Abstract
The reasons why the literary characters of the latter half of the nineteenth century entered into adulterous relationships are variable — presumably to at least the same degree as those restraining the remainder from doing likewise — while the components of the infamous triangle — husband, wife and lover — remain ever the same, and shall be dealt with in that order.
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Notes
G. de Maupassant, Mont-Oriol (Paris, 1887) p. 21.
E. Zola,La Bête Humaine (Bruges, 1960–7) p. 1193.
L. Tolstoy, Anna Karenina (Moscow, 1955) p. 150.
L. Tolstoy,War and Peace (Moscow, 1967) pp. 254–5.
H. James, The Golden Bowl (Penguin ed., 1966) p. 267.
H. James, What Maisie Knew (London, 1947) p. 110.
G. Flaubert, Madame Bovary (Paris, 1961) p. 63.
T. Hardy, Jude the Obscure (London, 1963) p. 290.
G. Meredith, Lord Ormont and his Aminta (London, 1914) p. 299.
Quoted by N. Berdiakov, The Russian Idea (London, 1947) p. 79.
G. Meredith, Diana of the Crossways (Westminster, 1902) p. 98.
E. Fromentin, Dominique (Paris, 1966) p. 151.
J.Hillis Miller, Thomas Hardy: Distance and Desire (Harvard, 1973) p. 182.
R. Freeborn, Turgenev, the Novelist’s Novelist (London, 1960) p. 40.
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© 1976 Judith Armstrong
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Armstrong, J. (1976). The Breaking of the Order. In: The Novel of Adultery. Palgrave, London. https://doi.org/10.1007/978-1-349-02968-6_2
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DOI: https://doi.org/10.1007/978-1-349-02968-6_2
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