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9Eric Donald Hirsch, Jr.(born March 22, 1928) is a U.S. educator and academic literarycritic. Now retired, he was until recently the University Professor of Education and Humanitiesand the Linden Kent Memorial Professor of English Emeritus at the University of Virginia. He isbest known for his writings about cultural literacy.

While giving tests of relative readability at two colleges in Virginia, he discovered thatwhile the relative readability of a text was an important factor in determining comprehension, aneven more important consideration was background knowledge. Students at the University ofVirginia were able to understand a passage on Ulysses S. Grant and Robert E. Lee, whilestudents at a community college struggled with it, apparently lacking basic understanding of theAmerican Civil War. This and related discoveries led Hirsch to formulate the concept of culturalliteracy the idea that reading comprehension requires not just formal decoding skills but alsowide-ranging background knowledge.

Hirsch founded the Core Knowledge Foundation in 1986, and wrote Cultural Literacy:What Every American Needs To Knowin 1987. He also co-wrote The Dictionary of CulturalLiteracyin 1988. Cultural Literacy became a best-seller, .

His most recent book is The Knowledge Deficit(2006), in which he once again makes thecase that the cause of disappointing reading performance is a lack of background knowledge, seehttp://en.wikipedia.org/wiki/E._D._Hirsch,_Jr.

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[(HAK= ?OLA41C=]

The Bible 1Mythology and Folklore 27Proverbs 46Idioms 58World Literature, Philosophy, and Religion 81Literature in English 111Conventions of Written English 140Fine Arts 155World History to 1550 190

World History since 1550 204American History to 1865 235American History since 1865 258World Politics 287American Politics 305World Geography 332American Geography 375Anthropology, Psychology, and Sociology 390Business and Economics 413Physical Sciences and Mathematics 437Earth Sciences 469Life Sciences 482Medicine and Health 497Technology 534Picture Credits 549

Index 551G$L-%1>$FL6- ;B-46&;/%&6- @7-&143//"- &34#$%;4;0769/": 16-

#3> 2-7;F1 >30B3D/"B 2;7E/-AR-- $139/-/6- 2;//": #435-%%34;^64R;, > 9;%1/3%16, #30>37=F1 %534B643>;1E /-&6- #-4-:32/"- 03/"B-D2$ (3?L-);B-46&;/%&3A &$7E1$4/3A 84;B31/3%1EF &;& 1;&3>3A 6B/38396%7-//"B6#-465-46A/"B63?4;03>;/6=B610.

C435-%%34 ^64R 0;>-4R;-1 !%1$#7-/6- & [Dictionary of CulturalLiteracy 1988] 3?4;L-/6-B&&377-8;B%#460">3B#43237D61E6%%7-23->;/6->3?7;%16&$7E1$4/3A&3B#-1-/.66, 913B"6#3#"1;76%E%2-7;1E,#3#"1;>R6%E 3#4-2-761E :31= ?" /-&3134"- 03/" #-4-%-9-/6= %3>4--B-//383;B-46&;/.;6%3>4-B-//3839-:;.

(7= @1383 B"4-R676#43>-461E2;//"-87;>" S61-4;1$4; /; ;/8-76A%&3B =0"&- #3 B;1-46;7;B >:32=L-83 > %3%1;>V-R%&383 /;.63-/;7E/383&34#$%;11(#32)&34#$%;SYN2000.

10 J%%7-23>;/6= 1;&383 #7;/; B3876 ?" %1;1E >30B3D/"B 31>-13B 1-B 3##3/-/1;B#435-%%34;^64R;, &3134"-$#4-&;F1-83>68/34643>;/66B-/ER6/%1>%6:%$?&$7E1$-4;B6, %B. http://en.wikipedia.org/wiki/E._D._Hirsch,_Jr.

11V-R%&6A/;.63/;7E/"A&34#$%(`esk Nrodn Korpus) #328313>7-/63?%7$D6>;-1-%=%314$2/6&;B6J/%161$1;V-R%&383/;.63/;7E/383&34#$%;#465673%35%&3B5;&$7E-1-1-);473>;$/6>-4%61-1;>C4;8-, %B. http://ucnk.ff.cuni.cz/

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9

C323?/"A #32:32/6>&3-A B-4- /-#4316>34-9613%/3>/"B#46/-.6#;B%3#3%1;>61-7E/383=0"&30/;/6=, 4;04;?31;//"B>#43R73B %13-7-166 > C4;D%&3A 76/8>6%169-%&3A R&37- 6 ;&16>/3 #43#;8;/264$--B"B >-2$L6B 31-9-%1>-//"B ?38-B6%13B B6/$>R-83 %137-16= 0;%7$-D-//"B#435-%%343BKU'6#39-1/"B23&1343B);473>;$/6>-4%61--1;>C4;8-I.U. Z643&3>3A, %B., /;#46B-4, 32/$60--#3%7-2/6:4;?31#3 B-132373866 %3#3%1;>61-7E/": 6%%7-23>;/6A > [G3#3%1;>61-7E-/"- 1998]. K" /- %3?64;-B%= %3#3%1;>7=1E ;B-46&;/%&$F &$7E1$4-/$F &3B#-1-/.6F %V-R%&6B /;.63/;7E/"B &34#$%3B, B" >33?L- /-%3?64;-B%=/69-83/6%9-B% 3 # 3 % 1 ; > 7 = 1 E . T;R;0;2;9; 3 # 4 - -2 - 7 6 1 E , &;&6-60&7F9->":=>7-/6A;B-46&;/%&3A&$7E1$4"(384;/6-9-//"- > 2;//3B %7$9;- 3?7;%1EF 761-4;1$4" /; ;/876A%&3B =0"&-)12

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`esk nrodn korpus 2000: 14].

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23%1;139/3>"%3&;63/6#43237D;F1534B643>;1E;&1$;7E/$F=0"&3->$F%61$;.6F.!/;%13=L-->4-B=&34#$%SYN2000 4;%%B;146>;-1%=>&;9-%1>-32-

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%B. B;1-46;7"B-D2$/;432/":&3/5-4-/.6A[Grammar & Corpora 2005;2007].

