...John A. Huzzard Maria Tosello. Le Fonte Italiane della Romola di George Eliot . Torino: G. Giappichelli, 1956. Pp. 141. © 1959 University of Washington 1959 Robert Louis Peters 289 Symons, the neglected but seminal symbolist critic...

... take it. Welsh defines blackmail by reworking the OED definition and tells us that it is “payment exacted by threatening to reveal a secret” (p. 3). This definition is immediately dissipated in a series of analogous propositions. Romola and Daniel Deronda have “plots that resemble blackmail...

...). Goodlad’s four central chapters undertake deeply contextualized readings of Anthony Trollope, Wilkie Collins, George Eliot, and E. M. Forster that break into ambitiously synthetic insights into what Goodlad calls the “adulterous geopolitical aesthetic” that is resisted in Romola (202) and the “queer...

... “Romola” di George Eliot. By MARIATOSELLO. Torino: G. Giappichelli, 1956. Pp. 141. John Walter Cross, in his George Eliot‘s Life as Related in her Letters and Journals (1885), appended a list of books which his late wife had read while working on Romola. In 1906 Guido Biagi, chief...

... and dialogue proceed, mutually influencing one another. In later novels the group scenes become an actual setting, a background against which the action advances inde- pendently. This is especially evident in Romola. Against the back- ground of the barber shop and the common people the action...

... is not seductive to me I suppose one could say that Satan changed his form, for George Smith did seduce Eliot into contributing to his periodical, offering very good pay but not de- manding or getting “bad writing.” Eliotjoined the writers at Cornhill with her serialized version of Romola, which ran...

... That the Savonarola who dominates the pages of Romola was inspired by Villari, Miss Tosello does not deny. It is her contention that the two historians, the one contemporaneous with the events George Eliot recorded and the other writing some three centuries after their occurrence, each exerted his own...

...Karl S. Weimar Leonard Forster. The Penguin Book of German Verse . Penguin Books D 36, 1957. Pp. xlii + 466. $0.95. © 1959 University of Washington 1959 John A. Huazard 291 That the Savonarola who dominates the pages of Romola...

... Cities (1859), Great Expectations (1861), and Our Mutual Friend (1865), Dickens used Anglican liturgical language to appeal to his readership despite his own apparent preference for Unitarianism, and in The Mill on the Floss , Romola (1863), and Middlemarch (1871–72), Eliot repeatedly...

... from their authors’ minds, and our students see little difference in time frame between Middlemarch and Romola. We have often to fall back on the much- maligned authorial intention if we want to distinguish a true “historical novel” from its brethren. That is why I would highlight...

... the difference between reading a narrative fully laid out by its writer and a hypothesis to be experimentally confi rmed or fal- sifi ed. Only late in the book, in her chapter on Romola, does she admit that the novelist deliberately creates suspense to anticipate an already decided end, and she does so...

... to be experimentally confi rmed or fal- sifi ed. Only late in the book, in her chapter on Romola, does she admit that the novelist deliberately creates suspense to anticipate an already decided end, and she does so while arguing that George Eliot critiques the kind of suspense plotting that Levine identifi es...

... to be experimentally confi rmed or fal- sifi ed. Only late in the book, in her chapter on Romola, does she admit that the novelist deliberately creates suspense to anticipate an already decided end, and she does so while arguing that George Eliot critiques the kind of suspense plotting that Levine identifi es...

... to be experimentally confi rmed or fal- sifi ed. Only late in the book, in her chapter on Romola, does she admit that the novelist deliberately creates suspense to anticipate an already decided end, and she does so while arguing that George Eliot critiques the kind of suspense plotting that Levine identifi es...

... the difference between reading a narrative fully laid out by its writer and a hypothesis to be experimentally confi rmed or fal- sifi ed. Only late in the book, in her chapter on Romola, does she admit that the novelist deliberately creates suspense to anticipate an already decided end, and she does so...

... the difference between reading a narrative fully laid out by its writer and a hypothesis to be experimentally confi rmed or fal- sifi ed. Only late in the book, in her chapter on Romola, does she admit that the novelist deliberately creates suspense to anticipate an already decided end, and she does so...

... in Romola and to Bulstrode in Middlemarch , Jameson finds that what he calls Eliot’s relational representation makes these figures that do harmful things no longer the villains they would have seemed in an earlier mode of writing. He argues that Eliot helps dissolve the old distinctions between good...

... ways in which the Apocalypse influenced major Victorian authors. Rather, it seeks to show that the model for RICHARD KENNETH EMMERSON 435 George Eliot’s reading of history in Romola “is to be found primarily not in classical mythology or other sources...

... of the Dead!”2 In the “Proem” to Romola (1862–63), George I would like to thank Rob Anderson, Marshall Brown, Eleanor Courtemanche, and Richard Maxwell for valuable leads and suggestions. 1 Théophile Gautier, Works, vol. 3 (Boston: Brainard, 1901), 42. 2 Edward Bulwer-Lytton, Works, 32 vols...

... school classes as early as 1881, twenty years after its first publica- tion. Silas Marner remained a CEEB requirement from 1901 to 1914 and from 1920 to 1928. For 1915 – 19 and 1929 – 34, Adam Bede and Romola were permitted substitutes, but, given the lengths of these alter- natives, I suspect...