Difference between revisions of "Armadale (Collins, 1866)"
From Commonplace Book
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*235 Bashwood's son is Oldershaw's private investigator | *235 Bashwood's son is Oldershaw's private investigator | ||
*239 midwinter's pocketbook of papers a textual model of the narrative | *239 midwinter's pocketbook of papers a textual model of the narrative | ||
| + | *284-5 "I have been proved not to be myself" | ||
| + | ** then Lydia's caustic anti-bourgeois description of Allan and Eleanor, but also playing the role of dutiful daughter better than the latter | ||
Revision as of 11:47, 10 December 2017
- 155-169 "Lurking Mischief" chapter uses the technology of the penny post (from 1839 according to sutherland) to keep the plotting between Lydia and Mrs Oldershaw moving fast
- 169-70 description of Thorpe-Ambrose as specifically unromantic and not at all gothic (modern, in fact) - AA thinks it will calm Midwinter's nerves
- 169 he mentions midwinter writing to Brock - the narrative interplay between fragments (letters) and diegesis
- 178 Maj Milroy talks about the risks of advertising for a governess -- the other end of the problem of Jane Eyre (1848) advertising
- 183 the respectable middle class library: Waverly, Maria Edgeworth, Felicia Hemans
- 190 the town's sniffiness about Armadale's arrival is at least in part one between time scheme's: Allen's busy penny post modernity vs the formal slowness of town life welcoming the squire as of old
- 200-1 Allen exposes a nice vein of country petit bourgeois snobbery
- 206-8 Letters between the Milroys indicating that Lydia is inbound as governess and from Brock spying on Gwilt and Oldershaw
- fill in
- 235 Bashwood's son is Oldershaw's private investigator
- 239 midwinter's pocketbook of papers a textual model of the narrative
- 284-5 "I have been proved not to be myself"
- then Lydia's caustic anti-bourgeois description of Allan and Eleanor, but also playing the role of dutiful daughter better than the latter
