Eagleton, Terry - How to Read Literature

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I n d e x

contrivance
language and style 42, 193–4, 195–7
plot manipulations 100–2, 103,
161, 162
convention
as influence 34–5
and literary value 175–81
copula 16
critical strategies see literary criticism
cultural difference and value 185–6,
187, 190

Dante, Alighieri 58
Divine Comedy 65, 184, 188
death
dead narrators 86
literary intimations 48, 86–7
living dead in Charles Dickens’s Great
Expectations 159
in poetry 28–9, 30–5
see also murder
deception and narrators 86–8, 112
Defoe, Daniel
Moll Flanders 65, 99–100, 125–6
Robinson Crusoe 99
detective fiction 115
Dickens, Charles
caricatures of urban figures 181–2
‘characters’ in work 50, 51
child’s view of the world 85–6
David Copperfield 85, 101
Edwin Drood 25
family as refuge 153, 165
Great Expectations 149–67, 169
theme of wealth and power in 154,
157, 161
Hard Times 94–5
Nicholas Nickleby 123
Oliver Twist 19, 86, 151, 165–6
A Tale of Two Cities 121
Dickinson, Emily
‘My life closed twice before it’s close’
28–9
disguise and concealment 25
dissociated language 200
diversity and appeal of literature 186
doctrinal literature 184

Donne, John 184

Dostoevsky, Fyodor 188–9

double entendres 123

drama see plays

Durrell, Lawrence

Alexandria Quartet 136

duty see under Milton, Lycidas

dystopian novels 42–3

eccentricity and ‘character’ 49–50

terms to describe 54

Edgeworth, Maria

Castle Rackrent 87–8

Eliot, George 64, 65, 67, 75, 110, 180

Adam Bede 88, 92, 94

Middlemarch 92–3, 101

Eliot, T.S. 127

The Waste Land 68–9, 134, 180, 191

emotion and convention 34–5

empathy with characters 75–9

endings

happy 102, 103, 104, 161

and modernism 105–6, 168

and narrative 102–4

enjoyment and literary value 188–9

epistolary novels and narration 88

ET (film) 173

European Mind 69

evidence and interpretation 139–43, 147

Exorcist, The (film) 173

experience

and poetry 192

and self- expression 135–9

Eyre, Jane (character) see under Brönte,

Charlotte

fact see reality and fiction; truth and

fiction writing

fairy tales and openings 18

family romance syndrome 156, 168–9

family as theme

in Charles Dickens’s Great

Expectations 152–6

in J.K. Rowling’s Harry Potter novels

168–9, 171–2

in Charles Dickens’s Oliver Twist 165

and social order 167–8