By William Makepeace Thackeray
Set within the moment 1/2 the eighteenth century, Barry Lyndon is the fictitious autobiography of an adventurer and rogue whom the reader is resulted in mistrust from the very starting. Born into the petty Irish gentry, and outmanoeuvred in his first love-affair, a ruined Barry joins the British military. After carrier in Germany he deserts and, after a short spell as a secret agent, pursues the occupation of a gambler within the dissolute golf equipment and courts of Europe. In a decided attempt to go into stylish society he marries a titled heiress yet reveals he has met his fit.
First released in 1844, Barry Lyndon is Thackeray's earliest monstrous novel and in many ways his most unique, reflecting his perspectives of the real artwork of fiction: to symbolize an issue, even though disagreeable, with accuracy and wit, and never to moralize.
The textual content is that of George Sainsbury's 1908 Oxford variation which restores passages reduce whilst the unconventional was once revised in 1856.
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Extra info for The Memoirs of Barry Lyndon, Esq. (Oxford World's Classics)
You must lend me these, Basil,’ he cried. ‘I want to learn them. ’ ‘Oh, I am tired of sitting, and I don’t want a life-sized portrait of myself,’ answered the lad, swinging round on the music-stool, in a wilful, petulant manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks for a moment, and he started up. ’ ‘This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. ’ ‘You have not spoiled my pleasure in meeting you, Mr. Gray,’ said Lord Henry, stepping forward and extending his hand.
Ian Small (Oxford: Oxford University Press, ). –––– Studies in the History of Renaissance (), revised and expanded as The Renaissance (), repr. in The Renaissance: Studies in Art and Poetry––The Text, ed. Donald L. Hill (Berkeley and Los Angeles: University of California Press, ). Hill’s edition notes the textual variants in the four editions of The Renaissance that Pater published during his lifetime. Suetonius, Lives of the Caesars, ed. and trans. Catharine Edwards (Oxford: Oxford University Press, ).
Basil, this is extraordinary! ’ Hallward got up from the seat, and walked up and down the garden. After some time he came back. ‘Harry,’ he said, ‘Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I ﬁnd him in the curves of certain lines, in the loveliness and subtleties of certain colours. ’ asked Lord Henry. ‘Because, without intending it, I have put into it some expression of all this curious artistic idolatry,* of which, of course, I have never cared to speak to him.
The Memoirs of Barry Lyndon, Esq. (Oxford World's Classics) by William Makepeace Thackeray