Eagleton, Terry - How to Read Literature

I n d e x

2 1 3

and gender 38
hybrid narration 82–3
impossibility of narrating reality
111–14
and literary value 191–2, 197–202
and modernism 105–11
omniscient narrators 80–3, 88–9
and plot 115–16
self- awareness of first person narrator
163, 197–9
sidelining of Sue Bridehead in
Thomas Hardy’s Jude the
Obscure 74
ulterior motives and plot
manipulations 98–102, 103,
161, 162
unreliable narrators 84–8
varied viewpoints in Emily Brontë’s
Wuthering Heights 4–6
neo- classicism
and convention 34–5
and originality 176–7, 179
norm and eccentricity of character 50
novel
and moral issues 75, 120
opening lines 7–15, 21–2, 23–5,
36–40
nursery rhymes 133–4, 141–3
see also ‘Baa baa black sheep’;
‘Goosey Goosey Gander’

objectivity and value 189
O’Brien, Flann
The Third Policeman 36–40, 86, 135
absurdity in 39–40
artlessness of prose in 37–9
obscure style and interpretation 124–5,
126
O’Casey, Sean
The Plough and the Stars 82
oddballs 49–50, 54
Oliver Twist see under Dickens, Charles
omniscient narrators 80–3, 88–9
and bias 91–9
openings 7–44
of the Bible 17–21
and modernism 105–6

of novels 8–15, 21–2, 23–5, 36–40

of plays 15–17, 35–6

of poetry 25–34

originality

and character 56–7

and literary value 175–81

origins and Charles Dickens’s Great

Expectations 155–7, 162–3

orphans in literature 167–9

Orwell, George 192

Animal Farm 3, 96–7

1984 42–3

Othello (character) see under

Shakespeare, Othello

otherness and children 172–3

paradox, Biblical beginnings 20–1

paranoid plot detection 115–16

parataxis 20

parents

false parents in Charles Dicken’s

Great Expectations 152–6

orphans in literature 167–9

substitute parents in J.K. Rowling’s

Harry Potter novels 169, 171–2

parody 41

Passage to India, A see under Forster, E.M.

personal experience and interpretation

135–9

philosophy and literature 4

Pinter, Harold 46

Plath, Sylvia 134

plays

audience and spell of play 6–7

lack of narrator 88–90

opening lines 15–17, 35–6

plot

and literary value 191–2

manipulations and ulterior motives

100–2, 103, 161, 162

and narrative 115–16

poetry

double entendres 123

language and literary value 203–6

modernist poetry 68–9

opening lines 25–34

role of language 3, 192