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typical example of Ruskin's style and thought. In what respect does Ruskin's later life reflect the social conscience of the Victorian age?

READING GUIDE.-Class reading of the authors treated in this chapter will naturally vary greatly, according to the taste of the teacher and of the student, and the time at their disposal. A selection from the following list will meet most cases.

Macaulay: Essays on Milton, on Addison, and on Johnson. These, together with the essay on Goldsmith, are given in Numbers 102, 103, and 104, of the Riverside Literature series.

Carlyle: Essays on Burns, on Boswell's "Johnson" (contrast with Macaulay's treatment); "The Hero as Poet" and "The Hero as Man of Letters," from "Heroes and Hero-Worship." These are included in the Selections from Carlyle by H. W. Boynton (Allyn & Bacon).

Tennyson: "The Lotus-Eaters," "The Lady of Shalott," "A Dream of Fair Women," "The Palace of Art," "The Miller's Daughter," "Locksley Hall," "Ulysses," "Charge of the Light Brigade," "The Revenge," ode on the Duke of Wellington, "Rizpah," "The Daisy," "Bugle Song" and "Tears, Idle Tears" from "The Princess"; "The Coming of Arthur," "Guinevere," and "The Passing of Arthur," from "Idylls of the King"; "The Poet," "Of Old Sat Freedom on the Heights," "Flower in the Crannied Wall," "The Higher Pantheism," "Merlin and the Gleam," "Crossing the Bar." All these poems, with selections from "Maud" and from "In Memoriam," are included in a volume edited by H. van Dyke, in the Athenæum Press series (Ginn).

Browning: Short Poems-"How They Brought the Good News from Ghent to Aix," "Cavalier Tunes," "The Lost Leader," "Meeting at Night and Parting at Morning," "Evelyn Hope," "Home Thoughts from Abroad," "My Star," "Memorabilia," "The Patriot," "The Boy and the Angel," "The Englishman in Italy," "One Word More," ""Abt Vogler," "Rabbi Ben Ezra," "Prospice," "Hervé Riel," "Over the Sea Our Galleys Went" (from "Paracelsus"), "Never the Time and the Place," "Epilogue to Asolando." Longer Poems-"Fra Lippo Lippi," "Andrea del Sarto," "Epistle of Karshish the Arab Physician," "Saul," "The Flight of the Duchess," "Pippa Passes," "Pompilia" and "Caponsacchi" from "The Ring and the Book." A good selection from Browning's shorter poems is edited by F. T. Baker, in Macmillan's Pocket series.

Mrs. Browning: "The Cry of the Children," "Cowper's Grave,"

"Rhyme of the Duchess May," "The Great God Pan," a few of the "Sonnets from the Portuguese." Selections from Mrs. Browning's Shorter Poems, by H. E. Hershey, in Macmillan's Pocket series, is recommended.

Arnold: Poetry-"Dover Beach," "Obermann," "A Summer Night," "Self-Dependence," "The Scholar Gypsy," "Thyrsis," "Sohrab and Rustum." Selected poems in Maynard's English Classics. Prose"On Translating Homer," essays on Wordsworth, on Milton, and on Gray (from "Essays in Criticism"), essays on Emerson and on Numbers (from "Discourses in America"), selections from "Culture and Anarchy," given in Number 68 of Maynard's English Classics.

Ruskin: "Sesame and Lilies," "Crown of Wild Olive," "Unto This Last," selections from "Modern Painters," given in Number 48 of Maynard's English Classics. Comprehensive selections from Ruskin, with critical comment, are edited in one volume, by Mrs. L. G. Hufford (Ginn).

Texts: Besides the editions already mentioned, the following may be found useful-"Macaulay's Essays" (twenty-seven essays), and "Lays of Ancient Rome," in a single volume (Longmans); "Carlyle's Critical and Miscellaneous Essays," in one volume (Appleton); "Heroes and Hero-Worship" (Athenæum Press series, and in Cassell's National Library); "Past and Present" and "Sartor Resartus," in one volume (Harpers); "Selections from Tennyson's Shorter Poems," edited by C. R. Nutter, in Macmillan's Pocket series; "The Princess" and "Idylls of the King" in same series, also in Maynard's English Classics, Riverside Literature series, etc.; "Browning's Selected Poems" (Harpers), "Principal Shorter Poems" (Appleton), selections also in Maynard's English Classics; Arnold, "Selected Poems" in Golden Treasury series, "Selections from Prose Writings," by L. E. Gates (Holt); Ruskin, "Wild Olive" and "Munera Pulveris," in one volume (U. S. Book Co.), "Wild Olive" and "Sesame and Lilies," one volume (Burt).

