By Stephen Arata, Madigan Haley, J. Paul Hunter, Jennifer Wicke
"Explores the heritage, evolution, genres, and narrative parts of the English novel, whereas chronicling its improvement from the early 18th century to the current day"--
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Additional info for A Companion to the English Novel
Before Fanny’s reunion with Charles, she acquires, by inheritance from one of her lovers, a large fortune. Meeting Charles unexpectedly, she is thrilled to discover that he, in contrast, has lost all his money: now she can act as benefactor. She begs him to accept her fortune as a gift, but he insists on marrying her, although she worries about his possible social disgrace as a result. But money, it turns out, makes everything all right: makes black into white. Fanny subsides into maternity and moral smugness.
The libertine Coke produces a pernicious mimicry of revolutionary ideas by ruthlessly following them to their logical extremes. Frank’s critique of marriage as a form of property, he notes, implies communal property in women (an argument also made in the Marquis de Sade’s La Philosophie dans le boudoir ), and justifies his eventual abduction of Anna. If the text’s principles are democratically available to all, the fact that they can be so easily hijacked for other ends undermines their universality.
2 As the Revolution grew more violent, and war between Britain and France was declared in February 1793, William Pitt’s administration took increasingly repressive measures, including proclamations against seditious writing, the infiltration of radical and reform circles by government informants, the judicial prosecution of radicals for sedition in Scotland in 1793–1794, and the treason trials of Thomas Hardy, John Thelwall, and John Horne Tooke in 1794. Invasion fears, food riots, labor disturb ances, and the naval mutinies of 1797 led to the drastic expansion of government powers – Pitt’s “Terror” – in the second half of the decade.