Victorian literature Flashcards

1
Q

Rosalind Rosenberg: sexes placed in different spheres

A

‘The Victorian faith in sexual polarity’ seemed women ‘by nature emotional and passive’ and men ‘rational and assertive’

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2
Q

Donald H. Meyer - symphonic

A

‘They longed for a universe that was not just intelligible, reassuring, and morally challenging, but symphonic as well’

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3
Q

Great Paradox according to Donald H Meyer

A

‘The Great parad, oxof course, was that, in seeking that harmony, the Victorians depended on the moral dichotomy with its inherent divisiveness’

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4
Q

Donald H Meyer on uncertainty

A

‘The later Victorians were perhaps the last generation among English-speaking intellectuals able to believe that man was capable of understanding his universe, just as they were the first generation collectively to suspect that he never would’

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5
Q

Robert browning

A

‘I’ll look within no more’

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6
Q

Victorian Realism traits

A
  1. Realism, the Puritan code, the values and vices of a double standard society
  2. Concern with character and tends to guide / instruct reader
  3. Emphasis is placed on social aspects
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7
Q

George Henry Lewes on Realism

A

‘Art always aims at the representation of Reality, i.e. of Truth; and no departure from truth is permissible, except such as inevitably lies in the nature of the medium itself’

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8
Q

Henry James: identity and selfhood quote

A

‘…yourself includes so many other selves - so much of everyone else and of everything’

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9
Q

Tennyson on faith/doubt

A

‘There lies more faith in honest doubt,

Believe me, than in half the creeds.’

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10
Q

Meredith on marriage/silence

A

‘She will not speak. I will not ask. We are /

League-sundered by the silent gulf between.’

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11
Q

Ruskin on seeing; visuality

A

‘To see clearly is poetry, prophecy and religion, - all in one’

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12
Q

Arnold on ‘confusion’

A

‘The confusion of the present times is great, the multitude of voices counselling different things bewildering’

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13
Q

Clough on greed, excess, cynicism, hypocrisy

A

‘No graven image may be /

Worshipped, except the currency’

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14
Q

Wilkie Collins - gender quote (from Basil)

A

‘We live in an age when too many women appear to be ambitious of morally unsexing themselves before society, by aping the language and the manners of men…’

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15
Q

H.G.Wells - quote from theTime Machine; sky was black

A

‘All else was rayless obscurity. The sky was absolutely black’

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16
Q

Benjamin Disraeli - Condition of England quote from Sybil; division between rich and poor quote;

A

‘Two nations; between whom there is no intercourse and no sympathy; who are as ignorant of each other’s habits, thoughts, and feelings, as if they were dwellers in different zones, or inhabitants of different planets…’

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17
Q

Bulwer-Lytton on transition, doubt

A

‘We live in an age of visible transition - an age of disquietude and doubt’

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18
Q

Huxley Science quote

A

‘The whole of modern thought is steeped in science: it has made its way into the works of the best poets’

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19
Q

Bathsheba everyone in Far from the madding crowd quote; Victorian women’s poetry

A

‘It is difficult for a woman to define her feelings in a language which is chiefly made by men to express theirs’

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20
Q

Robert Louis Stevenson on the novel and life

A

‘The novel, which is a work of art, exists, not by its resemblances to life… but by its immeasurable difference from life, a difference which is designed and significant, and is both the method and the meaning of the work’

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21
Q

Charles Kingsley on nature

A

‘There is poetry in natures till; ay, more than our forefathers ever dreamed.’

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22
Q

Jane Eyre Childhood quote

A

‘until she heard from Bessie… that I was endeavouring in good earnest to acquire a more sociable and childlike disposition, a more attractive and sprightly manner - something lighter, franker, more natural, as it were - she really must exclude me from privileges intended only for contented, happy little children’

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23
Q

George Eliot quote home/family life from Felix Holt

A

‘There is no private life which has not been determined by a wider public life’

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24
Q

Wilde’s tenet moral/immoral

A

‘There is no such thing as a moral or immoral book. Books are well written or badly written. That is all’

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25
Q

Matthew Arnold on unpoetical age

A

‘…how deeply unpoetical the age and all one’s surroundings are. Not unprofound, not ungrand, not unmoving, – but unpoetical’

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26
Q

Nietzsche on God quote

A

‘The Christian conception of God… is one of the most corrupt conceptions of the divine ever attained on earth… God degenerated into the contradiction of life instead of being its transfiguration and eternal Yes!’

