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 15
... seen as the result of a formal grasp of nature . He anticipates Vir- ginia Woolf's attack on Arnold Bennett in his account of the English and German ' detailism ' which loses all form and sharp- ness in faithful and insignificant ...
... seen as the result of a formal grasp of nature . He anticipates Vir- ginia Woolf's attack on Arnold Bennett in his account of the English and German ' detailism ' which loses all form and sharp- ness in faithful and insignificant ...
Page 32
... seen , that she was deliberately setting out to write tragedy , and her novels are tragedies in a strictly technical sense , not because they show pain and evil , crime and punishment , but because they impose a moral pattern which ...
... seen , that she was deliberately setting out to write tragedy , and her novels are tragedies in a strictly technical sense , not because they show pain and evil , crime and punishment , but because they impose a moral pattern which ...
Page 34
... seen as part of a communal glory , just as Hetty's suffering is seen as part of a communal disaster . This does not mean that Adam's abilities are underplayed . When George Eliot insists on his humble origin , it is with a proviso ...
... seen as part of a communal glory , just as Hetty's suffering is seen as part of a communal disaster . This does not mean that Adam's abilities are underplayed . When George Eliot insists on his humble origin , it is with a proviso ...
Page 45
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Page 47
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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