Biography and Criticism.-Life of Macaulay, by J. A. C. Morison, in the English Men of Letters; the "Life of Macaulay," by G. O. Trevelyan, is one of the great biographies of English literature, but is too voluminous for school use. The life of Carlyle, by R. Garnett, in the Great Writers series, is more satisfactory than the one given in the English Men of Letters; an essay on Carlyle occurs in Lowell's "My Study Windows." The life of Tennyson, by A. Lyall, English Men of Letters, is the best for ordinary use; H. van Dyke's study,

"The Poetry of Tennyson," is the best among the many commentaries upon his work. The life of Browning, by W. Sharp, Great Writers series, and by G. K. Chesterton, English Men of Letters, supplement each other well; the best aid to an understanding of Browning for beginners, is H. Corson's "Introduction to the Study of Browning" (Heath). An excellent study of Arnold is prefixed to the volume of "Selections" by L. E. Gates, mentioned above. Of Ruskin's life, especially his early years, his autobiography entitled "Præterita" is the best account; Ruskin, in the English Men of Letters series, is by F. Harrison. Among the critical commentaries may be mentioned "The Work of John Ruskin," by C. Waldstein (Harpers) and "John Ruskin, Social Reformer," by J. A. Hobson.

CHAPTER XV

THE NINETEENTH-CENTURY NOVEL

I. INTRODUCTION

THE novel of the nineteenth century is broader and more complex than that of the eighteenth, by virtue of the greater breadth and complexity of the life with which it has to deal. The world of fiction in the eighteenth century is a small one; its characters are, with a few notable exceptions, drawn from the leisure class and its dependents; they have usually no business in life beyond carrying on the action of the story. But in the nineteenth century we have novels which deal with the life of the sea, the army, crime, sport, commerce, labor, politics, and the church, and with the special difficulties, dangers, and temptations which each career involves. Again, the increase in knowledge of the past, and of remote parts of the world, which the century has brought, has thrown open to the romancer two great new fields. Finally, the deeper thought of the century, bearing fruit in rapid social changes, has given to the novel of purpose greater dignity and power. The attempt to reform government and institutions, the labor movement, the so-called conflict between science and faith, all have been reflected in novels, and have in turn been influenced by them. The nineteenthcentury novel is therefore to be regarded not only as a vast and comprehensive picture of life, but as a powerful force acting upon society.

II. JANE AUSTEN (1775-1817)

Jane Austen's Life. The earliest of nineteenth-century novelists, however, Jane Austen, is not representative of the wider scope of the novel in the new period, but is remark. able for her perfection in handling the limited interests of

eighteenth-century fiction. Miss Austen was the daughter of a clergyman and, except for an occasional visit to a watering-place like Bath or Lyme, she spent her youth in a country parish. Her acquaintance included the families of country gentlemen, clergymen, and naval officers-for her brothers were in the navy. The chief business of these people, as Miss Austen saw them, was attention to social duties, and the chief subject of their thought was matrimony. This world, and the influences at work there, Miss Austen represents in her novels; outside of it she never steps.

Her Satiric Purpose.-Miss Austen, like Fielding, began her studies of real life with something of a satiric purpose. Two of her early stories, Northanger Abbey and Sense and Sensibility, were written in order to oppose to the impossible situations and strained emotions of the romanticists and sentimentalists a humorously sensible picture of life and love as they are. In the former she gives us a heroine who starts with a "thin awkward figure, a sallow skin, without color, dark lank hair, and strong features," and who wins an admirable husband, though "his affection originated in nothing better than a persuasion of her partiality for him." The keynote of Sense and Sensibility is expressed in the remark, "Sense is the foundation on which everything good may be based." In the novels which followed, "Pride and Prejudice, Mansfield Park, and Emma, Miss Austen carries farther her minute observation of life, sharpened by satirical comment. One suspects that she shared thoroughly in the view of life put forth by Mr. Bennet in Pride and Prejudice, "For what do we live but to make sport for our neighbors and to laugh at them in our turn?"

"Pride and Prejudice."-Pride and Prejudice is Miss Austen's masterpiece. There she shows her skill in constructing a plot. There also she is at her best in creating a background of minor characters drawn from the world of provincial folk which she knew-cynical Mr. Bennet and his fatuous wife; Mary Bennet the pedant, and Lydia the flirt; Mr. Collins, the type of pretentious conceit, and Sir William Lucas, of feeble dulness. These "humors" Miss Austen develops chiefly in speech, by her wonderful

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