The English Miscellany

The Guardian recently selected Richardson's Clarissa as No. 4 on its list of the Top 100 great Novels of all time. Are such lists a snap-shot of current reading habits. Perhaps the choice of this 984,870 word text from 1748 is pure nostalgia. In my view, however, it sometimes makes sense to spend the entire week on Clarissa , or Middlemarch , or Tom Jones , or Bleak House , or War and Peace ; at other times several sonnets command the same investment of spirit, intellect and emotion. Clearly the great epics also repay re-reading, or at least selective re-sampling, of favourite passages and turning points. With regard to Clarissa , the reading process is an ordeal, a pleasure, and a discipline (rather like Foucault on sex). Reading an abridged version is perhaps like the difference between a one night stand and a longterm relationship... It's a different question how well these longer novels function academically in an over-crowded superfast highwa

William Wordsworth (1770–1850) Lines Composed a Few Miles Above Tintern Abbey, on Revisiting the Banks of the Wye During a Tour July 13, 1798 . Extract. Once again I see            These hedge-rows, hardly hedge-rows, little lines                   Of sportive wood run wild: these pastoral farms,             Green to the very door; and wreaths of smoke   Sent up, in silence, from among the trees!           With some uncertain notice, as might seem         Of vagrant dwellers in the houseless woods,                Or of some Hermit’s cave, where by his fire       The Hermit sits alone.            These beauteous forms, Through a long absence, have not been to me     As is a landscape to a blind man’s eye:            But oft, in lonely rooms, and ’mid the din            Of towns and cities, I have owed to them           In hours of weariness, sensations sweet,             Felt in the blood, and felt along the heart;            And passing even

An Examination of the role of CHARACTER in literary texts Superficially ... “A person in a story, someone we can relate to, or identify with ...” But Note: Caricature – 2-dimensinal, simple, represents one value, e.g. the angry man, jealousy = related to allegory and satire = distortion for effect of one quality, or exaggeration of certain features; stereotypes Narrative functions – hero/villain, trickster, false hero, magician, father/son, mother/daughter, outcast, rebel. In real life people that we come to know well are seldom just functions or caricatures. Real living people in the media, or celebrities, often have an assumed character or role that might be quite different from how they are in their personal life. In texts, an assumed role is called a persona , in the media we even talk about ‘personalities’ to express the public projection of a role. Perceptions of role or character can also be manipulated e.g. spin doctors and propagandists ma

Let's be clear: it is not incorrect to write 'he said' or 'she said.' In fact, it may be advantageous to let the dialogue do the work and to leave the specific manner or tone of speech to the reader's imagination. The reader often has an intuitive grasp of the flow of emotions. Close examination shows that there are many options if you want to replace the word 'said', but sometimes you don't need to use it at all. The word 'said' also preserves a potential ambiguity. Again this can be helpful in creative writing if you do not want to direct the reader to a specific interpretation. Why not trust the reader to unmask irony and double-meanings in the speech? Often, the writer who lacks confidence wants to fill in all the gaps . Sometimes it is better to be less busy, and to leave some space for the reader to work on the prose. Writing presupposes a partnership; it is not a dictatorship. The word 'said' can also be complement