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*U3M2?F@?BTHH(James Boswell) R317;/2%&6A#6%;1-7E6B-B$;-46%1, 60>-%1/"A #4-D2- >%-83 %>3-A 2>$:13B/3A W60/EF G@BF@7;(D3/%3/; (1791), &3134$F9;%13/;0">;F1>-769;AR-A?6384;56-A/;;/876A%&3B=0"&-;

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13 J0>-%1/"A %>36B 3843B/"B %73>;4/"B 0;#;%3B '6/%13/V-49677E 6%#37E03>;73&37360 000 %73>>%>36:#4360>-2-/6=:, %B. [McCarthy, ODell 2005: 4].

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#AM2@453PL1 (Simon Legree) D-%13&6A4;?3>7;2-7-.60^6D6-/"2=26Q3B; U;446-1*69-4-G13$

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9-41;/6- (6%&7F9-/6-B =>7=F1%= 6B-/; 6%13469-%&6: #-4%3/;D-A,&3134"- B38$1 6B-1E > /;.63/;7E/": 76/>3&$7E1$4;: %#-.6569-%&$F387;%3>&$17, ;77F06>/"- 6B-/;18 6764-0$7E1;1" 1>349-%&3A 5;/1;066#-4->3296&;19), /;0>;/6= %;B6: #4360>-2-/6A B38$1 #-4->3261E%= %;-B"B6 4;0769/"B6 %#3%3?;B6. T;#46B-4, 9-R%&6A 961;1-7E20 0/;-1

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Q+*5*-$34-)"-$2($-*" ;$+*$-%RM"+"()/$

Alices Adventures in Wonderlandby Lewis Carroll

1. Alenka v di divc2. Alenbina dobrodrustv v di

divc3. Alenka v kraji divu

Heart of Darknessby Joseph Conrad

1. Srdce temnoty2. Srdce temnot

16!4$%%&6:#-4->32;:B3D-1>%14-161E%=/-&344-&1/;=534B;S"/L*-.17G4. king Arthur 0)+)34B+%7+ krl Artu18T;#46B-4, 6B=#4-%7-23>;1-7=K3?6(6&;B3D-16B-1E>9-R%&3B1-&%1-387;%3>&$

Ahab(#-4->3296&4-R67%3:4;/61E;/876A%&3-/;#6%;/6-) 676387;%3>&$Achab(#-4->3-296&4-R67%3:4;/61E?6?7-A%&$F;77F06F, %B. And Ahab the son of Omri did evil in thesight of the LORD above all that [were] before him. [King James Bible. 1 Kings 16:30]; I binilAchab syn Amri pded oblbejem Hospodinovm hor veci ne kdo ze vech, kted pded nmbyli. (Bible Kralick. I Krlovsk 16:30]).

19

G4. Cheshire cat koTka klba20!#439-B, 4$%%&3B$961;1-7F#3>-073/-B-/ER-, %4.: C;2-/6-23B;'R-43>// S61.D$4/;7. 1881. f11. G. 773792. (#-4. /-$&;0;/); C;2-/6-23B;// . K., T;$&;. 1970. (#-4. !. !. ,383>;).

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3. Nitro temnoty

The Rime of the Ancient Marinerby Samuel Taylor Coleridge

1. Skldn o starm nmodnkovi2. Psego starm nmodnkovi

Great Expectationsby Charles Dickens

1. Velk nadeje2. Nadejn vyhldky

)43B- 1383, 23%1;139/3 B/383 $#3B=/$1": > [Dictionary of CulturalLiteracy 1988] #4360>-2-/6A (2-1%&6-%16:6, %&;0&6, ?;77;2"61.2.) B"/-%B38763?/;4$D61E/6>9-R%&3B%-&134-!6&6#-266, /6>9-R%&3B%-&134- G-16. V-R%&6- >;46;/1" /;0>;/6A @16: #4360>-2-/6A 0;14$2-

/676%E2;1E63#43R-//"-/;B6/3%61-76=0"&;, %4-26&3134":?"7667F26 % >"%R6B 8$B;/61;4/"B 3?4;03>;/6-B. J/;9- 83>34=, 4-9E > 6:%7$9;- 62-1 $D- /- 3 53/3>": 3?L-&$7E1$4/": 0/;/6=:, ; 3 #435-%-%63/;7E/3A&3B#-1-/1/3%16;/876%1;.

Q-B /- B-/-- /-B;73 #4360>-2-/6A ;/873=0"9/": ;>1343> >%14-9;--1%= > 1-&%1;: SYN2000 >#37/-4-8$7=4/3, %B. %1;16%16&$ /; #3%7--2$FL6:%14;/6.;:.

C-4>;= &373/&; 96%-7 > 1;?76.- I>134" #3&;0">;-1 ;?%37F1/$F9;%131/3%1E %331>-1%1>$FL-83 6B-/6 (6 -83 2-46>;13>) > SYN2000.T;#46B-4, 96%73 1933 #3%7- 6B-/6 Shakespeare, William #3&;0">;-1,913 B" 3?/;4$D676 1933 &3/1-&%1; % @16B 6B-/-B21. !134;= &373/&;96%-7#3&;0">;-1%$BB$$#3B6/;/6A6B-/6%331>-1%1>$FL-83;>134;66B-/-83#-4%3/;D-A, ;1;&D-/;0>;/6A-83#4360>-2-/6A(1-:#4360>--2-/6A61-:#-4%3/;D-A, &3134"B>[Dictionary of Cultural Literacy 1988]#3%>=L-/"312-7E/"-%73>;4/"-%1;1E6). T;#46B-4, 96%734106 >%143-

&- Shakespeare, William %331>-1%1>$-1 %$BB- $#3B6/;/6A > 1-&%1;:SYN2000 6B-/6Z-&%#64;, 6B-/6 U;B7-1;, 6B-/6)342-766, 6B-/,3-B-36(D$7E-11"61.2.

