By Jane Austen's time, the genre had a clear enough definition of itself that her narrators rarely occasioned to intrude like Fielding's. Her first novel, Northanger Abbey contains some intrusive passages, though, even as a novice, she was developing a far more subtle approach to commentary. Austen argues for the novel without lengthy interruption, but like Fielding, forgoes authenticity in the process. By exposing the author's process and methods, Northanger Abbey and Tom Jones both concede the inherent fictionality of their work, but more importantly, they ... ... middle of paper ... ...iece, with lengthy, persuasive essay-like chapters throughout the text. Austen compresses her commentary and the narrator does not dominate the discussion.
The Instability of Female Quixote In “The Female Quixote,” the whimsical nature of fiction is not just a barrier to social acceptance, but an absurdity. Following popular notions of the time, fiction is presented as a diversion and an indulgence that cannot be reconciled with reality and threatens the reader’s perception of actual experience. The theme is common, as is evident through the basis of this novel, Cervantes’s “Don Quixote,” and other works such as “Northanger Abbey” by Jane Austen. The story is a series of examples of what not to do, acting as both a cautionary tale and conduct guide. But there is a fundamental instability in the work resulting from the opposition of the moral and the means in which it is presented.
While on the vigorous journey through a novel, a reader can be faced with many questions, put forth intentionally by the author, as well as ones they might conjure up for themselves. Roland Barthes says “Literature is the question minus the answer.” For the most part this is true, however when one is reading for leisure or the author does not portray as well as they could this statement is invalid. Two novels that have been broken down recently are Emily Bronte’s Wuthering Heights and Jane Austen’s Northanger Abbey. Neither book has a common central question, but they both have their pros and cons. Wuthering Heights is a book containing an intricate plot, and a labyrinth of relationships and emotions.
Ultimately, concepts such as happiness cannot be guaranteed to skeptics like Jane Eyre and “hideous” men like Rochester -- only the divine union of passion can be guaranteed. Yet, for Bronte’s characters, this is sufficient reward and an appropriate closure for a love story about such atypical characters. Below, I will use characterizations of the Romantic literary school, as well as criticism of Jane Eyre, to explain how the ending of the novel fits perfectly with the rest of the landmark novel. Jane Eyre ends only after a succession of unlikely (and frankly hideous) circumstances come to pass, transforming the lives and psyches of Jane and Rochester beyond their stoic realism. However, because Jane and Rochester are such believable characters, the events that wrack their mortal lives are taken in stride by both the characters and the reader, although the grap... ... middle of paper ... ...e that she could not write a novel that ended with man and woman being absolute equals in marriage, and Charlotte producing Jane Eyre to satisfy the bargain.
Many readers think of Jane Austen as a writer with a penchant for constructing sparkling, but Sense and Sensibility goes against that framework, providing us with underwhelming romances, overshadowed by the sisters’ relationship. Claudia Johnson argues that the reason Sense and Sensibility was not a huge critical success was because, “Pride and Prejudice was the model for what a novel by Jane Austen ought to be, and, set against that model, Sense and Sensibility came short,’ (Johnson, Sense and Sensibility, ix). As its title suggests, Sense and Sensibility is a novel about the intertwining of sense and sensibility in life, love and family. According to Cassandra, the roots of Sense and Sensibility can be found in an epistolary novel called Elinor and Marianne, which, most likely written in 1795, documented the correspondences between two sisters separated by marriage (Pride and Prejudice 407). In the late 1790s Austen rewrote this novel into the third person.
A noticeable trend is that the female author seems disinclined to write a longer novel. If this is because the female author feels such a novel is unwelcome, then there are even more serious problems in the literary community than Atwood speaks of in her essay. As the American writer Francine Prose commented over a decade ago ‘Do we insist that contemporary male writers – Rick Moody, David Foster Wallace, Jonathan Franzen – stick to a narrow band of illumination?’ (Prose, 1998: 4). While Atwood’s essay did help to shed light on other literary texts that deal with similar issues, the main sentiment served to reinforce an important reading strategy that itself practices equality. The reader, by reserving judgement and as Atwood puts it ‘hearing’ without ‘seeing’ (Atwood, 1994: 6), allows the power of the literary voice to take full effect.
No person is capable of perfectly articulating Virginia Woolf’s opinions on certain matters. However, through the observation of her works one might be able to gather her thoughts and form a more accurate description of her ideals. A Room of One’s Own contains Woolf’s ideals dealing with women in the arts, especially those associated with liberal arts. In this piece Woolf always describes a lack of strong women writers for her research but does name a few she deems worthy. It seems odd that Woolf would overlook Germaine de Stael while researching women with literary talent.
Cathy and Hareton’s relationship represents a compromise of sorts for Bronte, a socially acceptable love that’s nevertheless not as deeply felt as Heathcliff’s and Catherine’s. This argument is supported by Bronte’s own biography and by the novel’s ending, which many fail to decrypt correctly. Bronte advocated for passion – a depth of commitment to another – over compromise, which is a theme presented in the novel Wuthering Heights. As readers, we cannot help but question whether certain novels mirror the lives of their authors. Even though much is unknown about Emily Bronte we can unravel the mysteries surrounding her life with her novel, Wuthering Heights.
If Catherine was not in the novel, the discussion of literature may come across as unnecessary, and without the humor Austen places these discussions in, the concepts and ideas of literature might come across as preachy and would not stand out as ideal concepts that later mold Catherine’s growth as a character. Works Cited Austen, Jane, and Marilyn Butler. Northanger Abbey. London: Penguin, 2003. Print.
In a generation where movies are more convenient than books, people don't commonly know book characters anymore. Figure out what you have to learn from these notable fictional book characters, and see if they have the power to convince you to read more about them after. Augustus Waters (The Fault in Our Stars by John Green) will tell you to never be afraid of dying because it's an inevitable part and a consequence of breathin... ... middle of paper ... .... She's the imperfect heroine that will drive you insane but then you realize that at some point, you've pulled off an-Olivia Kaspen in your life which makes her character fair enough, real enough. The things we learn from the fictional characters ranges from being strong, never losing hope, being faithful, forgiveness, acceptance, falling in love, letting go, moving on and etcetera. It's what we've been reading, hearing, watching over the years and will not die even in the far future.