Eagleton, Terry - How to Read Literature

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I n d e x

Faulkner, William
Absalom, Absalom! 195–7
fiction see reality and fiction
Fielding, Henry 58, 176, 180
Joseph Andrews 53
Tom Jones 76, 101–2
first lines see openings
Flaubert, Gustave
Madame Bovary 55–6
Ford, Ford Madox
The Good Soldier 84, 107–8
form
and content and interpretation 131–3
and feeling 35
and reading literary works 2–3
tension with content 3
Forster, E.M.
A Passage to India 8–15, 81–2, 135
freakish characters 50–2, 54
Freud, Sigmund 103, 104, 155, 171–2,
173
family romance syndrome 156, 168–9

Gaskell, Elizabeth
Mary Barton 108–9
generic terms and character 54–5, 57
Genesis, opening lines 17–19
genetic fallacy 107
Ginsberg, Allen 55
God 17–18, 176, 178
Golding, William
Lord of the Flies 97–8
Pincher Martin 86
good literature
evaluation of 188–93
see also value
‘Goosey Goosey Gander’ 141–2
Great Expectations see under Dickens,
Charles
Greek tragedy and character 58, 76
Greene, Graham
Brighton Rock 140
The Heart of the Matter 91
Grisham, John 188–9

Hardy, Thomas 110, 134
Jude the Obscure 70–5, 93

characterization of Sue Bridehead

70–5

Tess of the D’Urbevilles 94

Harry Potter novels see under Rowling, J.K.

Heathcliff (character) see under Brontë,

Emily, Wuthering Heights

Hemingway, Ernest 62, 192

Hiberno- English 37

historical specificity 186–7

Hobbes, Thomas 51

Homer 60

human nature

neo- classical view 176–7

Romantic view 177

and universal in literature 54–5, 185–7

see also character

humour

absurdity in Flann O’Brien 39–40

Samuel Beckett’s distinctive tone 36

Anthony Burgess’s parody of

W. Somerset Maugham 41

comedy and literary value 190–1

in Charles Dickens’s Great

Expectations 164–5

and freakish ‘characters’ 50, 52

interpretation and unintentional

humour 134

Vladimir Nabokov’s language in

Lolita 197–8

see also irony; and for satire under

Swift, Gulliver’s Travels

hybrid narration 82–3

iambic pentameter 29, 131–2

Ibsen, Henrik

Hedda Gabler 45

identity and modernism 65–6

imagery

in Charles Dickens’s Great

Expectations 163–4

in Carol Shields’s Republic of Love

201–3

imagination

and empathy 78–9

neo- classical suspicion of originality

176, 179

Romantics and visionary power 177