H1B-16B, &%1;16, 913136766/3-31/3R-/6-&Z-&%#64$6B--13&3-7340% >%-:4;%%B314-//":/;B6#46B-43>, >%331>-1%1>66%&3134"B6>%3>4-B-//3B9-R%&3B3?L-%1>-Z-&%#643&;0">;-1%=>12 4;0?37--#3#$7=4/"B, 9-B >1343A #3 #3#$7=4/3%16 ;/873=0"9/"A #6%;1-7E 60$;7E/383&3/1437=.

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Byron, George Gordon, Lord 92 92Steinbeck, John 89 112Whitman, Walt 85 103Conrad, Joseph 82 103Joyce, James 78 78Twain, Mark 76 168Kipling, Rudyard 76 76Wells, H. G. 74 74Lawrence, D. H. 72 72Huxley, Aldous 68 73Christie, Agatha 63 63Fitzgerald, F. Scott 57 75

Austen, Jane 45 47Poe, Edgar Allan 40 64Thurber, James 37 37Doyle, Sir Arthur Conan 36 271Swift, Jonathan 35 74Stevenson, Robert Louis 35 273Carroll, Lewis 30 141Milton, John 29 50Chaucer, Geoffrey 29 64Wordsworth, William 28 28Blake, William 28 28Wilder, Thornton 26 42Coleridge, Samuel Taylor 26 31James, Henry 25 25Shelley, Percy Bysshe 24 24Keats, John 24 24Emerson, Ralph Waldo 24 24

Stein, Gertrude 23 23Thoreau, Henry David 20 25Dos Passos, John 19 19Sandburg, Carl 18 18Dickinson, Emily 17 17O'Neill, Eugene 16 16Melville, Herman 16 66Bacon, Francis 16 16Tennyson, Alfred, Lord 15 15Scott, Sir Walter 15 15Lewis, Sinclair 13 17Fielding, Henry 13 13Browning, Robert 12 12Pope, Alexander 11 11Milne, A. A. 11 76Williams, Tennessee 10 61Longfellow, Henry Wadsworth 9 19Hughes, Langston 9 9Johnson, Samuel 8 8Bront, Charlotte and Emily 8 41Henry, O. 7 7Frost, Robert 6 6Cooper, James Fenimore 6 26Donne, John 5 5

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Burns, Robert 5 5Mencken, H. L. 3 3Hawthorne, Nathaniel 3 3Eliot, George 3 3Browning, Elizabeth Barrett 3 3Wright, Richard 3 3Wharton, Edith 2 2Parker, Dorothy 2 2Ellison, Ralph 2 2Angelou, Maya 2 2Alcott, Louisa May 2 18cummings, e.e. 2 2

Steinem, Gloria 1 1Irving, Washington 1 1Alger, Horatio, Jr. 1 1Cather, Willa 1 1Stowe, Harriet Beecher 0 6

' % $ ( ) " * + * , ( -

(Hamlet)22 530(Romeo and Juliet) 476(Othello) 218(Macbeth) 165Midsummer Night's Dream, A 147Waste Land, The 136(King Lear) 110(Frankenstein) 107Taming of the Shrew, The 100Huckleberry Finn, The Adventures of 86Alices Adventures in Wonderland 86(Pygmalion) 78(Julius Caesar) 75Wizard of Oz, The Wonderful 64Treasure Island 60Streetcar Named Desire, A 51(Robinson Crusoe) 50As You Like It 50Nineteen Eighty-Four 45Moby Dick 41Great Expectations 39Gulliver's Travels 35Canterbury Tales, The 35Last of the Mohicans, The 34New Yorker, The 33Tempest, The 31

Scarlet Letter, The 30(Peter Pan) 28Animal Farm 27

22 G&3?&630/;9;F1 /-&$F$%73>/3%1E #46>326B3A %1;16%16&6, /;#46B-4, 913 9;%1E&3/1-&%13>31/3%61%=/-&761-4;1$4/3B$#4360>-2-/6F/-#3%4-2%1>-//3, ;-4%3/;D$,/;0>;//3B$>0;87;>662;//383#4360>-2-/6=.

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15

Death of a Salesman 27Gone with the Wind 26Grapes of Wrath, The 23Farewell to Arms, A 23Wuthering Heights 23Catch 22 22Paradise Lost 21Heart of Darkness 21Fall of the House of Usher, The 20Antony and Cleopatra 20Through the Looking-Glass 20Leaves of Grass 18

Great Gatsby, The 18Our Town 16Little Women 16Catcher in the Rye, The 14Twelfth Night 12Jane Eyre 10Tobacco Road 10(Pollyanna) 9Pied Piper of Hamelin 9Beowulf 9Sun Also Rises, The 8Casey Jones 8(Paul Revere's Ride)23 8Tom Sawyer, The Adventures of 6Uncle Tom's Cabin 6(Brave New World) 5Merchant of Venice, The 4

Raven, The 4Rime of the Ancient Marine, The 4Walden 3Goldilocks and the Three Bears 3Christmas Carol, A 3David Copperfield 3Pilgrim's Progress, The 3Three [Little]24Pigs, The 3Pride and Prejudice 2Oliver Twist 3Hiawatha, The Song of 3Elmer Gantry 2Dr. Jekyll and Mr. Hyde, The Strange Case of 2Liberty, On 2Babbitt 2Civil Disobedience 2Kubla Khan 1Gunga Din 1In Flanders Fields 1

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Roots 1Red Badge of Courage, The 1

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=0"&;// +0"&, %30/;/6-, &3BB$/6&;.6=. !"#. 36. K., 2008.S*3*MM)($8.8. I/876A%&6A=0"&>3?$9-/66%#-.6;76%13>#3%>=0=B%3?L-%1>-//3%1EF

//+0"&, %30/;/6-, &3BB$/6&;.6=. !"#. 37. K., 2009.S+)3)($Q. >. K64, %13=L6A0;1-&%13B: 4-5-4-/.6;7E/"-B-:;/60B"#3%73>6.", ;/-&-

231;, >37R-?/3A%&;0&66;>134%&383#3>-%1>3>;1-7E/383:$23D-%1>-//3831-&-%1;. K.: URSS: S)J, 2007.

