By F. R. Leavis
Quantity 2 of a range from Scrutiny opens with Mrs Leavis's a lot quoted stories, which jointly shape 'A serious idea of Jane Austen's Writings'. There follows a bit of experiences of novelists (Dorothy Richardson, Gissing, Hemingway, Virginia Woolf, Henry James), and Mrs Leavis's learn of Edith Wharton. Then there are 3 of James Smith's essays: the prestigious 'Preliminary Survey' of Wordsworth; the both celebrated 'On Metaphysical Poetry' and the research of As you're keen on It. a bit on 'The English culture' reprints reviews of Jefferies, Beatrice Webb, Sturt and Piers Plowman.
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Additional resources for A Selection from Scrutiny: Volume 2
LEA VIS write an anti-Sense and Sensibility called ' The Elliots' (which though it was not at her death ready for the press was published by her brother as Persuasion). In short, by examining how she worked we can determine what kind of a novelist she was, by looking to see how she wrote a novel we can discover what her object was in writing it. Without such a preliminary no criticism of her novels can be just or even safe. A small instance of how far astray criticism may go is the treatment that has been given to the problem of the last chapter of Mansfield Park.
Her powers of intrigue and ability to play a part are made over to Henry, while the description of the polished and insinuating Manwaring supplies his personality, combined with Henry Austen's temperament. But the function of Lady Susan, to beguile the hero and torment him, is made over to another version of Eliza de Feuillide and one both more sympathetic and more in keeping with history. From start to finish the courses of Mary 1 Price is the same order of name as Williams, and names meant a great deal to Jane Austen.
The account of her work in vol. in, edited by Professor Dobree, of Introductions to English Literature (1940): 'Unlike Scott she cared more for her art than its subject. . She would change nothing and is content to enjoy. . ' 24 Q. D. LEAVIS well as an astonishing contrast in form and tone with Pride and Prejudice, with the composition of which it overlapped—the one so sparkling and dramatic, the other low in vitality, as it were, and depending very little on dramatic scenes in its narration.