By Colin Gibson
This choice of essays by means of confirmed critics and students makes an attempt to provide explorations of unpolluted elements, private and non-private of the artwork of the key Victorian novelists, in lots of instances supported by means of prolonged shut readings in their novels. There are 4 stories of novels by way of Dickens, and reviews of novels via Charlotte Bronte, George Eliot, Thomas Hardy, Henry James, Trollope and Kipling also are supplied. Colin Gibson is writer of "The Interpretative energy" and he has written articles and essays on Renaissance drama and poetry and glossy poetry and hymnology.
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Additional info for Art and Society in the Victorian Novel: Essays on Dickens and his Contemporaries
Finally, the idea is made quite explicit, just before the death of Mrs Gradgrind: 'She might have been lying at the bottom of a well. The poor lady was nearer Truth than she had ever been: which had much to do with it' (n, ch. 9; my italics). 'Sowing', 'Reaping', 'Garnering', the subtitles of the three parts of the novel, are also full of traditional associations, in this case biblical ones, that give them a legendary dimension. Sowing and reaping adages like Job 4:8, 'Even as I have seen, they that ...
7. 8. 9. 10. 11. 12. Art and Society in the Victorian Novel 'Inspector Field' sketches, and here directed at the 'waters' of Chesney Wold. ) But proximity to the fox might suggest a possible reference to the sly tricks in Reynard the Fox (then very well known, with various translations, one of 1845 being in Dickens's library). Reynard's pretended gifts to the king and queen included a magic mirror or crystal globe, revealing things distant in time and place. Browne, if not Dickens, may have unconsciously recalled the dancing figure of Till Eulenspiegel holding the mirror, on the striking engraved titlepage of the 1846 (London) edition of Goethe's Reineke Fuchs, illustrated by Wilhelm Kaulbach.
Dickens is manifestly addressing his readers (one thinks of them as hearers) without reference to anyone present at this scene; Jo has been 'brought in' to his last and sole refuge, George's shooting gallery, after being traced with difficulty by the physician Allan Woodcourt, and, though he cannot yet believe it, is among friends. He will not be moved on again. As the end approaches, Allan asks if he ever knew a prayer: 'No, sir. Nothink at all'; of Mr Chad band's praying he could make nothing, and the others who came to Tom-all-alone's 'mostly sed as the t'other wuns prayed wrong'.