Indeed, and crucially so, the serial form took the control of the novel away from the reader and left him in an imagined space that could not be thought of in terms of the physical space still to be read. At the end of each instalment the reader woul...
When we discuss a novel it is only partially to hear another person's 'view', it is much more to find out what we ourselves think in order to possess the text more completely. Such a possession is then a composite one, it is the book itself and the a...
What The Mysteries of Udolpho suggests is how a novel, by presenting phenomena before it present resolutions, can create an on-going, perhaps spurious, but nevertheless compelling dynamic between details which can undermine the ability of form to imp...
In serious Victorian fiction, as in Shakespearian tragedy, melodrama normally functions as metaphor. The author finds a vivid equivalent for a reality too elaborate or too extended to be briefly depicted.
Whether he chooses a 'scholarly' or a 'popular' edition the modern reader is likely to have his judgement influenced in advance. Almost invariably he will be offered an assisted passage. Footnotes, Forewords, Afterwords serve notice that a given text...
Wuthering Heights, however it may appear in retrospect, demands a reading of the utmost intensity, the feeling present in the writing seems to seek a matching response in the reading. If we turn from the story that Emily Brontë tells to the kind of ...
We are always sure that the heroine is fiery and passionate, which is quite an achievement when the plot has had to keep her passive, inactive and loveless for long stretches. Up to the point when Jane's love declares itself, the novel establishes th...
The first unanalysed impression that most readers receive from Jane Eyre is that it has a very violent atmosphere. If this were simply the effect of the plot and the imagined events then sensation novels like Walpole's The Castle of Otranto or Mrs Ra...
Because it is written by a nineteenth-century American, and because of its closeness to the twentieth century, The Portrait of a Lady foregoes Victorian affirmations. The price it pays, however (together with several twentieth-century novels) is that...
Recognising such dimensions implicit to the reading experience can distract from the immediacy of our response; it can substitute literary archaeology for novelistic reality. That is one pole. But the other extreme is equally limiting. By failing to ...