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27
Q

R.L.Stevenson on Realism

A

‘The question of realism, let it then be clearly understood, regards not in the least degree the fundamental truth, but only the technical method, of a work of art’

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28
Q

Gerald Manley Hopkins on Poverty

A

‘My Liverpool and Glasgow experiences laid upon my mind a conviction… of the misery of the poor in general, of the degradation even of our race, of the hollowness of this century’s civilization’

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29
Q

Edmund Wilson on Dickens

A

‘Of all the Victorian novelists, he was probably the most antagonistic to the Victorian age itself’

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30
Q

Charles Baudelaire on poetry

A

‘Poetry cannot, under pain of death or decline, assimilate itself to science or morality. It has not truth for its object. It has only itself’

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31
Q

Gerald Manley Hopkins on Browning Quote

A

‘I was greatly struck with the skill with which he presented the facts from different points of view: this is masterly’

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32
Q

Raymond Williams on Victorian Drama

A

‘Drama often shows more clearly and more quickly than other arts the deep patterns and changes in our general ideas of reality’

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33
Q

Holman Hunt on Revivalism

A

‘Revivalism, whether it be of classicism or medievalism, is a seeking after dry bones’

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34
Q

George Eliot on love and fear in Felix Holt

A

‘A woman’s love is always freezing into fear. She wants everything, and is secure in nothing’

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35
Q

George Henry Lewes quote on Victorian women’s writing

A

‘To write as men write, is the aim and besetting sin of women; to write as women is the real office they have to perform’

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36
Q

Hopkins prescription of the poetical language of the age

A

‘For it seems to me that the poetical language of the age should the current language heightened’

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37
Q

Oscar Wilde on the truth

A

‘the truth is rarely pure and never simple’

38
Q

TB Macaulay on progress

A

‘…the history of England is emphatically the history of progress’

39
Q

Wilde on improbability/fantasy

A

Lady Bracknell: I sincerely hope nothing improbable is going to happen. The improbable is always in badger at any rate questionable taste.

40
Q

Gerald Manley Hopkins inscape, Kingfishers poem

A

‘Each mortal thing does one thing and the same: /
Deals out that being indoors each one dwells; /
Selves - goes itself; myself it speaks and spells, /
Crying What I do is for me: for that I came.’

41
Q

Tenant of Wildfell Hall - quote on comedy/seriousness

A

‘I cannot get him to write or speak in real, solid earnest. I don’t much mind it now; but if it always be so, what shall I do with the serious part of myself’

42
Q

Dickens Mr Podsnap nationhood quote

A

‘Mr Podsnap’s world was not a very large world, morally; no, not even geographically: seeing that although his business was sustained upon commerce with other countries, he considered other countries, with that important reservation, a mistake.’

43
Q

Caroline Norton quote on marriage

A

‘A married woman in England has no legal existence: her being is absorbed in that of her husband’

44
Q

George Eliot narrow mind quote

A

‘[I]t is a narrow mind which cannot look at a subject form various points of view’

45
Q

DG Rosetti on love and relationship between silence/speech

A

‘Oh! clasp we to our hearts, for deathless dower, /
This close-companioned inarticulate hour /
When twofold silence was the song of love’

46
Q

Alfred Lord Tennyson on progress quote

A

‘Blessed be those that grease the wheels ‘of the old world, insomuch as to move on is better than to stand still

47
Q

Emily Dickinson on the Truth

A

‘Tell all the Truth but tell it slant - /
Success in Circuit lies /
Too bright for our infirm Delight /
The truth’s superb surprise.’

48
Q

Wilde on christ

A

‘Christ, like all fascinating personalities, had the power not merely of saying beautiful things himself, but of making other people say beautiful things to him’

49
Q

Henry James, Portrait of a Lady - foreignness

A

‘I don’t like originals; I like translations […] Isabel’s written in foreign tongue. I can’t make her out. She ought to marry an Armenian or a Portugese’

50
Q

Gerald Manley Hopkins on poetic form

A

‘all the stanza is one long strain, though written in lines asunder’

51
Q

Anthony Trollope on narrative structure / endings (from The Warden)

A

‘Our tale is now done, and it only remains to us to collect the scattered threads of our little story, and to tie them into a seemly knot’

52
Q

Robert Browning on Faith and Doubt

A

‘The more of doubt, the stronger faith, I say, /

If faith overcomes doubt’

53
Q

Lyn Pykett social orthodoxies quote

A

‘The sensation novel did not just criticise social orthodoxies but explored the social and psychological processes by which these orthodoxies were constructed and maintained’

54
Q

Emily Dickinson on silence, speech / saying nothing

A

‘Saying nothing […] sometimes says the Most’

55
Q

G.K. Chesterton on Marriage

A

‘The whole pleasure of marriage is that it is in a perpetual crisis’

56
Q

Whitman - multitudes

A

‘Do I contradict myself? /
Very well then I contradict myself, /
(I am large, I contain multitudes)

57
Q

Elizabeth Gaskell North and South quote - money striving

A

‘[All] your lives seem to be spent in gathering together the materials for life […] You are all striving for money. What do you want it for?’

58
Q

Herman Melville failure quote

A

‘It is my earnest desire to write those sort of books which are said to “fail|””.

59
Q

Jack on Being Earnest (Wilde on Sincerity quote)

A

‘I’ve now realised for the first time in my life the vital Importance of Being Earnest’

60
Q

Tennyson, quote on Grief ‘In Memoriam’

A

‘And is it that the haze of grief /
Makes former gladness loom so great? /
The lowness of the present state, /
That sets the past in this relief?’