X1"-0)A.A. H>4-B-/;! 31-&%1"! ((3%1$#/"766/1-41-&%1$;7E/"-%>=064$%%&3=0"9/383:$23D-%1>-//383 1-&%1; 6/3%14;//3B$ 961;1-7F?) // +0"&, %30/;/6-,&3BB$/6&;.6=. !"#. 1. K., 1997.

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1) Manis free so far as his free instincts, the blood, the flesh, aregiven an outlet. Manis free not through but in spite of social relations. (Ch.Caldwell)

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2) Indeed, the bourgeoisie cannot any longer accept man in time, manacting in the world, man changed by the world and man changing the

world, man actively creating himself historical man, because such ac-ceptance implies condemnation of the bourgeois, recognition of the historicalfate of capitalism and of the forces at work in society which are chnging it.(R. Fox)

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4!:$23D-%1>-//3A761-4;1$4-6B=man3?"9/36%#37E0$-1%=>%39-1;/66%6B-/-BGod, 913314;D;-1#4316>3#3%1;>7-/6-1;&6:;?%14;&1/":#3/=16A, &;&%7;?3%1E, %B-41-

/3%1E6B3LE, >-7696-, ?-%%B-416-.5C3>134- 2. (4-#460;) \68$4;4-96, %3%13=L;=>#3>134-/660>$&3>, %73>6>"4;D--/6A>60>-%1/3A#3%7-23>;1-7E/3%16. [I:B;/3>;1966: 327]

6Q-4B6/-$+$&%$-*" ;/;73869-/1-4B6/;B03*.$0&676()&?)/'V$'5+$/$1*', &313-4"-6%#37E0$F1%=27=3?30/;9-/6= 568$4"4-96, %3%13=L-A>1;&3B4;%#373D-/669;%-1-A>"%&;0">;/6=, 913&;D2;=#3%7-2$FL;=9;%1E3&;0">;-1%=?37--/;%"L-//3A, ?37-->"4;061-7E/3A676>#-9;17=FL-A, 9-B#4-2"2$L;=. [ I:B;/3>;1966: 197]

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,;%%B314-//"- %7$9;6 %1676%169-%&383 6%#37E03>;/6= /$7->": ;4-16&7->": 534B $&;0">;F1 /; #43=>7-/6- 6%&7F961-7E/3 @&%#4-%%6>-/3A5$/&.66. !#32;>7=FL-B?37ER6/%1>-#46B-43>4;0769/"->"4;-061-7E/"-%4-2%1>;6#46-B"#46B-/=F1%=;>134;B6%.-7EF>"%&;0;1E%>3- 31/3R-/6- & ;/;76064$-B3B$ #4360>-2-/6F, -83 ;>134$ 6 2;D-.-73B$761-4;1$4/3B$/;#4;>7-/6F.

$HA??1X1>AC1DK?O1H1?O1J3?>1YC3HDY.P%76$%67-/6-;?%14;86-43>;/6=#436%:3261#4631%1$#7-/6631%73>;4/3A/34B", 13$%67-/6-&7;%%656&;.66 > ;416&7->": 534B;: 3%/3>">;-1%=, > 3%/3>/3B, /;

/;4$R-/66 $0$%;. H1&73/-/6- 31 %73>;4/": 2;//": %7$9;-1%=4-2&3 61;& D- &;& >4;%%B314-//3B4;/-- B;1-46;7-, >%-82; 384;/696>;-1%=%4;>/61-7E/"B63#4-2-7-/6=B6:

3) And this again can be no other than the property of exciting a morecontinuous and equal attentionthan the language of prose aims at, whethercolloquial or written. (S.T. Coleridge)

4) It would be convenient to believe that the Romantic Movement in Lit-erature began with the storming of the Bastille in Paris. But, as we have seen,Romanticism was trying to stir all the way through the Age of Reason: the18th century had a nunmer of rebels, individualists, madmen, who - oftenunsuccessfully, because of the difficulty of language worked at a literatureofinstinct, emotion, enthusiasm, tried to return to the old way of the Eliza-

bethans and even the meadiaeval poets. It was perhaps because of the influ-ence of the great conservative classicist, Dr. Johnson, that a Romantic litera-turedid not come earlier.

P%76>#-4>3B#46B-4-(3) %4;>/61-7E/;=534B;6B-/6attention, 6%-#37E0$-B;=>/;4$R-/66/34B", #-4-2;-1#373D61-7E/$F3.-/&$;>13-

4;, 13 >3>1343B (4) 3/3#329-4&6>;-13146.;1-7E/3-31/3R-/6-;>-134; & /;#4;>7-/6F43B;/160B;, >30B3D/3, #3&;0">;= 1;&6B 3?4;03B,9133/3%;B3?"73%>3-3?4;0/"B/;4$R-/6-B761-4;1$4/":14;26.6A./-B;73A%1-#-/6%#3%3?%1>$-1#46-B%1676%169-%&383#3>134;,&3134"A =>7=-1%= 3%/3>/"B > 2;//3A4;0/3>62/3%164-96, 6%#37E0$F-L6B/;46.;1-7E/"-6B-/;. ,;%%B3146B/-%&37E&3#46B-43>:

5) In 1927, before writing about Eliot had become a major literary indus-try, I published an essayon his poetry, an essaywhich today I must regardas uncritical and wholly inadequate. (A. L. Morton T.S. Eliot aPersonalView)

6) This may well be so, but this was perhaps just what appealed to us in1923. Europe was still a waste land and any contrived appearance of a solu-tion would have offended and repelled us. We were feeling our own way

