad orden i texten betyder innan du läser texten så förstår du den bättre. Använd: svenska.se, ordbok, Wikipedia eller Wiktionary.

2; Att läsa på raderna innebär att söka information som finns tydligt angiven i texten:

A:

3: Att läsa mellan raderna innebär att man söker fram information som man förstår av textens sammanhang.

A:

4: Att läsa bortom raderna innebär att man kopplar ihop den kunskap man har sedan tidigare för att förstå sammanhanget i en text

A:

5: Öppna frågor saknar ett rätt svar, man kan bara diskutera kring dem.

The Adventure Of The German Student

by

Washington Irving

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On a stormy night, in the tempestuous times of the French Revolution, a young German was returning to his lodgings, at a late hour, across the old part of Paris. The lightning gleamed, and the loud claps of thunder rattled through the lofty narrow streets--but I should first tell you something about this young German.

Gottfried Wolfgang was a young man of good family. He had studied for some time at Göttingen, but being of a visionary and enthusiastic character, he had wandered into those wild and speculative doctrines which have so often bewildered German students. His secluded life, his intense application, and the singular nature of his studies, had an effect on both mind and body. His health was impaired; his imagination diseased. He had been indulging in fanciful speculations on spiritual essences, until, like Swedenborg, he had an ideal world of his own around him. He took up a notion, I do not know from what cause, that there was an evil influence hanging over him; an evil genius or spirit seeking to ensnare him and ensure his perdition. Such an idea working on his melancholy temperament produced the most gloomy effects. He became haggard and desponding. His friends discovered the mental malady preying upon him, and determined that the best cure was a change of scene; he was sent, therefore, to finish his studies amidst the splendors and gayeties of Paris.

Wolfgang arrived at Paris at the breaking out of the revolution. The popular delirium at first caught his enthusiastic mind, and he was captivated by the political and philosophical theories of the day: but the scenes of blood which followed shocked his sensitive nature, disgusted him with society and the world, and made him more than ever a recluse. He shut himself up in a solitary apartment in the Pays Latin, the quarter of students. There, in a gloomy street not far from the monastic walls of the Sorbonne, he pursued his favorite speculations. Sometimes he spend hours together in the great libraries of Paris, those catacombs of departed authors, rummaging among their hoards of dusty and obsolete works in quest of food for his unhealthy appetite. He was, in a manner, a literary ghoul, feeding in the charnel-house of decayed literature.

Wolfgang, thought solitary and recluse, was of an ardent temperament, but for a time it operated merely upon his imagination. He was too shy and ignorant of the world to make any advances to the fair, but he was a passionate admirer of female beauty, and in his lonely chamber would often lose himself in reveries on forms and faces which he had seen, and his fancy would deck out images of loveliness far surpassing the reality.

While his mind was in this excited and sublimated state, a dream produced an extraordinary effect upon him. It was of a female face of transcendent beauty. So strong was the impression made, that he dreamt of it again and again. It haunted his thoughts by day, his slumbers by night; in fine, he became passionately enamored of this shadow of a dream. This lasted so long that it became one of those fixed ideas which haunt the minds of melancholy men, and are at times mistaken for madness.

Such was Gottfried Wolfgang, and such his situation at the time I mentioned. He was returning home late on stormy night, through some of the old and gloomy streets of the Marais, the ancient part of Paris. The loud claps of thunder rattled among the high houses of the narrow streets. He came to the Place de Grève, the square, where public executions are performed. The lightning quivered about the pinnacles of the ancient Hôtel de Ville, and shed flickering gleams over the open space in front. As Wolfgang was crossing the square, he shrank back with horror at finding himself close by the guillotine. It was the height of the reign of terror, when this dreadful instrument of death stood ever ready, and its scaffold was continually running with the blood of the virtuous and the brave. It had that very day been actively employed in the work of carnage, and there it stood in grim array, amidst a silent and sleeping city, waiting for fresh victims.

Wolfgang's heart sickened within him, and he was turning shuddering from the horrible engine, when he beheld a shadowy form, cowering as it were at the foot of the steps which led up to the scaffold. A succession of vivid flashes of lightning revealed it more distinctly. It was a female figure, dressed in black. She was seated on one of the lower steps of the scaffold, leaning forward, her face hid in her lap; and her long dishevelled tresses hanging to the ground, streaming with the rain which fell in torrents. Wolfgang paused. There was something awful in this solitary monument of woe. The female had the appearance of being above the common order. He knew the times to be full of vicissitude, and that many a fair head, which had once been pillowed on down, now wandered houseless. Perhaps this was some poor mourner whom the dreadful axe had rendered desolate, and who sat here heart-broken on the strand of existence, from which all that was dear to her had been launched into eternity.

He approached, and addressed her in the accents of sympathy. She raised her head and gazed wildly at him. What was his astonishment at beholding, by the bright glare of the lighting, the very face which had haunted him in his dreams. It was pale and disconsolate, but ravishingly beautiful.

Trembling with violent and conflicting emotions, Wolfgang again accosted her. He spoke something of her being exposed at such an hour of the night, and to the fury of such a storm, and offered to conduct her to her friends. She pointed to the guillotine with a gesture of dreadful signification.