61
Q

Robert Browning on Religious yearnings in ‘Confessions’

A

What is he buzzing in my ears? /
‘Now that I come to die,
Do I view the world as a vale of tears?’
Ah, reverent sir, not I!’

62
Q

Alfred Tennyson on Change

A

‘Forward, forward, let us range, /

Let the great world spin forever down the raging grooves of change.’

63
Q

Ruskin “Pathetic Fallacy” quote

A

‘All violent feelings… produce in us a falseness in all our impressions of external things, which I would generally characterise as the “Pathetic Fallacy”’

64
Q

E.Warwick Slinn on poetic form

A

‘This desire to compose a new poetic form, one that would adapt established poetic styles to contemporary needs… typifies many Victorian poets’

65
Q

Matthew Arnold on the mind

A

‘the disinterested objectivity have disappeared: the dialogue of the mind with itself has commenced’

66
Q

Conrad HOD quote on savagery

A

‘feel the savagery, the utter savagery, had closed round him, - all that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men’

67
Q

Henry James reviewing Mdidlemarch

A

‘[A] treasure-house of detail… but an indifferent whole’

68
Q

George Bernard Shaw on the Home

A

‘Home is the girl’s prison and the woman’s workhouse’

69
Q

Edgar Allen Poe on music, poetry, prose

A

‘Music, when combined with a pleasurable idea, is poetry; music without the idea is simply music; the idea without the music is prose from its very definitiveness’

70
Q

Ralph Waldo Emerson on symbols

A

‘all symbols are fluxional; all language is vehicular and transitive, and is good, as ferries and horses are, for conveyance, not as farms and houses are, for homestead’

71
Q

Cecily in the Importance of being Earnest on Manners

A

‘This is no time for wearing the shallow mask of manners’

72
Q

Marlow on blank spaces in HOD

A

‘there were many blank spaces on the earth […] I saw one that looked particularly inviting on a map’

73
Q

George Eliot on memory/ the past

A

‘With memory set smarting like a re-opened wound, a man’s past is not simply a dead history, an outworn preparation of the present: it is not a repented error shaken loose from the life: it is a still quivering part of himself’

74
Q

Anthony Trollope on Wilkie Collins

A

‘The author always seems to be warning me to remember that something happened at exactly half-past two o’clock on Tuesday morning; or that a woman disappeared from the road just fifteen yards beyond the fourth milestone’

75
Q

Friedrich Nietzsche on Maturity

A

‘Maturity-to recover the seriousness one had as a child at play’

76
Q

Mark Twain on finding a moral

A

‘Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot’

77
Q

Ann McClintock on eroticising the foreign

A

‘For centuries, the uncertain continents - Africa, the Americas, Asia, were figured in European writing as libidinously eroticized’

78
Q

Robert Browning writers quote

A

‘We writers paint out of our heads, you see!’

79
Q

Wilkie Collins on body and mind

A

‘Mind, they say, rules the world. But what rules the mind? The body’

80
Q

Holly Furneaux on gender boundaries in Vic literature

A

‘[Writing of this period] complicates gender boundaries, showing the proximity’, rather than the opposition, of masculinity and femininity’

81
Q

J.M.Synge - reality

A

‘On the stage one must have reality, and one must have joy; and that is why the intellectual modern drama has failed, and people have grown sick of the false joy of the musical comedy, that has been given them in place of the rich joy found only in what is superb and wild in reality’

82
Q

JS Mill - ‘yoke of authority’ quote

A

‘The yoke of authority has been broken, and innumerable opinions, formerly received on tradition as incontestable, are put on their defence, and required to give an account of themselves’

83
Q

Ezra Pound on finding out what we mean

A

‘We talk of the odour of music and the timbre of a painting because we… are too lazy to undertake the analysis necessary to find out exactly what we do mean.’

84
Q

Charles Dickens - oral / written language

A

‘[N]or yet can a man write his voice’

85
Q

Ruskin on seeing things rightly

A

‘[N]ot only is there but one way of doing things rightly, but there is only one way of seeing them, and that is, seeing the whole of them’

86
Q

DA Miller on normal / deviant

A

‘[Writers of this period create] a perceptual grid in which a division between the normal and the deviant inherently imposes itself’

87
Q

Charles Darwin on writing on nature

A

‘What a book a devil’s chaplain may write on the clumsy, wasteful, blundering, low and horridly cruel works of nature!’

88
Q

Kate Chopin - women quote

A

‘[S]he was seeing with different eyes and making the acquaintance of new conditions in herself that coloured and changed her environment’

89
Q

Ralph Waldo Emerson on American literature

A

‘The American is only the continuation of the English genius into new conditions, more or less propitious’

90
Q

Henry James on new things

A

‘They invent everything all over again about every five years, and it’s a great thing to keep up with the new things’

91
Q

Harriet Beecher Stowe domesticity quote

A

‘[H]ome is a place not only of strong affections, but of entire unreserved; it is life’s undress rehearsal, its back-room’