| <!DOCTYPE html><html lang="ar" dir="rtl"><head><meta charset="UTF-8"></head><body><main><section id='1'><p class="c"> |
| <small> |
| CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO. |
| <br/> |
| TOOKS COURT, CHANCERY LANE, LONDON. |
| <br/> |
| </small> |
| </p><div class="blk"> |
| <span class="pagenum"> |
| <a id="page_vii"> |
| {vii} |
| </a> |
| </span> |
| <p class="c"> |
| <img alt="To J. Comyns Carr in acknowledgment of all I owe to his friendship and advice, these illustrations are gratefully inscribed Hugh Thomson" id="img_images_i_008.png" src="images/i_008.png" width="450"/> |
| </p> |
| </div><h2> |
| <a id="PREFACE"> |
| </a> |
| <span class="pagenum"> |
| <a id="page_ix"> |
| {ix} |
| </a> |
| </span> |
| <img alt="PREFACE." id="img_images_i_010.jpg" src="images/i_010.jpg" width="450"/> |
| </h2><p> |
| <i> |
| <span class="smcap"> |
| والت ويتمان |
| </span> |
| has somewhere a fine and just distinction between “loving |
| by allowance” and “loving with personal love.” This distinction applies |
| to books as well as to men and women; and in the case of the not very |
| numerous authors who are the objects of the personal affection, it |
| brings a curious consequence with it. There is much more difference as |
| to their best work than in the case of those others who are loved “by |
| allowance” by convention, and because it is felt to be the right and |
| proper thing to love them. And in the sect—fairly large and yet |
| unusually choice—of Austenians or Janites, there would probably be |
| found partisans of the claim to primacy of almost every one of the |
| novels. To some the delightful freshness and humour of |
| </i> |
| Northanger |
| Abbey, |
| <i> |
| اكتمالها ، الانتهاء ، و |
| </i> |
| entrain, |
| <i> |
| حجب بلا شك |
| الحقائق الحرجة أن مقياسه صغير ، ومخططه ، بعد كل شيء ، |
| من المهاجمين أو المحاكاة الساخرة ، وهو نوع تم الوصول إليه من نوعه |
| صعوبة. |
| </i> |
| Persuasion, |
| <i> |
| باهتة نسبيا في لهجة ، وليس مفتون |
| في المصلحة ، لدى المصلين الذين تمجحوا فوق كل شيء آخر رائع |
| الشهية والحفاظ على. كارثة |
| </i> |
| Mansfield Park |
| <i> |
| is admittedly |
| theatrical, the hero and heroine are insipid, and the author has almost |
| <span class="pagenum"> |
| <a id="page_x"> |
| {x} |
| </a> |
| </span> |
| wickedly destroyed all romantic interest by expressly admitting that |
| Edmund only took Fanny because Mary shocked him, and that Fanny might |
| very likely have taken Crawford if he had been a little more assiduous; |
| yet the matchless rehearsal-scenes and the characters of Mrs. Norris and |
| others have secured, I believe, a considerable party for it. |
| </i> |
| Sense and |
| Sensibility |
| <i> |
| ربما يكون أقل عدد من المعجبين بالخارج. لكنه يفعل |
| لا تريدهم. |
| </i> |
| </p></section></main></body></html> |
