The English Novel: A Short Critical History |
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Page 46
But the two great characters of Clarissa are the heroine and Lovelace. V. S.
Pritchett has said that Richardson was mad—mad about sex, and I doubt whether
it is possible for the critic who comes to Clarissa after reading Freud to deny that
the ...
But the two great characters of Clarissa are the heroine and Lovelace. V. S.
Pritchett has said that Richardson was mad—mad about sex, and I doubt whether
it is possible for the critic who comes to Clarissa after reading Freud to deny that
the ...
Page 214
that I've done; for I've taught her everything as belongs to a house, an' I've told
her her duty often enough, though, God knows, I've no breath to spare, an' that
catchin' pain comes on dreadful by times. Wi' them three gells in the house I'd
need ...
that I've done; for I've taught her everything as belongs to a house, an' I've told
her her duty often enough, though, God knows, I've no breath to spare, an' that
catchin' pain comes on dreadful by times. Wi' them three gells in the house I'd
need ...
Page 287
o. inhabiting them. They are rendered with the humorous affection that comes
from delight in idiosyncrasy. Moore's true successor in Naturalism, apart from
Bennett in one or two early novels and Riceyman Steps towards the end of his
career, ...
o. inhabiting them. They are rendered with the humorous affection that comes
from delight in idiosyncrasy. Moore's true successor in Naturalism, apart from
Bennett in one or two early novels and Riceyman Steps towards the end of his
career, ...
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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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