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The Lifted Veil's sickly narrator, Latimer, believes himself to be cursed having the ability to see the long run and experience the options and emotions of these round him. Disgusted by way of what he sees within the minds of others, he accepts that he'll lead an unobtrusive existence, continuously overshadowed via his extra lively elder brother.
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With an advent and Notes via Dr Keith Carabine, collage of Kent at Canterbury.
Lucia is among the nice comedian characters in English literature. Outrageously pretentious, hypocritical and snobbish, Queen Lucia, ‘as by way of correct divine’ principles over the toy state of ‘Riseholme’ according to the Cotswold village of Broadway. Her long-suffering husband Pepino is ‘her prince-consort’, the outrageously camp Georgie is her ‘gentleman-in-waiting’, the village eco-friendly is her ‘parliament’, and her topics, reminiscent of Daisy Quantock, are hapless would-be ‘Bolsheviks’.
In Lucia in London, the prudish, manically bold Lucia launches herself into the louche international of London society. Her earnest selection to benefit all approximately ‘modern movements’ makes her the fitting comedian car for Benson’s free-wheeling satire of salon society, and of the dominant fads and pursuits of the Nineteen Twenties, together with vegetarianism, yoga, palmistry, Freudianism, séances, Post-Impressionist artwork and Christian Science.
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Extra resources for A Clockwork Orange by Anthony Burgess (A Lively Learning Guide by Shmoop)
As it functions in Smith’s text, the invisible hand metaphor represents an analogous reversal of cause and effect – or rather it represents the Smithian social order as an effect without a cause. That is, the desired effect – social and economic harmony – is produced by leaving things alone, by the refusal of government or any body representing the public interest to interfere with the economic transactions which will produce that harmony. The invisible hand both invites and defers the question of agency (who or what is responsible for the social order) by replacing it with the concept of ‘natural law’.
But as John Barrell has argued, the ideal of visibility, of viewing a whole landscape scene at once from a distant location, also implies a certain class position. Especially at the beginning of the century, gentlemen of landed property justified their political power as magistrates through their disinterested ability to view their whole society from a distance. Any ‘specific profession, trade, or occupation’, it was presumed, ‘might occlude [the gentleman’s] view of society as a whole’. 1 This paradox troubled Adam Smith in The Wealth of Nations particularly in regards to the role of philosophy itself.
Indd 33 3/17/2011 10:25:00 AM 34 The ‘Invisible Hand’ and British Fiction, 1818–1860 with increasing proximity. But overlapping with this understanding of the limitations of individual perception is Smith’s assertion that there is also a point of view from which one can perceive the system (or the nation) as a whole. This perspective, characterized by the viewpoint of the sovereign (and available to the reader of Smith), reveals the general outlines of the system, though not its individual data points.