The English Novel: A Short Critical History |
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Page 64
Monsters are what men become in the novels of Tobias Smollett (1721–71).
Lismahago, in Humphry Clinker, the most humane of his works, is described thus:
He would have measured about six feet in height, had he stood upright; but he ...
Monsters are what men become in the novels of Tobias Smollett (1721–71).
Lismahago, in Humphry Clinker, the most humane of his works, is described thus:
He would have measured about six feet in height, had he stood upright; but he ...
Page 152
His strength lay in his specialized knowledge; it would be almost true to say that
he had to become a politician before he could become a novelist. But within his
limitations he grasped and expressed the essential situation of his times with a ...
His strength lay in his specialized knowledge; it would be almost true to say that
he had to become a politician before he could become a novelist. But within his
limitations he grasped and expressed the essential situation of his times with a ...
Page 155
As soon as Pickwick and Sam Weller were set in juxtaposition the kind of book he
was writing must have become apparent to him: the benevolent, idealistic,
unworldly master, the hard-bitten, humorous, realistic servant: it was an
archetypal ...
As soon as Pickwick and Sam Weller were set in juxtaposition the kind of book he
was writing must have become apparent to him: the benevolent, idealistic,
unworldly master, the hard-bitten, humorous, realistic servant: it was an
archetypal ...
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User Review - stillatim - LibraryThingRemember when literary critics read books and wrote about them? No? Well, I do now. He got a few things wrong - what did these people ever see in H.G. Wells? In Meredith? That they should be put next ... Read full review
Contents
Acknowledgments | 7 |
The Beginnings | 19 |
The Eighteenth Century | 40 |
Copyright | |
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accepted achievement action appear attempt become beginning better called century characters comedy comes comic completely consciousness course criticism death described Dickens early effect Elizabethan England English exist experience expression eyes fact father feel fiction Fielding figure follow George George Eliot gives greater heart hero human imagination important influence instance interest James Jane kind Lady later least less literary lives London look master means mind Miss moral nature never novel novelist passage perhaps person plot political possible present prose reality relation remains rendering represents respect satire scarcely scene Scott seems seen sense simply situation social society stand story successful symbol things true turned Victorian whole woman women writing written wrote young