Cincinnati Reds vs. St. Louis Cardinals Tickets on September 10, 2015 - Low prices in Cincinnati, Ohio For Sale

Cincinnati Reds vs. St. Louis Cardinals Tickets
Great American Ball Park
Cincinnati, Ohio
September 10, xxxx
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or all the world would be philosophers and persons of taste, in which case it would be impossible, as the famous story has it, to "look down on one's fellow?creatures from a proper elevation." It really is a novel and a remarkable one--superior even to Vanity Fair, according to Thackeray's own definition, as a delineation of "a set of people living without God in the world." But it is even more (and here its only parallel is A Tale of a Tub, which is more desultory and much more of a fatrasie or salmagundy of odds and ends) a masterpiece and quintessential example of irony. Irony had come in with the plain prose style, without which it is almost impossible: and not merely Swift but others had done great things with it. It is, however, only here that it reaches the quintessence just spoken of with a coherent and substantive purpose to serve as vehicle for it. It is possibly too strong for most people's taste: and one may admit that, for anything like frequent enjoyment, it wants a certain admixture of the fantastic in its various senses--after the method of Voltaire in one way, of Beckford in another,
of Peacock in a third, of Disraeli in a fourth--to make it acceptable to more than a very few. But it shows, even from our present limited point of view, of what immense and exalted application the novel?method was capable: and it shows also the astonishing powers of its author. "Genial," in the usual sense, it certainly cannot be called; in the proper sense as equalling "what is the production of genius" there are few books which deserve the term better. But it is an exercise in a by?way of the novel road?system, though an early proof of the fact that such by?ways are endlessly open. But the time was coming, though it did not (and could hardly) come very quickly, when Fielding was to discard all kinds of adventitious aids and suggestions--all crutches, spring?boards, go?carts, tugs, patterns, tracings--and go his own way--and the Way of the Novel--with no guidance but something of the example of Cervantes directly and Shakespeare indirectly among the moderns, and of the poetic fiction?writers of old. It is perfectly clear that he had thought widely (and perhaps had read not a little) on the subject
of literary criticism, in a sense not common in his day, and that the thinking had led him to a conception of the "prose epic" which, though it might have been partly (not wholly by any means) pieced out of the Italian and Spanish The English Novel 40 critics of the late sixteenth and early seventeenth centuries, had never been worked out as a complete theory, much less applied in practice and to prose. The Prose Epic aims at--and in Fielding's case has been generally admitted to have hit--something like the classical unity of main action. But it borrows from the romance?idea the liberty of a large accretion and divagation of minor and accessory plot:--not the mere "episode" of the ancients, but the true minor plot of Shakespeare. It assumes, necessarily and once for all, the licence of tragi?comedy, in that sense of the term in which Much Ado About Nothing and A Winter's Tale are tragi?comedies, and in which Othello itself might have been made one. And it follows further in the wake of the Shakespearean drama by insisting far more largely than ancient literature of any kind, and far more than any