Novel Romantic

There is an interesting allegorical tale with definite alchemical undertones in the German romantic author Novalis novel Heinrich von Ofterdingen which has some parallels with Goethe s Fairy tale of the Green Snake and the Beautiful Lily. 

Marcel Proust asserted that readers will imagine the characters in books to be themselves and people similar to those the reader already knows. For example, the romantic partners in the book will take on characteristics of people whom readers have been drawn to in the past. One cannot read a novel, Proust said, without ascribing to the heroine the traits of the one we love. If you have characters in your novels that eventually part ways, recall Proust s observation about real life When two people part, it is the one who is not in love who makes the tender speeches. ... 

Lodge s novel also includes a superfluous brief romantic interlude between Robyn and the engineer, but this interlude is in no way essential to what the novel is intended to portray. I suspect that Lodge included it only with a hopeful eye toward Hollywood. 

When I finished the cookies she brushed off the table and brought a thick, small book from the bookcase. I had read A Tale of Two Cities and found it up to my standards as a romantic novel. She opened the first page and I heard poetry for the first time in my life. 

Percy Bysshe Shelley is considered one of the finest English poets and a major figure in the nineteenth-century Romantic movement. Born in 1792, Shelley was educated at Eton but was expelled from Oxford University for writing a pamphlet on atheism. Shelley married Mary Wollstonecraft (later famous for her novel Frankenstein) and traveled in... 

In the introduction to his best-known work, Les fleurs du mal, Baudelaire described boredom as the most dreadful enemy of the human soul, and thousands of others have written vividly about this phenomenon. We can easily find in famous novels exciting examples of romantic heroes whose life stories clearly illustrate the strange significance of boredom in a human s life. Biographies of creative artists allow us to get insight into the sometimes fatal consequences of the operation of this physiological phenomenon on highly sensitive, creative, human brains. 

Whereas Poetry, Fiction and the Future , published shortly after To the Lighthouse, the second of the four novels discussed here, explores the modern novel s capacity to take on the work of poetry, A Room of One s Own, on the other hand, published hard on the heels of the third of these novels, Orlando, takes on the gender politics of poetic subjectivity itself, and the historical blocking of the coming of Shakespeare s sister , a woman poet to rival the bard - that is, the stereotyped, romantic view of Shakespeare as the transcendent subject, or personification, of all literature. Shakespeare s sister is a messianic figure who lives in you and in me ROO, p. 148) and who will draw her life from the lives of the unknown who were her forerunners ROO, p. 149), but has yet to appear. Woolf seems to defer the arrival of Shakespeare s sister in a celebration of women s collective literary achievement - I am talking of the common life which is the real life and not of the little separate lives which we live as individuals ROO, pp. 148-9). Whereas Eliot s suspicions over the subjective excesses... 

By the beginning of The Lighthouse , therefore, TB has been banished, the fabric of things has been laid bare, and the house rebuilt. It is also significant that the romantic hoary Lighthouse, distant [and] austere (TL, p. 17) of The Window becomes a real, inhabited structure in the last part of the novel. James looked at the Lighthouse. He could see the whitewashed... 

Science fiction is a deep-rooted genre tracing itself back to the romantic novels of the early nineteenth century, typically Mary Shelley s Frankenstein. 

In 1930, six years after the publication of The Magic Mountain, there appeared the first parts of two novels by Austrian writers that were destined to take their place alongside Mann s work as summative achievements of European modernist fiction. Hermann Broch s 1888. Pasenow oder die Romantik (Pasenow the Romantic (1888)) was the first volume of the trilogy Die Schlafwandler (The Sleepwalkers, 1932.), whose second and third parts were published in 1931 and 1932. Book i of Robert Musil s Der Mann ohne Eigenschaften (The Man Without Qualities, 1953-60) was followed by a portion of Book 2 in 1933, but the work remained incomplete, a massive fragment, on its author s death in 1942. ... 

British Romantic Poetry by James Chandler and Maureen N. McLane British Theatre, ij o—iS o, by Jane Moody and Daniel O Quinn Canadian Literature edited by Eva-Marie Kroller Children s Literature edited by M. O. Grenby and Andrea Immel The Classic Russian Novel ited by Malcolm V. Jones and Robin Feuer Miller... 

Gogol s description of the commotion in town following the disclosure of Chichikov s purchases of dead souls is something of a parody The wives of the local ofl dals invent a whole romantic tale to fit the circumstances, puzzling out the hero s actions while always remaining inside the bounds of contemporary literary convention and taste. This lady s novel is similar to traditional novels of the time of course, it is by no means realistic. 

IX. I could not rightly have taken exception to these complaints had I written a romantic novel in which my characters were depicted as both atheistical and truly virtuous for since I would have been master of their words and deeds, I would have had the option of describing them in a manner suited to the taste of the most scrupulous reader. But since my Dictionary is a historical work, I have no right whatsoever to represent people as others would like them to have been. I must represent them as they actually were I can suppress neither their faults nor their virtues. Seeing then that I advance nothing concerning the conduct of certain atheists other than what the authors I cite relate of them, no one has cause to take offence. To encourage my critics to reflect further upon the truth of what I say, I need only ask them whether they believe the suppression of true facts to be the duty of a historian. I am sure that they would never subscribe to such a proposition. 

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