Although critics have seen Dickens as having emphasized the individual and domestic life at the expense of politics in A Tale of Two Cities, the novel offers reasons for thinking that Dickens was using it as an occasion for reevaluating our understanding of moral agency in modernity. In emphasizing resemblances that seem to blur the boundaries between individuals, Dickens calls attention to the ways in which we are not morally autonomous, in which our abilities to act are conditioned by our sometimes being taken for others. While that predicament might seem lamentable, Dickens concludes the novel by presenting Sydney Carton as a character who recognizes it well enough to see it as a riddle, and a riddle to be solved.

In “Tradition and the Individual Talent,” T. S. Eliot argues that the greatest art is impersonal. His position is undermined by subsequent statements on art as an expression of personality and by his own richly “personal” poetry. This article explores the pattern behind Eliot’s concept of impersonality and its philosophical grounding in his graduate studies in philosophy, arguing that he accepts the simultaneous existence of opposites and sees them as resolved in a dialectical process that at once includes and transcends contraries. The details of this dialectical process vary from artist to artist. Eliot identifies four variations: two in the “Tradition” essay and two in the 1940 memorial lecture on Yeats. The present essay illustrates these variations from the work of four writers Eliot admired – Pound, Joyce, Conrad, and Yeats.

Jewel Spears Brooker, Professor Emerita at Eckerd College, has held visiting appointments at Yale, Harvard, Cambridge, Hebrew University of Jerusalem, and (in the fall of 2014) Merton College, Oxford. She is co-editor of two volumes of Eliot’s Complete Prose (2014, 2016), and has published nine books, including Reading The Waste Land: Modernism and the Limits of Interpretation (1990, coauthor, J. Bentley), Mastery and Escape: T. S. Eliot and the Dialectic of Modernism (1994), and T. S. Eliot: The Contemporary Reviews (2004). She has received numerous awards and served as president of the South Atlantic MLA and as a member of the National Humanities Council.

updated: July 19, 2014

The paper locates Svengali, the Jewish villain of the novel Trilby (1894), within historical and literary contexts that informed the culture of his creator, George Du Maurier. It argues that Svengali emblematizes the figure of the Jew that is seen by late nineteenth-century European culture as troubling the cultural categories invoked for purposes of national self-definition; additionally Svengali reflexively troubles the generic categories that work to contain and define the novel in which he appears. In doing so, Svengali re-enacts the situation of the transgressive Wandering Jew, escaping the confines of his text to wander textually homeless in the popular imagination.

This article analyses some seminal novels by Dickens, Disraeli, Gaskell, and Kingsley in their relation to developments in society and welfare of the early Victorian period, inferring from them a social discourse that challenged some but not all aspects of classical political economics. It argues that they reveal a view of society as “trisected,” that is as one in which the realms of production, distribution and reproduction are barely regarded as occupying the same conceptual space. So while some aspects of social policy are deplored, e.g. the workhouse, some of the assumptions and values upon which they were based are upheld. Rather than extensive institutional reform these books demand a new set of ethical coordinates which reflect a growing awareness of the interdependencies of individuals.

Edward, Lord Herbert of Cherbury offers an early exploration of racial and cultural identity within the wider context of a nascent colonial expansion. He and his brother, the poet George Herbert, question dominant notions of race, culture, and color. Their poems bring color associations from abstract theological and philosophical levels to present the intimacy of human contact in intercultural and interracial contexts. The result is a view of human connectedness that affirms equality and commonality over dominant views of European superiority and priority.