By Iris Murdoch
Stored from a antisocial early life via schooling, cheated out of Oxford through a sad love tangle, Hilary Burde cherishes his obsessive guilt and ekes out a residing in a lifeless civil carrier activity.
When the guy whom he has harmed and betrayed reappears as head of his division, Hilary hopes for forgiveness, even for redemption and a brand new lifestyles, yet reveals himself haunted via a ghostly repetition.
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Additional info for A Word Child (Vintage Classics)
Only its vague, sweet, sad, gesturing phrases could do that. A smaller effect of self obliteration occurs once more in the same chapter, when Anne, handed into the carriage by Wentworth, is so emotionally 34 The Cinematic Jane Austen overcome that it is a while “before she was quite awake” to what her companions, the Crofts, are saying: “She then found them talking of ‘Frederick’” (I, 10, 98). This contrasts with the more theatrical moment, later in the novel, when Anne, coming down to breakfast at Bath, catches her sister and her father praising Mrs.
The reader is not asked to visualize the characters, only to recognize their spatial relationships, and the small distances between ﬁgures, and to read emotional signiﬁcance into them. The effect is that dialogues presented directly to the reader in dramatic and quasi-theatrical form acquire a distinct depth and coloring from the assumed presence of a third person, the silent overhearer who is Anne. Meaning does not simply inhere in the dialogues, but in their effect on the overhearer. This is notably the case during the walk to Winthrop in Chapter 10, when hidden by the hedgerow, Anne overhears Wentworth and Louisa talking about her.
Jane Austen is not an especially visual artist. In comparison with the novels of her contemporaries, such as Charlotte Smith, Ann Radcliffe or Walter 1. Jane Austen 37 Scott, for all of whom the appearance of things is the stuff of fascination and romance, Austen’s citations of the visible are just that—citations, indices or outlines to be ﬁlled in, or not ﬁlled in, by the reader’s imagination. Though much has been written about landscapes, and especially the artiﬁcial landscape of the estate, in her books, these descriptive passages remain special occasions, moments when a different modality takes over—if not the less signiﬁcant for that.