By Ruth Robbins
Used to be the overdue 19th century 'Victorian' or 'modern'? Why did the recent lady disappear from literary heritage? the place did T. S. Eliot's poetics of town come from?
In this crucial consultant, Ruth Robbins explores an period frequently named an 'age of transition' which exists uneasily among the obvious certainties of the Victorians and the appearance of a Modernist aesthetics of instability. Robbins considers the various crucial literary different types and issues of the interval (decadence, realism, nostalgia, New lady writing, degeneration, imperialism and early modernism) in writings via either significant and 'minor' writers, thereby making a advanced photo of transitions, continuities and breaks with the prior. through reading this tumultuous period as an age in its personal correct, Pater to Forster, 1873-1924 deals the reader a slightly varied historical past of the past due Victorians and Modernists, and retells that background from a brand new viewpoint.
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Additional info for Pater to Forster, 1873-1924 (Transitions)
Example text
Unlike Woolf, H. G. Wells was only too aware that character was constituted by material and cultural circumstances. His mother had been a housekeeper on a country estate, and Wells knew that the life of the servant class was not all sweetness and light even after the turn of the century, making great play in Kipps (1905) of the fact that even modern houses were not built for the convenience of those who did the hard labour of running them. Kipps’s wife Ann, who has been in service, announces as they hunt for their first home that they must not have a house with a basement kitchen: ‘[A basement] is a downstairs where there’s not ’arf enough light and everything has got to be carried – up and down, up and down, all day – coals and everything.
Coote – as his name clearly implies – is pretentious and ridiculous, though Kipps does not know this at first. He takes his mentor’s advice on proper conversation, manners and dress, and attempts to follow a course of reading set out for him by his new-found friend. Before sending him off to read ‘(1) [Ruskin’s] Sesame and Lilies, (2) Sir George Tressady [and] (3) an anonymous book on “Vitality” that Coote particularly esteemed’ (133), Coote has advised his protégé about the ‘virtue in books’ (130): Nothing enlarges the mind [ … ] like Travel and Books … And they’re both so easy nowadays and so cheap!
Marlow, however, is not going 18 P a t e r t o F o r s t e r, 1 8 7 3 – 1 9 2 4 to tell a story that leads to clear vision. He does not believe in the certainties of such a narrative universe and appears to fear the ‘horrors’ that will be uncovered by clear vision. It is rather doubtful that Joseph Conrad was directly influenced by Walter Pater’s aestheticism, despite the verbal echoes of the ‘Conclusion’ in Heart of Darkness. But he did theorize the novel in terms that often seem closely related to Pater’s concept of impressionism.