Two Centuries of the English NovelJohn Murray, 1911 - 340 pages |
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Page 2
... novelist be as narrow as that of Jane Austen or as wide as that of Stendhal and Balzac ; we judge them as novelists by looking at the pictures reflected in the mirror they hold to life , and not by the size of the frame . All we look to ...
... novelist be as narrow as that of Jane Austen or as wide as that of Stendhal and Balzac ; we judge them as novelists by looking at the pictures reflected in the mirror they hold to life , and not by the size of the frame . All we look to ...
Page 3
... novelists in our sense of the word , they possessed the dramatic ↑ faculty and psychological insight which would have made them novelists at a later date . Boccaccio's prose pastoral , Ameto , and his romance , Fiametta , are of small ...
... novelists in our sense of the word , they possessed the dramatic ↑ faculty and psychological insight which would have made them novelists at a later date . Boccaccio's prose pastoral , Ameto , and his romance , Fiametta , are of small ...
Page 7
... novelist , he , at least , made fashionable a rather artificial form of the prose - tale . " Euphuism in language became the fashion for a few years ; but by the time that the true novel begins to appear Lyly was only a name . The ...
... novelist , he , at least , made fashionable a rather artificial form of the prose - tale . " Euphuism in language became the fashion for a few years ; but by the time that the true novel begins to appear Lyly was only a name . The ...
Page 20
... novelist at about the age of sixty , and , like Mr. De Morgan , the vigour and freshness of his work shows that youth is first a temperament and afterwards a matter of being young . At sixty the ordinary man thinks of laying aside his ...
... novelist at about the age of sixty , and , like Mr. De Morgan , the vigour and freshness of his work shows that youth is first a temperament and afterwards a matter of being young . At sixty the ordinary man thinks of laying aside his ...
Page 24
... . The two shibboleths of the modern novelist , psychology and local colour , were ideas unknown to Defoe . But Defoe's art is displayed in the way in which he seizes us , makes us read , makes us 24 THE ENGLISH NOVEL.
... . The two shibboleths of the modern novelist , psychology and local colour , were ideas unknown to Defoe . But Defoe's art is displayed in the way in which he seizes us , makes us read , makes us 24 THE ENGLISH NOVEL.
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acter Adam Bede admirable adventure appeared artistic Barry Lyndon belong CHAPTER char character characterisation Charlotte Brontë Clarissa colour comedy criticism Defoe Defoe's Dickens early eighteenth century Emily Brontë emotion English novel Esmond faculty fame faults feel fiction Fielding Fielding's genius George Eliot George Meredith gift Goldsmith Hardy Hardy's human humour imagination interest Jane Austen Jane Eyre Jones Joseph Andrews lady letters literary literature living manner Martin Chuzzlewit ment method mind Miss Austen Miss Burney narrative natural never novelist ordinary Pamela passion pathos perhaps Pickwick Pickwick Papers picture poetry prose readers realistic Richard Feverel Richardson Robinson Crusoe satire scene Scott sense sentiment shows sisters sketches Smollett spirit Sterne story style sympathy tale tells temperament Thackeray Thackeray's things Thomas Hardy thought tion Tom Jones true truth Waverley Novels whole woman women words writing written wrote young