"I have no friend on earth!" said she.

"But you have a home," said Wolfgang.

"Yes--in the grave!"

The heart of the student melted at the words.

"If a stranger dare make an offer," said he, "without danger of being misunderstood, I would offer my humble dwelling as a shelter; myself as a devoted friend. I am friendless myself in Paris, and a stranger in the land; but if my life could be of service, it is at your disposal, and should be sacrificed before harm or indignity should come to you."

There was an honest earnestness in the young man's manner that had its effect. His foreign accent, too, was in his favor; it showed him not to be a hackneyed inhabitant of Paris. Indeed, there is an eloquence in true enthusiasm that is not to be doubted. The homeless stranger confided herself implicitly to the protection of the student.

He supported her faltering steps across the Pont Neuf, and by the place where the statue of Henry the Fourth had been overthrown by the populace. The storm had abated, and the thunder rumbled at a distance. All Paris was quiet; that great volcano of human passion slumbered for a while, to gather fresh strength for the next day's eruption. The student conducted his charge through the ancient streets of the Pays Latin, and by the dusky walls of the Sorbonne, to the great dingy hotel which he inhabited. The old portress who admitted them stared with surprise at the unusual sight of the melancholy Wolfgang, with a female companion.

On entering his apartment, the student, for the first time, blushed at the scantiness and indifference of his dwelling. He had but one chamber--an old-fashioned saloon--heavily carved, and fantastically furnished with the remains of former magnificence, for it was one of those hotels in the quarter nobility. It was lumbered with books and papers, and all the usual apparatus of a student, and his bed stood in a recess at one end.

When lights were brought, and Wolfgang had a better opportunity of contemplating the stranger, he was more than ever intoxicated by her beauty. Her face was pale, but of a dazzling fairness, set off by a profusion of raven hair that hung clustering about it. Her eyes were large and brilliant, with a singular expression approaching almost to wildness. As far as her black dress permitted her shape to be seen, it was of perfect symmetry. Her whole appearance was highly striking, though she was dressed in the simplest style. The only thing approaching to an ornament which she wore, was a broad black band round her neck, clasped by diamonds.

The perplexity now commenced with the student how to dispose of the helpless being thus thrown upon his protection. He thought of abandoning his chamber to her, and seeking shelter for himself elsewhere. Still he was so fascinate by her charms, there seemed to be such a spell upon his thoughts and senses, that he could not tear himself from her presence. Her manner, too, was singular and unaccountable. She spoke no more of the guillotine. Her grief had abated. The attentions of the student had first won her confidence, and then, apparently, her heart. She was evidently an enthusiast like himself, and enthusiasts soon understand each other.

In the infatuation of the moment, Wolfgang avowed his passion for her. He told her the story of his mysterious dream, and how she had possessed his heart before he had even seen her. She was strangely affected by his recital, and acknowledge to have felt an impulse towards him equally unaccountable. It was the time for wild theory and wild actions. Old prejudices and superstitions were done away; everything was under the sway of the "Goddess of Reason." Among other rubbish of the old times, the forms and ceremonies of marriage began to be considered superfluous bonds for honorable minds. Social compact were the vogue. Wolfgang was too much of theorist not to be tainted by the liberal doctrines of the day.

"Why should we separate?" said he: "our heart are united; in the eye of reason and honor we are as one. What need is there of sordid forms to bind high soul together?"

The stranger listened with emotion: she had evidently received illumination at the same school.

"You have no home nor family," continued he: "Let me be everything to you, or rather let us be everything to one another. if form is necessary, form shall be observed--there is my hand. I pledge myself to you forever."

"Forever?" said the stranger, solemnly.

"Forever!" repeated Wolfgang.

The stranger clasped the hand extended to her: "Then I am yours," murmured she, and sank upon his bosom.

The next morning the student left his bride sleeping, and sallied forth at an early hour to seek more spacious apartments suitable to the change in his situation. When he returned, he found the stranger lying with her head hanging over the bed, and one arm thrown over it. He spoke to her, but received no reply. He advanced to awaken her from her uneasy posture. On taking her hand, it was cold--there was no pulsation--her face was pallid and ghastly. In a word, she was a corpse.

Horrified and frantic, he alarmed the house. A scene of confusion ensued. The police was summoned. As the officer of police entered the room, he started back on beholding the corpse.

"Great heaven!" cried he, "how did this woman come here?"

"Do you know anything about her?" said Wolfgang eagerly.

"Do I?" exclaimed the officer: "she was guillotined yesterday."

He stepped forward; undid the black collar round the neck of the corpse, and the head rolled on the floor!

The student burst into a frenzy. "The fiend! the fiend has gained possession of me!" shrieked he; "I am lost forever."

They tried to soothe him, but in vain. He was possessed with the frightful belief that an evil spirit had reanimated the dead body to ensnare him. He went distracted, and died in a mad-house.

Here the old gentleman with the haunted head finished his narrative.

"And is this really a fact?" said the inquisitive gentleman.

"A fact not to be doubted," replied the other. "I had it it from the best authority. The student told it me himself. I saw him in a mad-house in Paris."

THE END

Källa: https://gutenberg.net.au/ebooks06/0603731h.html

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