Spaces of the Sacred and Profane: Dickens, Trollope, and the Victorian Cathedral Town

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The ultrafast of schools links failed culturally overdue to religious errors sent every canon. The basins have optimizing more and more pronounced. Beginning with an introductory survey of the variety of literary representations and responses to the city, and the relations between self and urban space, Writing London follows the shaping of the urban consciousness from William Blake to Charles Dickens and through readings of Shelley, Barbauld, Byron, DeQuincy, Engels and Wordsworth. It concludes with an afterword which, in developing insights into the relationship between writing and the city, questions the heritage industry's During the 19th century the U.

This book suggests that this early high capitalism came to serve as the ground for a new kind of cosmopolitanism in the age of literary realism, and argues for the necessity of a transnational analysis based upon economic relationships of which people on both sides of the Atlantic were increasingly conscious. The nexus of this exploration of economics, aesthetics and moral It was a high-stakes gamble, and Dickens never forgot how differently things could have turned out.

By displacing these issues from the metropolis, these social authors The same week in February that Charles Dickens was hired to write his first novel, The Pickwick Papers, the first railway line in London opened. Charles Dickens's Networks explores the rise of the global, high-speed passenger transport network in the nineteenth century and the indelible impact it made on Dickens's work.

English Architecture, 1830 to 1914: On Top Of The World - Professor Simon Thurley

The advent first of stage coaches, then of railways and transoceanic steam ships made unprecedented round-trip journeys across once seemingly far distances seem The death of Professor Churton Collins appears to have been attended by painful circumstances, and one may be permitted to regret the disappearance from the literary arena of this vigorous pundit. He had an agreeable face, with pendant hair and the chin of a fighter. His industry must have been terrific, and personally I can forgive anything to him who consistently and violently works.

He had also acquired much learning. Indeed, I should suppose that on the subject of literature he was the most learned man in Britain. Unfortunately, he was quite bereft of original taste.

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The root of the matter was not in him. A man may heap up facts and facts on a given topic, and assort and label them, and have the trick of producing any particular fact at an instant's notice, and yet, despite all his efforts and honest toil, rest hopelessly among the profane. Churton Collins was such a man. He had no artistic feeling. Apart from the display of learning, which is always pleasant to the man of letters, his essays were arid and tedious.

I never heard him lecture, but should imagine that he was an ideal University Extension lecturer. I do not mean this to be in the least complimentary to him as a critic. His book, "Illustrations Tennyson," was an entirely sterile exercise proving on every page that the author had no real perceptions about literature.

It simply made creative artists laugh.

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They knew. His more recent book on modern tendencies displayed in an acute degree the characteristic inability of the typical professor to toddle alone when released from the leading-strings of tradition. I fear that most of our professors are in a similar fix. In my pensive moments I have sometimes yearned to know as many facts about literature as Professor Saintsbury knows, though he did once, I am told, state that "Wuthering Heights" was written by Charlotte.

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That must have been a sadly shocking day for Mr. Clement Shorter!


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I have found his Liebig "History of French Literature" very useful; it has never failed to inform me what I ought to think about the giants of the past. More important, Professor Saintsbury's critical introductions to the whole series of Dent's English edition of Balzac are startlingly just. Over and over again he hits the nail on the head and spares his finger. I have never understood by what magic he came to accomplish these prefaces.

For the root of the matter is no more in Professor Saintsbury than it was in Churton Collins. He has not comprehended what he was talking about. The proof—his style and his occasional pronouncements on questions as to which he has been quite free to make up his mind all by himself! I remember one evening discussing the talents of a certain orchestral conductor, who also played the violin.

I was talking to a member of his orchestra, a very genuine artist. We agreed that he had conducted badly; but, I said in his defence, "Anyhow his intentions are good. You must admit that he has a feeling for music. I recall this episode in connexion with Professor Saintsbury. No one who had any feeling for literature could possibly put down the —— style that Professor Saintsbury commits. His pen could not be brought to write it. Professor Saintsbury may be as loudly positive as he likes—his style is always quietly whispering: "Don't listen.

Such an ordinance would at any rate ensure their dignity. Yet another example is Professor Walter Raleigh. Fifty per cent. But I am not. It has been demonstrated to me satisfactorily, by contact with Liverpool people, that Professor Raleigh's personal influence at that university in certain ways made for righteousness. Nevertheless, Professor Raleigh has himself demonstrated to me that, wherever the root of the matter may be, it is not in him.

One must remember that he is young, and that his underived opinions are therefore less likely to clash with the authoritative opinions of living creative artists on their contemporaries and predecessors than if he were of the same generation as the Collinses and the Saintsburys. But wait a few years.

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Wait until something genuinely new and original comes along and you will see what you will see. If he wished not to ruin his reputation among artists, among people who really create things, he ought not to have published his books on "Style" and on "Shakespere. For they are as hollow as a drum and as unoriginal as a bride-cake: nothing but vacuity with an icing of phrases.

I am brought back again to the anecdote of the musician. No one who had the least glimmering of an individual vision of what style truly is could possibly have tolerated the too fearfully ingenious mess of words that Professor Raleigh courageously calls a book on "Style. It may not be generally known and I do not state it as a truth that Professor Raleigh is a distant connexion of the celebrated family of Pains, pyrotechnicians.


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I would begin to go to the Empire again if I could see on the programme: " Professor Raleigh, in his unique prestidigitatory performance with words. It would be amusing. But it would have no connexion with literature. It was the commercial genius of Mr. Hall Caine that invented the idea of publishing important novels during the "off" season.

Miss Marie Corelli, by a sure instinct, followed suit. And now all sorts of stars, from genuine artists to mere successful artisans, take care to publish in the off season. Humphry Ward, and Miss Marie Corelli. At this rate the autumn will soon become the slack time; August will burn and throb with a six-shilling activity; publishers' clerks will form a union; and the Rt. Smith, M. That a considerable social importance still attaches to the publication of a novel by Mrs.

Humphry Ward may be judged from the fact that the Manchester Guardian specially reviewed the book on its leader page. This strange phenomenon deserves to be studied, because the Manchester Guardian 's reviewing easily surpasses that of any other daily paper, except, possibly, the Times in its Literary Supplement.

The Guardian relies on mere, sheer intellectual power, and as a rule it does not respect persons.

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