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 4
... parallels which are prominent in the relationship of the two men , and not the human process and consequence of their brief encounter . It is perhaps often true that the novel , least sensuous of all forms of art , relies on this kind ...
... parallels which are prominent in the relationship of the two men , and not the human process and consequence of their brief encounter . It is perhaps often true that the novel , least sensuous of all forms of art , relies on this kind ...
Page 11
... parallel in the doubled situations of Mrs Transome and Esther Lyon , or of Dorothea and Lydgate , or of Gwendolen and Mirah . In George Eliot the formal relations of the charac- ters are usually presented unassertively . They are ...
... parallel in the doubled situations of Mrs Transome and Esther Lyon , or of Dorothea and Lydgate , or of Gwendolen and Mirah . In George Eliot the formal relations of the charac- ters are usually presented unassertively . They are ...
Page 13
... parallel scenes and verbal echo . She does not directly remind us of Gwendolen's terror when the panel sprang open to show the dead face , but leaves it to us to hear the echo when , at the end of the novel , Gwendolen tells Daniel how ...
... parallel scenes and verbal echo . She does not directly remind us of Gwendolen's terror when the panel sprang open to show the dead face , but leaves it to us to hear the echo when , at the end of the novel , Gwendolen tells Daniel how ...
Page 24
... parallel , and not the expected contrast , in the adult reaction described on the next page : ' Amos knelt by the bed and held her hand in his . He did not believe in his sorrow . It was a bad dream . He did not know when she was gone ...
... parallel , and not the expected contrast , in the adult reaction described on the next page : ' Amos knelt by the bed and held her hand in his . He did not believe in his sorrow . It was a bad dream . He did not know when she was gone ...
Page 56
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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