The English Novel: A Short Critical HistoryA brilliant, critical history of the novel from Bunyan to Lawrence and Joyce. |
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Page 75
He is saying in effect to the reader : You believe you think logically , that one
thought follows another in orderly ... cut short ? as at this rate I should just live
364 times faster than I should write - It must follow , an ' please your worships ,
that the ...
He is saying in effect to the reader : You believe you think logically , that one
thought follows another in orderly ... cut short ? as at this rate I should just live
364 times faster than I should write - It must follow , an ' please your worships ,
that the ...
Page 82
Yet he had real powers of invention and could write a swift , effective satirical
scene and follow it instantly with another ; if the chapters describing how a
clergyman ' s wife bribes a bishop ' s wife in order to get a vacant living for her
husband ...
Yet he had real powers of invention and could write a swift , effective satirical
scene and follow it instantly with another ; if the chapters describing how a
clergyman ' s wife bribes a bishop ' s wife in order to get a vacant living for her
husband ...
Page 318
But there was another influence as potent , Balzac ' s , and the two novels that
follow The Portrait , The Bostonians , and The Princess Casamassima , both of
which appeared in 1886 , follow Balzac in that the notion of the novelist lying
behind ...
But there was another influence as potent , Balzac ' s , and the two novels that
follow The Portrait , The Bostonians , and The Princess Casamassima , both of
which appeared in 1886 , follow Balzac in that the notion of the novelist lying
behind ...
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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
THE BEGINNINGS | 3 |
THE EIGHTEENTH CENTURY | 31 |
THE FIRST GENERA | 107 |
Copyright | |
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accepted achievement action appear attempt Austen become 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 George George Eliot gives greater heart hero human imagination important influence instance interest James Jane kind Lady later least less literary lives London look matter means mind Miss moral nature never novel novelist perhaps person play plot political possible present prose reader reality relation represents respect satire scarcely scene Scott seems seen sense side situation social society story successful symbol things thought tion true turned Victorian whole woman women writing written wrote young