The Critical Temper: From Milton to Romantic literature |
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Page 177
... in a continuous present , always at the cutting edge of the character's suffering , analyzing , experiencing mind . ... sees and presents himself ; through the letters of the other characters we see him as others see him .
... in a continuous present , always at the cutting edge of the character's suffering , analyzing , experiencing mind . ... sees and presents himself ; through the letters of the other characters we see him as others see him .
Page 205
Hence in Tristram Shandy the past almost crowds out the present , and a reader is inevitably bewildered who expects to find in it the forwardmoving time of the conventional English novel , which exists in the mind of the author and not ...
Hence in Tristram Shandy the past almost crowds out the present , and a reader is inevitably bewildered who expects to find in it the forwardmoving time of the conventional English novel , which exists in the mind of the author and not ...
Page 407
Far from being an objective , self - sufficient evocation of the “ beauty of the present moment ” it is , as Mr. J. M. Murry once suggested , a projection in image and symbol of the calm Shakespearian vision : “ Man must abide his going ...
Far from being an objective , self - sufficient evocation of the “ beauty of the present moment ” it is , as Mr. J. M. Murry once suggested , a projection in image and symbol of the calm Shakespearian vision : “ Man must abide his going ...
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Contents
William Cowper 17311800 | 41 |
David Garrick 17171779 | 80 |
Oliver Goldsmith 17301774 | 86 |
Copyright | |
14 other sections not shown
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