The Study of a NovelD.C. Heath, 1905 - 331 strani |
Iz vsebine knjige
Zadetki 1–5 od 32
Stran ix
... entire course . On the other hand , some of the richest cultural values of the novel are to be gained only by a liberal reading which brings before one a wide area of historical and social interests . The best general method is perhaps ...
... entire course . On the other hand , some of the richest cultural values of the novel are to be gained only by a liberal reading which brings before one a wide area of historical and social interests . The best general method is perhaps ...
Stran 3
... entire novel is supposed to be quoted speech , as in the epistolary and other documentary types , there is a secondary dramatic form within this . Specially characteristic of the novel , as distinct from the drama , is the " described ...
... entire novel is supposed to be quoted speech , as in the epistolary and other documentary types , there is a secondary dramatic form within this . Specially characteristic of the novel , as distinct from the drama , is the " described ...
Stran 7
... entire Comédie Humaine contains something like 4,000,000 words : The Waverley Novels are about the same length . - 7. Principal Divisions of a Novel . In a typical novel these are the chapter and paragraph : in longer fictions , the ...
... entire Comédie Humaine contains something like 4,000,000 words : The Waverley Novels are about the same length . - 7. Principal Divisions of a Novel . In a typical novel these are the chapter and paragraph : in longer fictions , the ...
Stran 16
... entire Plague Year is dramatic , as purporting to be written by a fictitious character . ) Dramatic - Narrative Sense and Sensibility · · 45 55 - 14. Non - dramatic Form . In decided subordination to dramatic form , the non - dramatic ...
... entire Plague Year is dramatic , as purporting to be written by a fictitious character . ) Dramatic - Narrative Sense and Sensibility · · 45 55 - 14. Non - dramatic Form . In decided subordination to dramatic form , the non - dramatic ...
Stran 19
... entire dramatic speech of a composition as a conversa- tional form , interesting comparison may be made between the epic , drama , and novel . Beowulf Paradise Lost Master and Man Silas Marner The Tempest Number of single speeches 45 ...
... entire dramatic speech of a composition as a conversa- tional form , interesting comparison may be made between the epic , drama , and novel . Beowulf Paradise Lost Master and Man Silas Marner The Tempest Number of single speeches 45 ...
Vsebina
1 | |
7 | |
13 | |
14 | |
19 | |
23 | |
27 | |
28 | |
143 | |
144 | |
145 | |
147 | |
148 | |
150 | |
151 | |
152 | |
29 | |
30 | |
31 | |
32 | |
33 | |
34 | |
36 | |
37 | |
38 | |
39 | |
40 | |
41 | |
42 | |
45 | |
47 | |
48 | |
49 | |
51 | |
52 | |
53 | |
56 | |
57 | |
59 | |
60 | |
62 | |
63 | |
66 | |
67 | |
69 | |
71 | |
72 | |
73 | |
74 | |
76 | |
78 | |
79 | |
81 | |
82 | |
83 | |
84 | |
85 | |
86 | |
87 | |
88 | |
89 | |
90 | |
91 | |
92 | |
93 | |
94 | |
95 | |
96 | |
97 | |
98 | |
99 | |
101 | |
102 | |
104 | |
105 | |
106 | |
107 | |
109 | |
111 | |
125 | |
127 | |
128 | |
130 | |
131 | |
132 | |
133 | |
135 | |
138 | |
139 | |
140 | |
142 | |
154 | |
155 | |
156 | |
158 | |
160 | |
161 | |
162 | |
163 | |
164 | |
165 | |
166 | |
167 | |
169 | |
170 | |
173 | |
174 | |
176 | |
180 | |
181 | |
182 | |
183 | |
184 | |
185 | |
186 | |
187 | |
188 | |
189 | |
190 | |
191 | |
192 | |
193 | |
194 | |
195 | |
197 | |
198 | |
199 | |
202 | |
203 | |
204 | |
205 | |
207 | |
208 | |
209 | |
211 | |
212 | |
213 | |
214 | |
216 | |
218 | |
219 | |
220 | |
221 | |
222 | |
224 | |
247 | |
248 | |
249 | |
254 | |
256 | |
257 | |
258 | |
260 | |
262 | |
263 | |
265 | |
279 | |
280 | |
281 | |
282 | |
283 | |
286 | |
309 | |
319 | |
Druge izdaje - Prikaži vse
Pogosti izrazi in povedi
Adam Bede æsthetic analysis artistic Balzac catastrophe Chapter character characteristic characterization climax complex composition conception conscious considered contrast criticism definite Defoe dialogue distinct Don Quixote dramatic dramatis personæ effect eighteenth century elements Elizabeth Bennet emotional emphasized English epic episodic Eppie ethical example experience external fictitious frequently George Eliot give given Godfrey Godfrey Cass Gothic hero historical human idea ideal illusion imagination important incidents individual novel influence interest interpretation Ivanhoe Jane Austen literary literature lyric mainly ment method mind modern moral movement narration narrative nature non-dramatic novel of manners novelist paragraph plot Pride and Prejudice psychological reader realistic relations religious Robinson Crusoe scenes Scott sense Sense and Sensibility settings short story significant Silas Marner single actions social groups Spielhagen spirit structure style subject-matter suggested supernatural technical theme theory tion tragic types unified unity Waverley Novels
Priljubljeni odlomki
Stran 261 - Art is a human activity, consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them.
Stran 229 - If we read of one man robbed, or murdered, or killed by accident, or one house burned, or one vessel wrecked, or one steamboat blown up, or one cow run over on the Western Railroad, or one mad dog killed, or one lot of grasshoppers in the winter, — we never need read of another. One is enough. If you are acquainted with the principle, what do you care for a myriad instances and applications...
Stran 143 - Just when I seemed about to learn! Where is the thread now? Off again! The old trick! Only I discern — Infinite passion and the pain Of finite hearts that yearn.
Stran 80 - The golden ripple on the wall came back again, and nothing else stirred in the room. The old, old fashion! The fashion that came in with our first garments, and will last unchanged until our race has run its course, and the wide firmament is rolled up like a scroll. The old, old fashion — Death!
Stran 293 - A novel is a large diffused picture, comprehending the characters of life, disposed in different groups, and exhibited in various attitudes, for the purposes of a uniform plan, and general occurrence, to which every individual figure is subservient. But this plan cannot be executed with propriety, probability, or success, without a principal personage to attract the attention, unite the incidents, unwind the clue of the labyrinth, and at last close...
Stran 302 - The only reason for the existence of a novel is that it does attempt to represent life.
Stran 73 - ... for want of a nail the shoe was lost; for want of a shoe the horse was lost; and for want of a horse the rider was lost...
Stran xii - To-day's brief passion limits their range; It seethes with the morrow for us and more. They are perfect — how else? they shall never change: We are faulty — why not ? we have time in store. The Artificer's hand is not arrested With us; we are rough-hewn, nowise polished: They stand for our copy, and, once invested With all they can teach, we shall see them abolished.
Stran 51 - For similar reasons, it may be in like manner said, that the most picturesque period of history is that when the ancient rough and wild manners of a barbarous age are just becoming innovated upon, and contrasted, by the illumination of increased or revived learning, and the instructions of renewed or reformed religion.
Stran 201 - Similarly, when I am reminded by any chance of what it was that the waves were always saying, I wander in my fancy for a whole winter night about the streets of Paris — as I really did, with a heavy heart, on the night when my little friend and I parted company for ever.