Novels of George EliotBarbara Hardy's Novels of George Eliot is a classic study of Eliots's outstanding powers as a great formal artist. The book's continuing appeal is due not simply to the perceptiveness and freshness of its writing but to the fact that form is interpreted in the widest sense to include whatever is relevant to the novels as organised, articulated, imaginative wholes and also as the direct expression of George Eliot's profound analysis of the human condition. |
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Page 13
... force us to ask searching questions about a device which is more than an easy narrative convention . If we refrain from pre- judging the convention of the author's direct speech , we may find some interest in following its contribution ...
... force us to ask searching questions about a device which is more than an easy narrative convention . If we refrain from pre- judging the convention of the author's direct speech , we may find some interest in following its contribution ...
Page 17
... forces upon them . The Quarterly's reviewer disliked the uncultured provincials in The Mill on the Floss and the petty and trivial inhabitants of Shepperton in the Scenes . The rejection of the Jewish parts of Daniel Deronda are usually ...
... forces upon them . The Quarterly's reviewer disliked the uncultured provincials in The Mill on the Floss and the petty and trivial inhabitants of Shepperton in the Scenes . The rejection of the Jewish parts of Daniel Deronda are usually ...
Page 22
... forces and the personal life . The chorus throws the ordinary hero into relief , the relief of the frame and the relief of contrast . The choric comments build up a kind of tension of curiosity , a perpetual stating of the question ...
... forces and the personal life . The chorus throws the ordinary hero into relief , the relief of the frame and the relief of contrast . The choric comments build up a kind of tension of curiosity , a perpetual stating of the question ...
Page 25
... force from the helpless weakness of the central figure ' he says , and this unheroic tragic centre throws its light on the ' whole world of helpless creatures , who are innocent without virtue . . . and whose . . . slight natures lie ...
... force from the helpless weakness of the central figure ' he says , and this unheroic tragic centre throws its light on the ' whole world of helpless creatures , who are innocent without virtue . . . and whose . . . slight natures lie ...
Page 42
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Contents
1 | |
14 | |
32 | |
The Heroines | 47 |
The Egoists | 68 |
V Character and Form | 78 |
VI Plot and Form | 115 |
VII Possibilities | 135 |
Intimate Prophetic and Dramatic | 155 |
IX The Scene as Image | 185 |
X The Pathetic Image | 201 |
XI The Ironical Image | 215 |
Conclusion | 233 |
Index | 239 |
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Common terms and phrases
action Adam Bede Adam's Amos Barton appearance ardour Arthur author's Blackwood Bulstrode Bulstrode's Casaubon chapter characters child coincidence comes commentary context contrast crisis Daniel Deronda dead death Dinah Dorothea dramatic dream echo egoism elaborate Esther example face feeling Felix Holt Floss formal Fred George Eliot gives Grandcourt Gwendolen Haight Henry James hero heroines Hetty Hetty Sorrel Hetty's human imagery imagination insistent interest ironical irony kind later less light look Lydgate Lydgate's Maggie Maggie's marriage metaphor Middlemarch mind Mirah mirror moral move narrative never novel ordinary parallel passion pathetic images pathos pattern perhaps Piero pity plot portrait possibility present reader reading recurring relation repetition Romola Rosamond Savonarola says Scenes of Clerical seems sense sensibility shown Silas Marner social sometimes soul story strong symbol sympathy theme things thought tion Tito Tito's tone tragedy tragic Transome Transome's turn underlined vision voice woman