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toward a solution, or many of us were. We were not prepared to have aready-made solution foistedupon us. (A. L. Morton T.S. Eliot aPer-

sonal View)7) He (the poet) must be quite aware of the obvious fact that art never im-

proves, but the material of art is never the same. He must be aware that themind of Europe the mind of his own country a mind which he learnsin time to be much more important than his own private mind is a mindwhich changes, and that this change is a development which abandons noth-ing en route which does not superannuate either Shakespeare, or Homer, or

the rock drawing of the Magdalenian draughtsmen. (T. S. Eliot Traditionand the Individual Talent)!3>%-:3-:#46B-4;: #3>134$%676>;-10/;9-/6=%4;>/-/6=. !#-4-

>3B 60 /6: (5) 3/ /$D-/ ;>134$, 913?" %4;>/61E %>3- %3>4-B-//3- 31-/3R-/6- & 1>349-%1>$ Q.G. "4;067 > %>3-B2;>/-B@%%-, #329-4&/$>-83/-04-73%1E,

! %7-2$FL-B 314">&- (6), 4;%%$D2;=3#36%&-#4;>67E/383>":32;60 %302;>R-83%= #376169-%&383 &4606%; 64->37F.63//3A %61$;.66 >P>43#-, ;>134/;%13A96>36%#37E0$-1&7;%%656.643>;//$F534B$6B--/627=1383, 913?"#-4-2;1E%3%13=/6-14->3D/3833D62;/6=>3?L-%1->-/;53/-/-%1;?67E/3%166 /-3#4-2-7-//3%16.

! #3%7-2/-B #46B-4- (7) >"?34 &7;%%656.643>;//3A 534B" 3#4--2-7=-1%= %14-B7-/6-B ;>134; #329-4&/$1E, %&37E >;D/"B 6 /-3?:326-

B"B 27= #3@1;, 6L$L-83 1-B$ 27= 1>349-%1>;, =>7=-1%= 3%30/;/6- 6B#3%13=//":#-4-B-/>D60/63?L-%1>;6B"R7-/66. C3@13B$>$%676-1-7E/3A 534B- 3/ #43>32614;0/6.$ B-D2$ 32/;D2" $%>3-//"B6 6B14;26.63//"B6#4-2%1;>7-/6=B6 6/3>"B6>-=/6=B6.

(4$86- %1676%169-%&6- #46-B"6%#37E03>;/6=/;46.;1-7E/":6B-/>%14-9;F1%= 0/;961-7E/34-D-. ,;%%B3146B, & #46B-4$, $#314-?7-/6-&7;%%656.643>;//": 534B > %3%1;>- 32/3>4-B-//3 2>$: %1676%169--%&6:568$4 - ;/161-0"7 6#-4654;0;:8

8) In a climate with clearly defined seasons they will be aware of a livingtime of theyear when things grow and a dead time of the year, whennothing grows. (Anthony Burgess The Beginnings of Drama)

7I/161-0;(;/161-0/3-#4316>3#3%1;>7-/6-) ;/87. antithesis. \68$4;4-96, %3%13=L;=>;/13/6B643>;/66%39-1;-B":%73>: %4. &3/14;%1. [I:B;/3>;1966: 49]

8C-4654;0=#;4;54;0;. I/87. paraphrase, periphrasis. 1. H#6%;1-7E/3->"4;D-/6-. 2.Q43#, %3%13=L6A > 0;B-/- 3?"9/383 %73>; (#43%1383 3?30/;9-/6= /-&3134383 #4-2B-1;32/6B%73>3B) 3#6%;1-7E/"B>"4;D-/6-B. !-9/"A83432(,6B) [I:B;/3>;1966: 321, 312]

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C3/=1/3, 9136B-//3?7;832;4=#-4654;0$ %4;>/-/6-1;&6:>4-B-/832;, &;& 3%-/E-06B; 6 >-%/;-7-13 3?4;L;-1 /; %-?= >/6B;/6- 6 #3>"-R;-1%1676%169-%&6A#31-/.6;71-&%1;.

J0 >%-: %1676%169-%&6: #46-B3>, 6%#37E0$-B": > 761-4;1$4/3A&4616&-, /;6?37ER--4;%#43%14;/-/6- #37$967; ;/13/3B;06=9, 1;& &;-4->32 6B-/6 %3?%1>-//383 > /;46.;1-7E/3- 3?-%#-96>;-1 $%67-/6-%4;>/-/6=62;-1?37ER$F%>3?32$>"4;D-/6=. T;#46B-4:

9) Trollope, it has often been said, is a lesser Thackeray. But the twonovelists cannot be linked in this kind of way. Trollope is big enough to exist

in his own right, and however inferior he may be to Thackeray as a writer,there are grounds for considering him a more satisfying novelist.10) Meredith is a prose Browning, and so is Browning. He used poetry

as a medium for writing in prose. (O. Wilde.)11) But the odes of Keats and of Wordsworth, a poem or two by Col-

eridge, a few more by Shelly, discovered vast realms of the spirit, that nonehad explored beforeI have read desultorily the writings of the young gen-erations. It may be that among them a more fervid Keats, a more etherealShelly,has already published numbers the world will willingly remember. (S.Maugham)

T-%B314= /; 13, 913 3?L-A 27= ;/;76064$-B": 314">&3> =>7=-1%=@B5;0;%4;>/-/6=63.-/&;, --/;0/;9-/6- >/6:%$L-%1>-//34;0769;--1%=. ! #-4>3B %7$9;- (9) ;/13/3B;06= #46>7-&;-1 >/6B;/6= 961;1-7=

32/3>4-B-//3 & 1>349-%1>$ Q43773#; 6 Q-&&-4-=, 913 6 3#4-2-7=-184;BB;169-%&3- 0/;9-/6- 534B" a lesser Thackeray. G 32/3A %1343/",#329-4&6>;-1%=3?L--B-D2$/6B6, ;6B-//313, 9133?;3/6=>7=F1%=#6%;1-7=B6 @#3:6 &3437->" !6&13466 6 #46/;27-D;1 32/3B$ 761-4;-1$4/3B$ /;#4;>7-/6F, ; % 24$83A, $&;0">;-1%= /;4;07696-, &31343-%3%1361 >13B, 913 #3>-7696/-6B;%R1;?$Q43773#0/;961-7E/3$%1$-#;-1Q-&&-4-F, 913$%$8$?7=-1%=%4;>/61-7E/3A534B3A#467;8;1-7E/3-83. G @13A 14;26.63//3A 139&3A 04-/6= &4616& /- %387;%-/, /; 9-B 62-7;-1;&.-/1.

