Titlebook: Meredith and the Novel; Neil Roberts Book 1997 Neil Roberts 1997 literary theory.novel.time.British and Irish Literature

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Neil Roberts become topics of fierce debate, particularly when taken together, as has been the case with same-sex marriage legislation, the Vatican’s criticism of “gender ideology,” or the repeatedly asserted claim that Islam, homosexuality, and gender equality are essentially incompatible. This volume investig

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Introduction,th the stylistic variation and genre-breaking formal innovation of a novel such as .. At the height of his popularity, in the early 1890s, Oscar Wilde wrote that ‘His style is chaos illumined by flashes of lightning. As a writer he has mastered everything except language; as a novelist he can do eve

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The Ordeal of Richard Feverel,ore than a small band of enthusiasts. Yet it has caused more consternation to readers than any other of Meredith’s works. There was, for contemporary reviewers, the issue of ‘some of the most unflinching sketches of immorality that the pen of a modern Englishman has ventured to draw’,. and the resul

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The Novels of the 1860s,kly magazine ., who had already agreed to serialize Meredith’s next novel. In a clear attempt to counteract the damage done by the Mudie ban, Lucas asserted that the novel ‘may be read by men and women with perfect impunity if they have no corrupt imaginations of their own to pervert the pure purpos

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The Adventures of Harry Richmond,r popularity on the part of this writer’.. Meredith intended this to be another attempt, after the disappointment with ., at popular success with the . reading public. An outline of fifteen chapters was submitted to the editor, Samuel Lucas, who was ‘charmed…but owing to certain changes going on in

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The Egoist,dic closure is harshly and suddenly forestalled by the death of a main character. ., however, announces itself in its subtitle as ‘A Comedy in Narrative’ and is introduced by a ‘Prelude’ which recapitulates Meredith’s ‘Essay on Comedy’ and informs the reader that the narrative is presided over by th

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The Tragic Comedians,ponse to, indeed an alternative version of, a specific other narrative. This other narrative, moreover, purports to be factual, and its relation to Meredith’s text is not merely that of a ‘source’. In the Prefatory section of the novel Meredith informs us that his characters ‘belong to history’ and

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