By Rudyard Kipling, John Seelye
First released in 1897, Captains brave tells of the high-seas adventures of Harvey Cheyne, the son of an American millionaire, who, after falling from a luxurious ocean liner, is rescued via the raucous workforce of the fishing send We're the following. Obstinate and spoiled before everything, Harvey in the end learns diligence and accountability and earns the camaraderie of the seamen, who deal with him as certainly one of their very own. a real try out of personality, Harvey's months aboard the We're the following supply a pleasant glimpse of existence at sea and well-told morals of self-discipline, empathy, and self- reliance.
Introduction via John Seelye.
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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.