! 314">&- 10 %4;>/-/6- %#3%3?%1>$-1 643/66, #;4;23&%;7E/3%16 6;5346%169/3%16, 913>.-73B %>3A%1>-//31>349-%1>$H. ';7E2;.

!#46B-4-11 1;&6-60>-%1/"-#3@1", &;&)61%6Z-776, %7$D;13?-4;0.3B6763%/3>3A27=%4;>/-/6=6:1>349-%1>;%/;96/;FL6B6;>13-

9I/13/3B;06= - 1. H?30/;9-/6-76.;%73>3B, 6B-FL6B31>7-9-//3-0/;9-/6-%>3A-

%1>-//383 676 #46#6%">;-B383 2;//3B$ 76.$ &;9-%1>;. T-96%1"A >B. 9-41. 2. Q43#,%3%13=L6A > B-1;53469-%&3B #46B-/-/66 %3?%1>-//383 6B-/6 27= 3?30/;9-/6= 76.;,/;2-7-//383%>3A%1>;B6#-4>3/;9;7E/383(R643&38360>-%1/383#3761-4;1$4-, 6%1346661.#.) /3%61-7=@13836B-/6. H1-773>B.4->/6>-.. [I:B;/3>;1966: 50]

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4;B6, 6: B3732"B6 #3%7-23>;1-7=B6. G #3B3LEF ;/13/3B;066 ;>134>"4;D;-1 %>3A 3#16B6%169/"A >087=2 /; /3>$F %3>4-B-//$F #3@06F,#4-2%1;>61-76 &31343A %3:4;/=F1 14;26.66 6 > 13 D- >4-B=%#3%3?/"6:4;0>6>;1E.

&4S1K1SBAH11Y C3HDY. C432-B3/%1464$-B%/;9;7;6%#37E03>;/6->.-7=:$%67-/6=6B-//;46.;1-7E/":, &31343-,&;& 6 > #46>-2-//3B >"R- B;1-46;7-, %>=0;/3, > 3%/3>/3B, % 1-B 6766/"B31&73/-/6-B 31/34B"$#314-?7-/6=:

12) While Miss Austen was delineating the restricted life of a provincial

lady, Scott, taking eight hundred years of Scots, English and French historyas his province, was changing the whole course of the novel throughoutEurope. Indeed, he was theEuropean novelist, as Byron was thepoet, and alater generation of novelists, Balzac, Dumas, and the Russians among them,were to look back to him as a father.

M2-%E ;>134%&6A&$4%6>, >"2-7== 3#4-2-7-//"-;416&76, /;B-4-//3#329-4&6>;-1 6%&7F961-7E/3%1E 761-4;1$4/": 1;7;/13> *;A43/; 6G&31;, 913 83>3461 3? 6: >"%3&3A 3.-/&-. I/;76064$-B"- 534B" >2;//3B 1-&%1- 5;&169-%&6 >"%1$#;F1 @&>6>;7-/13B $%6761-7E/":54;0: the great poet, thegreat European novelist(>-76&6A#3@1/43B;/6%1,#3@1%4-26#3@13>, #3@1%?37ER3A?$&>"61.2.) G4.:

13) Contemporary with the great Tyndalewas Sir Thomas More (1480-1535), one of the precursors of the Renaissance, the New Learning a man

of bold imagination and vision. (A. Burgess Tudor Poetry and Prose)!2;//3B%7$9;-;416&7E$9;%1>$-1>%302;/66:>;7-?/383@#61-1;10.

H2/;&3 1;&6- 534B" B38$1 6%#37E03>;1E%= 6 27= >"4;D-/6= %$?_-&-16>/383 3146.;1-7E/383 31/3R-/6= 676 3?_-&16>/3A :;4;&1-46%16&6.T;#46B-4:

14) it is an aggressive, conscious, challenging person astride before afire, and a little distended by dinner and a sense of social and literary prece-dences, who uses the first person in Thackeray's novels. It isnt the realThackeray; it isnt a frank man who looks you in the eyes and bares his souland demands your sympathy. (G.H. Wells - The Contemporary Novel)

15) It is somewhat similar to the opinion of the urbane ThackerayuponSwift. (T.S. Eliot Ulysses, Order and Myth)

C3B6B3 $9;%16= > %302;/66 @B3.63/;7E/3-3.-/39/383 @#61-1;, ;4-

16&7->;=534B;6B-/6#4-2%1;>7=-1B-13/6B6F63?30/;9;-1 >#-4>3B

1062/3%1E3#4-2-7-/6=, 3176-9;FL;=%=313?"9/383@&%#4-%%6>/3%1EF, #-4-/3%/"B(143#69-%&6B) :;4;&1-43B. [I:B;-/3>;1966: 527]

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enough about it for practical purposes. They go a step further, they feel thatthere is something permanently interesting in characteritself... The study ofcharacter becomes to them an absorbing pursuit; to impart character anobsession. And this I find it very difficult to explain: what novelists meanwhen they talk about character, what the impulse is that urges them so pow-erfully every now and then to embody their view in writing. (Mr. Bennett and

Mrs. Brown)C3%7-2/6A#46B-4$?-261-7E/3#3&;0">;-1, &;& !. !$7E5#37E0$-1-

%= 32/6B 60%;B":7F?6B":%>36:#46-B3> - #3>1343B, ?7;832;4= &3-

1343B$1;>"R;-1%=>"4;061-7E/3%1E6@B3.63/;7E/3%1E6073D-/6=.);&6$24$86:761-4;1$4/":&4616&3>, /$7->"-;416&7->"-534B"$ !. !$7E5 /- >":32=1 0;4;B&6 %1676%169-%&383 6%#37E03>;/6=, 1;&&;& 3/6 >%14-9;F1%= > 1-: 23>37E/3 @B3.63/;7E/": 6 &4;%39/":4;%-%$D2-/6=: 3 /;B-4-/6=: ;>134;, 82- 31%$1%1>$-1 %3?%1>-//3 3.-/&;,&3134;=, &;&$D-31B-9;73%E, =>7=-1%=32/3A60>;D/-AR6:%3%1;>7=F-L6:@13A4;0/3>62/3%164-96.

