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&Lo lZh&h - 1 1 5 7 7 -10 n361s10b d5~qd0361?&3135 G)&JJ_lllqC 0235 f ~ l f i j l G ] C J C J ~ & ~

o d J d 1 d aoA s l r u o t a 3 ~ o ~ u a ~ ~ m l a ~ O mddsJJd5. u a k i a r n d m o ~

G)h3&0)81m)61~Y3d1Tn3(b o m 3 i ~ r m ~ i i i e r a t qnn d ~ r ? l l f i m ~ (a fN~qd )sa~ ;hG)m

mlncbuarn ih1mm~a~nn3. 11

2 . Ite.4 . m l . 1 7 -30 ~ i ) ~ ~ 3 # s l e r b o 1 8 - 3 0 ~ ) R I ~ S ~ W & O c n r n e d m l d

m s n n a c m 6 1 m ~ e ~ l a 3 o l a m o l L d n r h d m m o rm~o~Y~mr rm3dlmrb R J ~ R J ~ S

I, 4. I n any h i s t o r i c a l study of l i t e r a r y forms of the drama,

a s t h e a a r l i e r t o evolve should of course take precedence

of the novel.. A s a matter of convenience, however we w i l l

here reverse the c:hronolo~ical order and deal w i t h t h e

, novel f i r s t manifesty, the drama and prose f i c t i o n a re

compounded o f t h e same rawmeterials".

W i l l i o m tfen ry Hudson An I n t r o d u c t i o n t o t h e s t u d y o f

l i t e r a t u r e . Geor; le .G.Harrap a n d C0.L.T.D. 1 9 7 0 . P. 1 2 8 . - - 1 .

5. "The modern n o v e l as we know i t t o d a y h a d i t s r i se i n t h e

1~~~ c e n t u r y b u t a l l t h e e l e m e n t s w h i c h w e n t i n t o t h e

c r e a t i o n o f t h e novel as a l i t e r a r y type were i n e x i s t e n c e

l o n g b e f o r e R i c h a r d s o n p u b l i s h e d ' P a m e l a ' ( 1 7 4 0 ) g e n e r a l l y

t h o u g h t o f t h e f i r s t modern novel"

The c o l u r n b i a E n c y c l o p e d i a Newyork c o l u r n b i a U n i v e r s i t y

p r e s s 1946 . p. 1284 .

6 . B e a c o n s f i e ld . K.G. H e n r i e t t a T e m p l e . London Longmans

G r e e n a n d . Co. 1 9 1 3 .

9. I v a n s I f o r A s h o r t l l i s t o r y o f E n g l i s h L i t e r a t u r e

P e n g u i n . 1 9 6 3 . P. 1 7 7 .

10. David D ~ i c h c s , L i t e r a r y Essays Chicago. 'The Univer-

s i t y of C t i i c a ~ o Press . 1967 . P. 90.

11. JosephE. Duncan. The Anti-Romantic i n Ivanhoe :

w a l t e r s c o t t . ( ~ d i t o r . D.D. ~ e v l i n ) . London

Macmillan and Co. 1968 . P. 143.

14. "So we l a i d i t down a s an axiom when w e s t a r t e d t h a t

human n a t u r e i s u n c h a n ~ e a b l e , and t h a t it produces i n

r a p i d succes s ion , Prose f ict ion.Which f i c t i o n , whenthey

c o n t a i n 50,000 words o r more, a r e c a l l e d novels".

F o r s t e r . E.M. Aspects of t h c Novel. P e n ~ u i n . 1974 . p. 153.

17. C&mcuCntd. dl. c r n 3 n 1 d 6 m 1 ~ c ~ I r d 8 1 0 ~ h o a)$d21sld c:en,gm)rbl*cu e________________-------

is. fl C P U I U ~ ~ I ~ I J I ~ nudchmo m 3 n ~ m l ~ l ~ n l c r ~ ~ w l d d r n b ( E: loward

D u j a r d Fn) am, ~ & c & d b h ~ m m ~ r n A . ,md~,le~bo arm lmj cu lm~mlno lmb

d ~ ~ l r b ~ d n l & o e m s 1 oa~sbcn'mrmb ns a10 I I ~ G F J ~ & ~ ~ mormrg .

m 3 h f l m n hm 1. a a n d m d r n m ' ~ ~ ~ , m o m ~ d s l l l n l ~ c l , g o nllriin :J lii, 6105 d ~ c b

~ O I Q ( Perfect ion) @ a m & ~ c t l 6 1 ~ ~ 3 d 0 f l ~ IJ~~I cuds 1anb n3s,%m3notio

Q I b f h @ l h 2 ~ 0 . m~rd)m'~~nloobo in3~~dC36l<li~L9&d~ ff23 $,bod" . n 3 ( D 3 ~ ~ 0 ( h , & 3 5 & 1 3 ~ 5 0 . ~ ~ ~ ~ 3 ~ r n ~ s n s n ' m d u p s . . ~o r d ~ d d g l s n

a t h d , ~ J ~ C I ~ ~ S I . 1s60 . d&. 1 5 3 -

No. 4 . oBcs3a~-~1lrm~a1% 1987. c a n g m h d f ~ h ~ 3

va3er~rnw ? J I ~ ( U ~ R ~ U ) ~ O 16)(h0 DG)L~~ o~wla~nl~lA~90,~)~o.

