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This text is part of a series that gathers together a large body of
critical sources on major figures in literature. Each volume
presents contemporary responses to a writer's work, enabling
students and researchers to read for themselves, for example,
comments on early performances of Shakespeare's plays, or reactions
to the first publication of Jane Austen's novels. The sources range
from landmark essays in the history of criticism to journalism and
contemporary opinion, and little published documentary material
such as letters and diaries. Significant pieces of criticism from
later periods are also included, in order to demonstrate the
fluctuations in an author's reputation. Each volume contains an
introduction to the writer's published works, a selected
bibliography, and an index of works, authors and subjects. The
"Collected Critical Heritage" set will be available as a set of 68
volumes and the series will also be available in mini sets selected
by period (in slipcase boxes) and as individual volumes.
First published in 1954, Thackeray is intended as a reminder that
Thackeray is, after all, a great novelist. Professor Tillotson,
admiring the novels as great literature, explores their common
characteristics and those they share with the rest of Thackeray's
writings - for he sees Thackeray's work as all of a piece. He is
particularly interested in Thackeray's methods of narration and in
the philosophic commentary which forms a sort of trellis for almost
everything he put out. He sees him mainly as a writer who, subtle
as he is, address himself to readers honoured as ordinary human
beings. In two appendices, Professor Tillotson deals with two
particular modern opinions - that Thackeray spoiled his novels by
an 'infiltration' into them of his own biography, and that he has
no place in the great novel tradition. This book will be of
interest to students of literature and history.
The re-emergence into critical esteem of the literature of the
English mid-nineteenth century has been one of the post-war
excitements for students and general readers. Mid-nineteenth
century literature is not simply the best body of literature the
English have produced. It happens also to be literature that has a
practical interest for ourselves. We live so plainly in its wake.
The problems being faced a hundred years ago are the problems still
facing ourselves, such as the continued supremacy of science and
its methods and the consequently progressive disappearance of what
was called the supernatural. Nineteenth-century literature,
however, is interesting for other reasons than extended topicality,
offering infinite aesthetic riches, as Geoffrey Tillotson discusses
in this volume of essays.
This volume makes conveniently available to students and others the
group of chapters in Professor Geoffrey Tillotson's Augustan
Studies in which he deals with the poetic theory and practice of
the Augustan age as a whole, rather than with particular works.
Augustan poetry as defined by Professor Tillotson is the 'poetry
written by most poets from Elizabethan times into the nineteenth
century' and though this may appear at first sight an
inconveniently wide definition it enables the author to show that
the great eighteenth-century masters who are his chief concern here
are in the main course of English poetry.
The Critical Heritage gathers together a large body of critical
sources on major figures in literature. Each volume presents
contemporary responses to a writer's work, enabling student and
researcher to read the material themselves.
First published in 1971. Routledge is an imprint of Taylor &
Francis, an informa company.
This seminal edition includes comprehensive annotation, the 1712
version of the poem as well as the 1714 version, and substantial
critical material in appendices. No student of Pope can afford to
be without this classic edition.
It is still true that most readers of eighteenth-century poetry
approach it by way of nineteenth-century poetry; they know what
Wordsworth said about Pope before they read Pope. This means that
when they read Pope and other eighteenth-century poets, they apply
the wrong criteria. An eighteenth-century poet did not have to
create the taste by which he was enjoyed to the same extent as a
nineteenth-century poet was conscious of having to. The kinds were
ready waiting for him, and, if the rules of poetic diction for the
kinds of which he elected to write were properly complied with, the
products were recognisable: epic, tragedy in verse, Pindaric,
elegy, heroic and familiar epistle, pastoral, georgic, occasional
verse, translation and imitation. This book, a collection of essays
by Dr Tillotson, examines these types of eighteenth-century poetry
with particular focus on poetic diction, as well as discussing
works such as Pope's letters and Johnson's dictionary.
This collection of lectures, broadcasts, reviews, and articles
(several of which have not previously been published) embraces many
aspects of the English literary scene in the middle of the
nineteenth century. Though various in origin the collection has
this unity: it has been the constant concern of its authors for
many years that the great and lasting contribution of the
mid-Victorian period to our literature should be fully vindicated,
and its appraisal based upon secure foundations of critical
scholarship. The book has moreover an obvious connection with the
volume on the mid-nineteenth century which the Tillotsons are
preparing for the Oxford History of English Literature, though the
items included here are not samples of that history but rather
'milestones, or halting places, in the several ways that lead
towards it'. There are important studies of Carlyle, John Henry
Newman, Tennyson, Clough, Matthew Arnold, and George Eliot. These,
however, represent only one side of the book's interest, for there
are accounts of writers famous in their day, as Harriett Mozley and
Charlotte M. Yonge, but since the cross-currents at work in the
period, notably 'Writers and Readers in 1851', which vividly convey
much of the quality of the momentous years in which so many
masterpieces were produced. At several points indeed the volume
demonstrates that the truth about the literature of the nineteenth
century, in distinction (for the most part) to that of earlier
centuries, may be recovered complete.
Originally published in 1954, this volume analyses the works of
Thackeray, providing a detailed critical exposition which sheds
light on his authorial approach. Taking as its point of departure
Thackeray's singularity of vision, the text moves through the
various formal techniques used in the novels before putting forward
some more general conclusions regarding his philosophical position.
A large number of quotations are used, including numerous long
extracts, reflecting a firm basis in textual analysis.
Illustrations and a chronological table of Thackeray's life are
also present. This is a highly readable book that will be of value
to anyone with an interest in nineteenth-century literature,
satire, and the history of the novel.
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