) %$8$?3 %1676%169-%&3B$, @&%#4-%%6>/3B$ 6%#37E03>;/6F%7-2$-1 #4696%761E 1;&D- ;&16>/3- 3#$L-/6- ;416&7-A, &;& $D- $&;-0">;73%E > /;9;7- 87;>", =>7=-1%= %#-.6569-%&3A 3%3?-//3%1EF !.!$7E5, 31769;FL-A--3124$86:&4616&3>. %14-9;-1%= > #;4;77-7E/": &3/%14$&.6=:, 913 > #7;/-461B69-%&3A348;/60;.661-&%1;#46?76D;-1-83@169-%&3A4-96:

26) And so we reach these summits of emotion not by rant or rhapsodybut by hearing a girl sing old songs to herself as she rocks in the branches ofa tree... (Wuthering Heights)

27) The usual ceremonies and conventions which keep reader andwriter at arms length disappear. We are as close to life as possible. (TheSentimentalJourney)

28) For this state of things is, I think, inevitable whenever from hoar oldage or callow youth the convention ceases to be a means of communication

between writer and reader, and becomes instead an obstacle and an im-pediment. (Mr.Bennett and Mrs. Brown)

29) Images, anecdotes, illustrations drawn from sea, sky, and earthraceand bubble from their lips. (Sir Walter Scott)

30) In the eyes of the nineteenth century all that Stern wrote was clouded

by his conduct as husband and lover. (The Sentimental Journey)31) But it was not enough for Emily Bronte to write a few lyrics, to utter a

cry, to express a creed. In her poems she did this once and for all, and herpoems will perhaps outlast her novel. But she was novelist as well as poet.(Jane Eyre andWuthering Heights)

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32) We notice different things; our observation of face and voicediffers;and thus Scotts characters, like Shakespeares and Jane Austens have theseed of life in them(Sir Walter Scott. II. The Antiquary)

H2/;&3, &;& #4;>673, !. !$7E5 /- 384;/696>;-1%= #4360>-2-/6-B>4-B-//383 676 2;D- %6FB6/$1/383 >#-9;17-/6=/;961;1-7=6, 4$&3->32%1>$=%E%>36B6.-7=B660;2;9;B6, >%137ED->"4;061-7E/3A534B-#-4-2;-1 %>3- 31/3R-/6- & ;>134$, 43B;/$, #-4%3/;D$ 6 1.#. %7-2$FL-B 314">&-, > &31343B 326/39/3- %$L-%1>61-7E/3- 1-4=-1

;416&7E 27= #322-4D;/6= @B5;0", %302;>;-B3A 6/>-4%6-A 32/6B 60607F?7-//":#46-B3>!. !$7E5:33) The shameless man had the hardihood to confess to having been in

love with one princess or another almost all my life, and to add, and I hopeI shall go on so till I die, being firmly persuaded that if ever I do a meanaction, it must be in some interval betwixt one passion and another. Thewretch had the audacity to cry through the mouth of one of his characters,Mais vive la joie... Vive 1'amour! et vive la bagatelle! Clergymanthoughhe was, he had the irreverence to reflect, when he watched the French peas-ants dancing, that he could distinguish an elevation of spirit, different fromthat which is the cause or the effect of simple jollity.In a word, I thought I

beheld Religion mixing in the dance.(The Sentimental Journey)I&.-/1 /; #46/;27-D/3%16 G1-4/; & .-4&>6 /-3?:326B !. !$7E5,

913?"#329-4&/$1E/-%3>B-%16B3%1E-83B643>3%#46=16=63?4;0;D60-/6 % @16B4323B 2-=1-7E/3%16, 14-?$FL-A 31 %>36: %7$D61-7-A ;%&--160B;, &3/534B60B;, &3/%-4>;160B;61.#., 61;&6B3?4;03B, >3-#-4>":,> 23>37E/3 643/69/3A 534B- >"4;061E B/-/6- 3 /-B -83 83/61-7-A, ;>3->134":, %>36 %3?%1>-//"- 9$>%1>; & /-B$ 6 &;& #6%;1-7F, 6 &;&769/3%16 87$?39;AR--$>;D-/6-#-4-2%302;1-7-B/3>383761-4;1$4-/383/;#4;>7-/6=6-83D60/-//3A%13A&3%1EF.

,;%%B314-> 6%#37E03>;/6- /$7->": ;416&7->": 534B 6 3#$L-/6=;416&7= > :$23D-%1>-//": .-7=:, 3?4;16B%= & 24$86B /;4$R-/6=B !.!$7E584;BB;169-%&6:/34B, >9;%1/3%16, $#314-?7-/6=B6B-/%/-3#-

4-2-7-//"B ;416&7-B, &3134"- %7$D;1 /- 137E&3 %302;/6F 3#4-2-7-/-/383%1676%169-%&383@55-&1;, /36>"4;D;F13%/3>/$FB"%7E;>134;.T;#46B-4:

34) But the mind takes its bias from the place of its birth, and no doubt,

when it strikes upon a literature so alien as the Russian, flies off at a tan-gent far from the truth. (The Russian Point of View)

! @13B @%%- !. !$7E5, #3243?/3 ;/;76064$=#4360>-2-/6=4$%%&6:;>1343> Q37%1383, (3%13->%&383 6V-:3>; - #46:3261 & >">32$ 3%#-.656&-4$%%&3A 761-4;1$4", 2-7;FL-A -- %137E /-#3:3D-A /; &;-

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&$F-76?3 24$8$F. C3@13B$ /-%1;/2;41/;= 534B; %$L-%1>61-7E/383literature % /-3#4-2-7-//"B ;416&7-B /;67$9R6B 3?4;03B >"4;D;-1#306.6F ;>134; 6 #329-4&6>;-14;0/6.$ B-D2$ 0/;&3B3A 6 #3/=1/3A;/876A%&3B$961;1-7F761-4;1$43A6/-#3/=1/3A4$%%&3A761-4;1$43A.

