The English Novel: A Short Critical HistoryA brilliant, critical history of the novel from Bunyan to Lawrence and Joyce. |
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Page 381
Disraeli , Mrs . Gaskell , Dickens , were southerners for whom the industrial north
was essentially alien ; the revolution that had made it was new and frightening ,
an affront and a threat , and its towns were at once centers of a new kind of ...
Disraeli , Mrs . Gaskell , Dickens , were southerners for whom the industrial north
was essentially alien ; the revolution that had made it was new and frightening ,
an affront and a threat , and its towns were at once centers of a new kind of ...
Page 382
At his best Bennett does achieve universality of a kind , but it is not Hardy ' s kind .
It is , if such a thing is possible , a limited universality , true for a certain kind of
community at a certain point in time , a picture of life not only in the Five Towns ...
At his best Bennett does achieve universality of a kind , but it is not Hardy ' s kind .
It is , if such a thing is possible , a limited universality , true for a certain kind of
community at a certain point in time , a picture of life not only in the Five Towns ...
Page 438
Symbolism of this kind cannot be paraphrased; it can only be experienced. It is
probably the rarest kind of artistic creation, and it is everywhere in Lawrence.
Lawrence's use of the symbol explains also his failures, as for instance The
Plumed ...
Symbolism of this kind cannot be paraphrased; it can only be experienced. It is
probably the rarest kind of artistic creation, and it is everywhere in Lawrence.
Lawrence's use of the symbol explains also his failures, as for instance The
Plumed ...
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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