Eagleton, Terry - How to Read Literature

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I n d e x

literary criticism
evaluation of good literature 188–93
‘micro’ aspects 43–4
see also value
Locke, John 51
long sentences 37
Lowell, Amy
‘The Weather- Cock Points South’
204
Lowell, Robert
‘The Quaker Graveyard in
Nantucket’ 29–30, 135

Macbeth, Lady (character) see under
Shakespeare, Macbeth
McCourt, Frank
Angela’s Ashes 121
McGonagall, William
‘Railway Bridge of the Silvery Tay’
205–6
Mailer, Norman
The Executioner’s Song 121
Mann, Thomas 63
Doctor Faustus 84
Marvell, Andrew
‘To His Coy Mistress’ 86–7
Maugham, W. Somerset 41
meaning
author’s view on 134–5
change over time 183–4
and context 117–20, 126–7, 141–2
multiple meanings 144–7
public nature 145–6
readers and creation of 124–5, 146
realist literature and transparency
125–6, 131
see also interpretation
Melville, Herman
Moby- Dick 23–5, 120
mermaid imagery 201–2
meta- language and omniscient
narration 88–9
metre
of ‘Baa baa black sheep’ 131–2
iambic pentameter 29, 131–2
Larkin’s manipulation of 28
Lowell’s dramatic effect using 30

metrical rhythm in E.M. Forster’s A

Passage to India 10

midrash (scriptural interpretation)

143–4

Milton, John

Lycidas 30–5, 184

and the burden of duty in 32–5

Paradise Lost 51, 98–9, 117, 188, 191

modernism

absent centre in E.M. Forster’s A

Passage to India 14

arbitrary openings and endings

105–6, 168

and character 65–9

complexities of syntax and

interpretation 124–5, 127–8

and narrative 105–11

and originality 178–80, 181

and problems 105

morality

of Daniel Defoe’s narrators 100

Charles Dickens and moral virtue

164–5, 167

and empathy with characters 75

novel and moral issues 75, 120

see also virtue

mortality see death

multiple meanings 144–7

murder 36–40, 159

literary description 199–200

myths and openings 18

Nabokov, Vladimir

Lolita 197–201

names 23–5

double entendre 123

significance in J.K. Rowling’s Harry

Potter novels 173–4

narrative 80–116

address to reader(s) 23–4, 88

authors as fictional figures 41

and bias 91–9

children as narrators 85–6

deceptive narrators 86–8, 112

detached tone in E.M. Forster’s A

Passage to India 11–12

and endings 102–4, 168