Englische romankunst: Die technik des englischen romans im achtzehnten und zu anfang des neunzehnten jahrhunderts ...Mayer & Müller, g.m.b.h., 1910 |
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Häufige Begriffe und Wortgruppen
Abenteuer Abenteuerromans ähnlich allerdings alten Amelia Autor bedeutsam beiden besonders Blifil Caleb Williams Charakter Charakteristik Clara Reeve Clarissa Clinker Defoe deutlich Dichter Didaxis Don Quijote edle englischen Romans Ereignisse ersten Erzählung Fathom Fielding Fieldingsche finden Friedensrichter Führung der Handlung ganzen Gattung Geheimnis gelegentlich Geliebten Geschichte gewisse gibt Godwin Goldsmith Grandison grossen Grundplan Heirat Helden Heldin heroisch-galanten Roman Humor Inchbald Jack Jonathan Wild Jones Joseph Andrews kleine Komik komischen kommt Konstruktionsmotiv Kunst künstlerische Leben Leser Lewis lich Liebe literarische Lovelace Mackenzie Menschen menschlichen Miss Moll Flanders Motiv muss neue Palaestra XCII Pamela pathetischen Pathos Pedanten Peregrine Personen picaro Primrose Radcliffe Richardson Robinson Crusoe Rollenverteilung Roxana RR cap Schelmenroman Schicksal schliesslich Schluss seltsamen Shandy Smollett Sophia sozialen ständische Satire starke steht Sterne subjektive Szene Technik Toby Tom Jones Tristram Shandy typischen Typus Vicar of Wakefield viel Walpole Walter Scott weiter wenig wesentlich wieder Wirkungen zeigt Züge zunächst
Beliebte Passagen
Seite 282 - I am positive I have a soul ; nor can all the books with which materialists have pestered the world ever convince me to the contrary.
Seite 288 - It was an attempt to blend the two kinds of romance: the ancient and the modern. In the former, all was imagination and improbability; in the latter, nature is always intended to be, and sometimes has been, copied with success.
Seite 283 - As I darkened the little light he had, he lifted up a hopeless eye towards the door, then cast it down, — shook his head, and went on with his work of affliction.
Seite 288 - Desirous of leaving the powers of fancy at liberty to expatiate through the boundless realms of invention, and thence of creating more interesting situations, he wished to conduct the mortal agents in his drama according to the rules of probability ; in short, to make them think, speak, and act, as it might be supposed mere men and women would do in extraordinary positions.
Seite 279 - MARIA look'd wistfully for some time at me, and then at her goat and then at me and then at her goat again, and so on, alternately Well, Maria, said I softly What resemblance do you find?
Seite 282 - He had one of these little sticks in his hand, and with a rusty nail he was etching another day of misery to add to the heap.
Seite 281 - I had done, thou shouldst play thy evening song upon thy pipe ; nor would the incense of my sacrifice be worse accepted, for entering heaven along with that of a broken heart.
Seite 281 - He then took his crust of bread out of his wallet again, as if to eat it, held it some time in his hand, then laid it upon the bit of his ass's bridle, looked wistfully at the little arrangement he had made, and then gave a sigh.
Seite 280 - ... which were waxing cold and slow within him, and were retreating to their last citadel, the heart, rallied back ; — the film forsook his eyes for a moment ; — he looked up wishfully in my uncle Toby's face, then cast a look upon his boy ; — and that ligament, fine as it was, was never broken. — Nature instantly ebbed again ; — the film returned to its place ; — the pulse fluttered, — stopped,— went on, — throbbed, — stopped again, — moved, stopped. — Shall I go on? No.
Seite 281 - Sylvio," said she. I look'd in Maria's eyes, and saw she was thinking more of her father than of her lover or her little goat; for as she utter'd them, the tears trickled down her cheeks. I sat down close by her; and Maria let me wipe them away as they fell, with my handkerchief. I then...