The English Novel: A Short Critical HistoryA brilliant, critical history of the novel from Bunyan to Lawrence and Joyce. |
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Page 128
for reasons that will be plain later , Frank Osbaldistone himself — there is his
father , the London merchant , the Whig . Then there is Mr . Osbaldistone ' s clerk ,
Owen , who lives and thinks wholly in terms of clerkliness . We move north , to the
...
for reasons that will be plain later , Frank Osbaldistone himself — there is his
father , the London merchant , the Whig . Then there is Mr . Osbaldistone ' s clerk ,
Owen , who lives and thinks wholly in terms of clerkliness . We move north , to the
...
Page 394
Ford liberates his characters - Henry , Katherine , Cranmer , the Princess Mary ,
Cromwell , Throckmorton , and the rest from the associations encrusting them
from four centuries of bitter sectarian history , so that they live as human beings .
Ford liberates his characters - Henry , Katherine , Cranmer , the Princess Mary ,
Cromwell , Throckmorton , and the rest from the associations encrusting them
from four centuries of bitter sectarian history , so that they live as human beings .
Page 395
Are all men ' s lives like the lives of us good people like the lives of the
Ashburnhams , of the Dowells , of the Ruffords broken , tumultuous , agonized ,
and unromantic lives , periods punctuated by screams , by imbecilities , by deaths
, by ...
Are all men ' s lives like the lives of us good people like the lives of the
Ashburnhams , of the Dowells , of the Ruffords broken , tumultuous , agonized ,
and unromantic lives , periods punctuated by screams , by imbecilities , by deaths
, by ...
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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 | 67 |
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 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 matter means mind Miss moral nature never novel novelist perhaps person plot political possible present prose reader reality relation represents respect satire scarcely scene Scott seems seen sense side simply situation social society story successful symbol things tion true turned Victorian whole woman women writing written wrote young