The Picture Of Dorian Gray Literary Criticism Video
The Picture Of Dorian Gray Literary Criticism
It is not enough for such a one merely to make himself familiar with their writings. At the best it is but a very incomplete notion that most of us possess as to the actual personality of even the most prominent of our British writers.
The almost womanly beauty of Sidney, and the keen eyes and razor face of Pope, would, perhaps, be recognised as easily as the well-known form The Picture Of Dorian Gray Literary Criticism Dr. Johnson; but taking them en masse even a widely-read man might be forgiven if, from amongst Literrary scraps of hearsay and curtly-recorded impressions on which at rare intervals he may alight, he cannot very readily conjure up the ghosts of the very men whose books he has studied, and to whose haunts he has been an eager pilgrim. Such a power the following pages have attempted to supply. They contain an account of the face, figure, dress, voice, and manner of our best-known writers ranging from Geoffrey Chaucer to Mrs. Henry Wood,—drawn in all cases when it is possible by their contemporaries, and when through lack of material this endeavour has failed, the task of portrait-painting has devolved either on other writers who owed their inspiration to the offices of a mutual friend, or on those whose literary ability and untiring research have qualified them Or the task.
Infinite toil has not always been rewarded, and it would be easy to supply at least half a dozen names whose absence is to be regretted. An asterisk placed under the given reference means please click for source the writer of that particular portrait who is not necessarily the Picturr of that particular book did not actually see his subject, but that he is describing a picture, or else that he is building up one from substantiated evidence.
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Sometimes, as in the case of Suckling, this distinction leads to the same book supplying two portraits, only one of which is at first hand. When a date is placed at the foot of a description, it refers to the appearance presented at that time, and not to the period when the words were penned. British writers only are named, and amongst them there is of course no living author. In only one other instance has there been a departure from recognised precedent, and that is in the case of Thomas de Quincey.
The reason for this is threefold: First, he himself invariably spelt his name with a small d. Second, Hood, Wordsworth, and The Picture Of Dorian Gray Literary Criticism, and, I believe, all his other contemporaries did the same.
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Third, de Quincey himself was so determined about the matter that he actually dropped the prefix altogether for some little time, and was known as Mr. Francis Jacox, who was one of his Lasswade friends, and in spite of his recent and skilful biographers, it must be conceded that after all the The Picture Of Dorian Gray Literary Criticism man had the greatest right to his own name. I am glad to take this opportunity of thanking those who have helped me, and who will not let me speak my thanks direct.
It is a pleasant thought that while working amongst the literary men of the past, I have received nothing but kindness from those of to-day. First and foremost to Mr. George Augustus Sala, to whom I am infinitely indebted; also to Mrs. Huntingford, Mrs. Frederick Chapman, Mr. Henry M. Trollope, Dr. Fitz-Patrick, and Mr. Hall: to all these, as well as to my own personal friends, I offer my hearty and sincere thanks.]
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