Daniel Deronda / compiled by John Dawson
| dc.contributor | Dawson, John Literary & Linguistic Computing Centre U of Cambridge |
| dc.contributor.author | Eliot, George, 1819-1880 |
| dc.date.accessioned | 2018-07-27 |
| dc.date.accessioned | 2022-08-21T15:53:03Z |
| dc.date.available | 2022-08-21T15:53:03Z |
| dc.date.created | 1876 |
| dc.date.issued | 1976-01-01 |
| dc.identifier | ota:0048 |
| dc.identifier.uri | http://hdl.handle.net/20.500.14106/0048 |
| dc.description.abstract | In English Title from University of Oxford Text Archive records |
| dc.format.extent | Text data between 1 and 2 MB Contains markup characters |
| dc.format.medium | Digital bitstream |
| dc.language | English |
| dc.language.iso | eng |
| dc.publisher | University of Oxford |
| dc.relation.ispartof | Oxford Text Archive Legacy Collection |
| dc.rights | Distributed by the University of Oxford under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc-sa/3.0/ |
| dc.rights.label | PUB |
| dc.subject.lcsh | Novels -- Great Britain -- 19th century |
| dc.subject.other | Novels |
| dc.title | Daniel Deronda / compiled by John Dawson |
| dc.type | Text |
| has.files | yes |
| branding | Oxford Text Archive |
| files.size | 1309544 |
| files.count | 1 |
| otaterms.date.range | 1800-1899 |
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* Daniel Deronda *B1 *X35 *C1 Men can dp nothing without the make-believe of a beginning. Even Science, the strict measurer, is obliged to start with a make-believe unit, and must fix on a point in the stars' unceasing journey when his sidereal clock shall pretend that time is a Nought. His less accurate grandmother Poetry has always been understood to start in the middle; but on relfection it appears that her proceeding is not very different from his; since Science, too, rech2kons backwards as well as forwards, divides his unit into billions, and with his clock-finger at Nought really sets of �in� �medias� �res�. No retrospect will take us to the true beginning; and whether our prologue be in heaven or on earth, it is but a fraction of that all-presupposing fact with which our story sets out. *M *L1 Was she beautiful or not beautiful? and what was the secret of form or ezpression which gave the dynamic quality to her glance? Was the good or the evil genius dominant in those beams? P . . .
