No Victorian creative writer more comprehensively illustrates the ups and downs of the nearly-but-not-quite-first rate. A comprehensive Bibliography is long overdue both as a tribute to the author himself and as exemplum of publishing in a crowded, rich and exciting period. This major new study of the publishing history of the Irish novelist Charles Lever gives in microcosm the history of a significant number of Victorian novelists, and of publishing itself in fast changing decades.
A dramatization in verse of the murder of Thomas Becket at Canterbury. " The theatre as well as the church is enriched by this poetic play of grave beauty and momentous decision" (New York Times). " Within its limits the play is a masterpiece.... Mr. Eliot has written no better poem than this and none which seems simpler" (Mark Van Doren, The Nation).
These essays comprise the first extensive reappraisal of Charles Lever for over 50 years. Once regarded as the equal of Dickens, Trollope and Thackeray, Lever's public turned their backs on him when he changed style and genre after making his name with comic military tales. He never captured his early popularity, but his later novels in fact manifest a much more serious and crafted approach to fiction and richly deserve revival. Lever's own turbulent and often unhappy life of social and cultural exile in Europe provides the hidden theme of many of his better novels. Continental and Irish settings and preoccupations are juxtaposed, making his contribution to the Anglo-Irish novel an unusual and challenging one. Lever is a shrewd observer of characteroparticularly of female character; few of his better-remembered contemporaries write with more insight about women; old, young, rich, poor; loving, hating, dominating, subjected. His eye for place is acute; Scott is his model, but Lever's ability to correlate character with environment is finely developed. His political observations are shrewd and balanced.
A dramatization in verse of the murder of Thomas Becket at Canterbury. " The theatre as well as the church is enriched by this poetic play of grave beauty and momentous decision" (New York Times). " Within its limits the play is a masterpiece.... Mr. Eliot has written no better poem than this and none which seems simpler" (Mark Van Doren, The Nation).
W here do you start to write about colors in the universe? Do you look to the deepest ocean trenches on Earth, with their awesome bioluminescent creatures roaming the blackness of the abyss? And where do you finish? With the most distant galaxies in the cosmos? A difficult question, p- haps, but in between the two extremes, there is so much to marvel at that it really doesn’t matter where you start or end, as long as you note the staggeringly beautiful and complex examples of color there are and that each should, if possible, be represented in some way. Whether staring up at the sky when surprised by the sudden appearance of a vividly colored band of light that is a rainbow or peering through a telescope to view colors further afield, the origin and complexity of the source of light is witness to the wonderful and majestic world and the universe in which we live. A n attempt has been made here not only to create a picture gallery of the universe, but also to provide brief explanations or interpretation of the colors and, where appropriate, to give hints on how to capture p- tures easily yourself, without spending lots of money. As illustrated in the introduction, paying attention to just a few basic camera settings, it is possible to turn a blurred snapshot into a detailed and pin sharp picture worthy of framing and hanging on the wall.
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