The English Novel: A Short Critical HistoryA brilliant, critical history of the novel from Bunyan to Lawrence and Joyce. |
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Page xvi
... Lionel Trilling , in The Liberal Imagination : For our time the most effective
agent of the moral imagination has been the novel of the last two hundred years .
It was never , either aesthetically or morally , a perfect form and its faults and
failures ...
... Lionel Trilling , in The Liberal Imagination : For our time the most effective
agent of the moral imagination has been the novel of the last two hundred years .
It was never , either aesthetically or morally , a perfect form and its faults and
failures ...
Page 174
Grandiose and improbable as his imagination was , it was always applied to the
world outside it , and it was always moved by certain abstract ideas , the ideas of
greatness and nobility , kingship , ancient families , and youth . The young men ...
Grandiose and improbable as his imagination was , it was always applied to the
world outside it , and it was always moved by certain abstract ideas , the ideas of
greatness and nobility , kingship , ancient families , and youth . The young men ...
Page 197
So far as we can label him at all , he was a fantasist , and he forces us to accept
the world he creates by the sheer compelling power of the intensity of his
imagination . It was an hallucinatory imagination , and so long as he remains
within the ...
So far as we can label him at all , he was a fantasist , and he forces us to accept
the world he creates by the sheer compelling power of the intensity of his
imagination . It was an hallucinatory imagination , and so long as he remains
within the ...
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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 Hardy 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 situation social society stand story successful symbol things tion true turned Victorian whole woman women writing written wrote young