G>3-3?4;06-B1>349-%&383B-132;!. !$7E5=>7=-1%=6%#37E03>;/6-4;0>-4/$1":, 676 #3%7-23>;1-7E/": B-1;534, 913 83>3461 3 -- >"%3-9;AR-BB;%1-4%1>-761-4;134;.11J/382;/;@13B32/3B#46-B-%14361-%= .-73- @%%-, 1;& &;& 3/ =>7=-1%= 3%/3>/"B %4-2%1>3B >"4;D-/6= ;>-134%&3A 62-6. ;/6-B The Sentimental Journey. ,;%%B3146B > /-B.-/14;7E/$F B-1;534$, 4;0>-41">;/6- &31343A /-4;04">/3 %>=0;/3 %;416&7->"B6534B;B6.

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It is thus that Sterne transfers our interest from the outer to the inner. It isno use going to the guide-book; we must consult our own minds; only theycan tell us what is the comparative importance of a cathedral, of a donkey,and of a girl with a green satin purse. In this preference for the windings ofhis own mind to the guide-book and its hammered high road, Sterne is singu-larly of our own age.

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35) Nobody, of course stood more in need of the liberty to be himself thanSterne. For while there are writers whose gift is impersonal, so that a Tol-stoy, for example, can create a character and leave us alone with it, Sternemust always be there in person to help us in our intercourse.(The Sentimental

Journey)36) The drawbacks of being Jane Eyre are not far to seek. Always to be a

governess and always to be in love is a serious limitation in a world which isfull, after all, of people who are neither one nor the other. The characters of aJane Austen or of a Tolstoy have a million facets compared with these.

They live and are complex by means of their effect upon many differentpeople who serve to mirrow them in the round. (Jane Eyre and WutheringHeights)

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37) Reviewers we have but no critic; a million competent but no judgeNowhere shall we find the downright vigour of a Dryden, or Keatswith hisfine and natural bearing, his profound insight and sanity, or Flaubert and thetremendous power of his fanaticism(How It Strikes a Contemporary)

38) Once upon a time, we must believe, there was a rule, a discipline,which controlled the great republic of readers in a way which is now un-known. This is not to say that the great critic the Dryden, the Johnson,

the Coleridge, the Arnold was an impeccable judge of contemporarywork, whose verdicts stamped the book indelibly and saved the reader thetrouble of reckoning the value for himself. The mistakes of these great menabout their own contemporaries are too notorious to be worth recording. But

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the mere fact of their existence had a centralizing influence. (How It Strikesa Contemporary)

39) In this interest in silence rather than in speech Sterne is the forerunnerof the moderns. And for these reasons he is on far more intimate terms withus today than his great contemporaries the Richardsons and the Fieldings(TheSentimental Journey)

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40) Those marvellous little speeches which sum up in a few minutesschatter, all that we need in order to know an Admiral Croftor a Mrs. Mus-groveforever, that shorthand, hit-or-miss method which contains chapters ofanalysis and psychology, would have become too crude to hold all that shenow perceived of the complexity of human nature. (Jane Austen)

41) But Turgenev did not see his books as succession of events; he sawthem as a succesion of emotions radiating from some character at the centre.A Bazarov, a Harlov seen in the flesh, perhaps, once in the corner of arailway carriage becomes of paramount importance and acts as a magnetwhich has the power to draw things mysteriously belonging, though appar-ently incongrous, together. (The Novels of Turgenev)

42) Never did any novelist make more use of an impeccable sense of hu-man values. It is against the disc of an unerring heart, and unfailing good

taste, an almost stern morality, that she shows up those deviations from kind-ness, truth and sincerity which are among the most delightful things in Eng-lish literature. She (Jane Austen) depicts a Mary Crawfordin her mixtureof good and bad entirely by this means. (Jane Austen)

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43) Dickens would need to be doubled with Henry James, to be trebledwith Proust, in order to convey the complexity and the conflict of a Peckniffwho despises his own hypocrisy, of a Micawberwho is humiliated by hisown humiliation. (The Death of the Moth and Other Essays)

44) The much more serious charge against Scott is that he used the wrongpen, the genteel pen, not merely to fill in the background and dash off acloud piece, but to describe the intricasies and passion of the human heart.But language is to use of the Lowelsand Isabellas, the Darcies, Ediths andMortons? As well as the talk of the hearts of seagulls and the passions and

the intricasies and passion of walking sticks and umbrellas for indeed heseladies and gentlemen are scarcely to be distinguished from the winged deni-zens of the crag. They are equally important; they squeak; they flutter... (SirWalter Scott)

45) As Peggotty and Barkis, the rooks and the workbox with the pictureof St. Pauls, Traddles who drew skeletons, the donkeys who would cross thegreen, Mr. Dick and the Memorial, Betsey Trotwood and Jip and Dora andAgnes and theHeeps and the Micawbersonce more come to life with alltheir apprtenances and peculiarities, are they still possessed of the old fasci-nation or have they in the interval been attacked by that parching wind which

blows about books and, without our reading them, remodels them andchanges their features while we sleep? (David Copperfield)

46) The question is whether, if we venture ourselves a second time with

Vanity Fair, with the Copperfields, the Richmonds, we shall be able to findsome other form of pleasure to take the place of that careless rapture whichfloated us along so triumphantly in the first instance. (On Re-reading Novels)

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47) The great novelist feels, sees, believes with such intensity of conv