By Virginia Woolf
No matter what hour you woke there has been a door shutting. From room to room they went, hand in hand, lifting right here, commencing there, making sure—a ghostly couple. Stooping, protecting their silver lamp above us, lengthy they appear and deeply. lengthy they pause. The wind drives straightly; the flame stoops a bit. Wild beams of moonlight go either ground and wall, and, assembly, stain the faces bent; the faces considering; the faces that seek the sleepers and search their hidden pleasure.
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Contributor be aware: With an creation through Margaret Anne Doody. Notes via Claire Lamont
Publish yr word: First released in 1811
• considered one of Austen's 5 significant novels in a revised and up to date edition.
• the traditional Chapman/Kinsley textual content in a newly set typeface supplies a extra appealing appearance.
• the recent notes are fuller and supply extra beneficiant contextualization of social conduct and Austen's language.
• New chronology and bibliography offer updated assets for additional reading.
• New appendices on social rank and dancing.
• keeps Margaret Doody's nonetheless seriously applauded introduction.
New to this edition
• thoroughly rewritten and accelerated notes.
• New and elevated chronology.
• New, up-to-date and elevated bibliography.
• New appendices on social rank and dancing.
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Extra info for A Haunted House (Timeless Classics)
A criticism constrained by authorial intention, formalist thought contends, gives far too much credence to what we think the artist intended and may have accomplished and far too little to the work itself. Formalism disregards altogether authorial intention and cultural influence, proclaiming that the art object alone is all that is needed to work critically towards a single, correct meaning. Unlike much contemporary criticism wherein the critic – depending upon the theoretical lens used to ‘read’ the work – offers only one potential interpretation in a range of interpretations, New Criticism worked with the assumption that one true reading of a work did exist, somehow inextricably bound in the formal construction and Formalist Criticism 21 organic unity of a given art object and not in our conception of an author’s intention.
In ‘Narcissus as Narcissus,’ Allen Tate declares that ‘in a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem’ (Collected Essays 595). The extremity of this assertion, of course, remains problematic, especially in the present moment when the idea that art might somehow be divorced from its context is met with great incredulity. Yet, as we examine the historical and cultural context for this desire to remove the art object from human limitations (cultural and historical influences) – a desire that leads to the act of close reading or the relentless call for an explication de texte – we can see clearly that this is at least in part a reaction to previous critical practice and cataclysmic cultural and historical change.
This process also reveals the unifying mechanisms that undergird works of literary art. For the Russian Formalists, unity clearly exists as one of the central principles of literary organization.
A Haunted House (Timeless Classics) by Virginia Woolf