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- W23912208 abstract "ions that lead into personifications, vagueness, or a Latinistic wordhoard heavy, or laughable, or perhaps laughing a little at times; orderly and ordering forms that imply a rational mastery of the experience depicted?are frequent enough to have a share in the total effect produced. Not to be aware of them would be to miss the Bronte range. Yet they are not primary; other stylistic means are closer to the thinking and feeling essence of her art. Even in doing these neo-classical she can make them serve nonclassical ends. Above all, she can do various things that are not neoclassical at all. We could say that the verbal art of Villette is influenced by both Reynolds and Blake?the Academy president who espoused the pursuit of general . . . ideas, and his rebellious annotator who glossed, To generalize is to be an idiot. Regularly as Bronte uses abstractions, she has an excellent eye for a concrete world, and words for it?words that mostly lie outside the Austen realm. Of Graham Bretton as a guide to places of interest in Brussels Lucy says, It was not his way to treat subjects coldly and vaguely; he rarely generalized, never prosed. He seemed to like almost as much as I liked them myself... (Ch. 19, p. 177). Though in this scene Bronte is vague herself?noplaces identified, no nice details given?she need not be; in London, for instance, she does a good mini-Michelin (Ch. 6, pp. 40-41). In describing an exterior she may mingle the polite and the direct: the turf was verdant could be Austen, but not what follows?the gravelled walks were white; sunbright nasturtiums clustered beautiful about the roots of the doddered This content downloaded from 207.46.13.167 on Thu, 21 Jul 2016 04:37:54 UTC All use subject to http://about.jstor.org/terms" @default.
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- W23912208 date "2016-01-01" @default.
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- W23912208 title "TULIP-HOOD, STREAKS, AND OTHER STRANGE BEDFELLOWS: STYLE IN VILLETTE" @default.
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