By Clyde De L. Ryals
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Extra info for A World of Possibilities: Romantic Irony in Victorian Literature
S. Mill complained that "what is said in an Carlyle's The French Revolution 31 abrupt, exclamatory, & interjectional manner were [better] said in the ordinary grammatical mode of nominative & verb," Carlyle replied that "the common English mode of writing has to do with hearsays of things; and the great business for me, in which alone I feel any comfort, is recording the presence, bodily concrete coloured presence of things;—for which the Nomi native-and-verb, as I find it Here and Now, refuses to stand me in due stead" (CL 9:15).
340) it does not become such a feeble and inexperienced pen as mine to attempt to relate (p. 463). Lastly, the narrator cannot make up his mind whether this book subtitled "A Novel without a Hero" does or does not have any heroic characters. Early on he alludes to "the heroine of this work, Miss Sedley" (pp. 19-20), yet at the end he calls Amelia "our simpleton" and "a tender little parasite" (pp. 637, 661). Then he decides, "If this is a novel without a hero, at least let us lay claim to a heroine [Becky]" (p.
Yes; I can see Jones at this minute . taking out his pencil. Well, he is a lofty man of genius, and admires the great and heroic in life and novels; and so had better take warning and go elsewhere, (p. 15) 40 Vanity Fair: Transcendental Buffoonery In a footnote in the first edition the narrator vouches for his accuracy: "If anybody considers this an overdrawn picture I refer them to contemporaneous histories" (p. 106). He refuses to include certain matter because of the offense it might offer to his readers' sensibilities, speaking of incidents "hardly fit to be ex plained" (p.
A World of Possibilities: Romantic Irony in Victorian Literature by Clyde De L. Ryals