25 . " F u l l many a germ of Gurest r a y s e r e n e

The dark u n f a t h m c d caves of ocean bear

F u l l m a n y a ncwex is b a r n t o b l u s h u m e c n

And t o was t e its sweetness i n t h e d e s e r t a i r "

" The boast of hera.Ldry and t h e pmp of pcwer

And all t h a t beau ty a l l t h a t w e a l t h e v e r gave

Awaits a l i k e t h e i n e v i t a b l e h a i r

W t h of g l o r y lead o u t t o t h e grijve".

Thanas gray . Elegy w r i t t e n i n a c a n t r y ..

church vdrd Foc?ts of t h e E r ~ g ~ i s h Idnyuage. V o l . 111.

M i l t o n t o Gold s m i t h Ed i t c d Dy W .I1 .Audex and Norman.

Holness pearson. 1952. p. 5 4 0 .

2 7 . I 0 g e n t l e c h i l d , b e a u t i f u l a s t h m g h w e s t

Why d i d s t t h w g h l e a v e t h e i x c d d e n ~ t h of man

Too Soon '

"The h e r d e d wolves b o l d o n l y t o p u r s u e

The obscene r a v e r s c l a i m or cur c'er t h e d e a d '

'The one r e m a i n s , t h e many c h a n g e and

Heaven ' s shadcllrs f l y " -

Ebrc y Byss hc S h e l l e y . Adonais: R a n a n t i c and v i c t a r i a n

P o e t r y ( ~ d i t e d b l r ) W i l i i b r n Fr cs t . k c n t k e - H a l l , I N C . Englewood C l i f f s , N.J - 1961

P . P . 226 - 2 2 7

29 .(I) . T h a t nOt a w o r m is c l w e n i n v a i n ; .

T h a t n o t a moth v ~ i t h v a i n d c s k c

Is s h r i v c l l ' d i n a f r u i t l e s s f i r e

or b u t s u b s c r v e s a n o t h e r ' s g a i n .

(2). Calm is t h e morn w : i t h ~ u t a s m n d

Calru is t o s u i t a cylamer g r i e f ,

And only t h r 0' t h e f a d e d l e a f

The c h e s t n u t pa t t e r i n g t o t h e g r m n d .

( 3 ) . ' T h a t men may r i s e on s t e p p i n g S t o n e s

of t h e i r d e a d s e l v e s t o h i g h e z t h i n g s ' . ( 4 ) . ' But i r o n dug f r a n c e n t r a l glean,

And h e a t e d n o t w i t h b u r n i n g f e a r s ,

And d i p t i n b a t h s of biss i n g t e a r s

And b a t t e r ' d w i t h t h e s h m k s O f doan ' . A l f r e d , Lord Tennys on. In-Plmm i g . " R a n a n t i c a n d V i c t m i a n p o e t r y " . ( E d i t e d by W i l l i a m

~ 1 s t ) . I ' r e n t i c e - I-la11, I N C . Englewood C l i f f s ,

N . J . 1961 . P. 283, 285.

abmbrmb r n b a h o ~ b r u o n m a m l d d 1

m r n b a b q d m 3 0 am~homYme acrsr:,

d m 1 8 0 odm 1rmbh1 ab&o ~ 3 ~ ~ 1 3 4 7 " . r n 3 c o 3 a s n c m e m x h m 3 a Z 3 f . a 8 ~ 1 ~ m q r b m r ~ ~ j ) ~ ~ ~ 1 r n m d e l m 1 ~ d l n b o lo&

m~nbox t t ~ r b ~ l a l o u t a o d m l e r l m l ~ a , c a > y l ~ r n 3 3 . 1 9 8 6 .

30. t,

(1). Y e t once more, we l a u r e l s , a ~ l d once more,

Y e myr t les brown, w i t h ivy neversere :

I caue t o pluck ycur b e r r i e s h a r s h and c r u d e ,

And wi th fo rced f i n g e r s rude,

S h a t t e r ycyr l eaves be£ Ore t h e i n e l l w i n g year "

I,

( 2 ) . Weep n o more, woefu l she&erds , weep no more

F a Lycidas, ycur s o r r m , is n o t dead;

Sunk t h r w g h h e be beneath t h e wa te ry f l o o r ;

S o s i n k s t h e day-s tar i n t h e m e a n bed"

. John itt ton, s e l e c t e d s h o r t e r poems and m a s e w r i t i n a s .

(ed) Tony Davies ~ b i i s h e d in t h e U.9 .A-

I,

32. The only way of e x p e s s ing emotion i n t h e form of a r t

is by f i n d i n g a n o b j e c t i v e c o r r e l a t i v e r i n o ther words,

a s e t of objects , a s i t u a t i o n , a chain of e v e n t s which

s h a l l be t h e formula of t h a t p a r t i c u l a r m o t i o n : s u c h

t h a t when t h e e x t e r n a l f a c t s , which mus t t e r m i n a t e i n

s e n s o r y expe r i ence a r e given, the emotion is Immediately

E l i o t . T . s - S e l e c t e d Essays . First m b l i s h e d in 1932.

By Fabcr and f a k x Limited. 3 Queen s q u a r e London.

1986. Pr i n t e d and bound i n g r e a t br i t a i l ] by Redwood

Burn Limited, Frmbaidge, W i l l s h i n e . P. 1 4 5 .

3 3 . " . . . . . . . . . . . . . . M y t h is i t s e l f an on t i m e o b j e c t i v e

c o r r e l a t i v e set of interwoven codes e x p r e s s i v e of

emotiona A meanings, in which Ord inary expcr ier~ce

cen bc shaped i n t o cahexent whole"

E x i l e s and Emigres - S t u d i e s in Modern L i t era ture

by T e ~ r y Eagbton Chatto and Windus London.

1970. P. 156 .