The Final Phase

  • Neil Roberts


In contrast to the opening of The Egoist, which promises ‘human nature in the drawing-room of civilized men and women, where we have no dust of the struggling outer world’, One of Our Conquerors opens with five chapters set in the streets of London, and its first sentence deposits its hero literally in the mud of the pavement on London Bridge.


Final Phase Boxing Match Narrative Voice Female Beauty Ideological Discourse 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. 3.
    Bryan Cheyette, Constructions of ‘the Jew’ in English literature and Society: Racial representations, 1875–1945, Cambridge University Press, 1993, p. 171.CrossRefGoogle Scholar
  2. 6.
    Richard L. Newby, ‘George Meredith and the Ipswich Journal’, Ball State University Forum, vol. 27, Part 1, 1987, pp. 37–43. The quality of Newby’s evidence is exemplified by the following: ‘This anti-Jewish diatribe is a prolonged jeer, and Meredith “enjoyed jeering at people”’ (p41).Google Scholar
  3. 9.
    Jack Lindsay, George Meredith: His Life and Work, London, Bodley Head, 1956, p. 298.Google Scholar
  4. 10.
    H.M. Hyndman, Commercial Crises of the Nineteenth Century, 1892, London, National Council of Labour Colleges, 1932, pp. 156–7.Google Scholar
  5. 11.
    Gayla S. McGlamery, ‘“The Malady Afflicting England”: One of Our Conquerors as Cautionary Tale’, Nineteenth Century Literature, vol. 46 no.3, December. 1991, p. 329.CrossRefGoogle Scholar
  6. 12.
    Donald R. Swanson, Three Conquerors: Character and Method in the Mature Works of George Meredith, The Hague and Paris, Mouton, 1969, p. 104.Google Scholar
  7. 16.
    Graham McMaster, ‘All for Love: the Imperial Moment in Lord Ormont and his Aminta’, Shiron, vol. 30, 1991, pp. 37, 43, 37.Google Scholar
  8. 18.
    Susan Morgan, ‘Dumbly a Poet: Lost Harmonies in Meredith’s Later Fiction’, Huntingdon Library Quarterly, vol. 47 no.2, 1984, p. 116. This phrase refers to all of Meredith’s last four novels, but most obviously fits the marriages in these two.Google Scholar
  9. 24.
    Robert M. DeGraff, ‘The Double Narrator in The Amazing Marriage’, The Victorian Newsletter, 49, Spring 1976, pp. 24–6.Google Scholar
  10. 26.
    Geoffrey Chaucer, ‘The Clerk’s Tale’, ll.701–5, in F.N. Robinson (ed.), The Complete Works of Geoffrey Chaucer, London, Oxford University Press, 1957, p. 109.Google Scholar
  11. 28.
    A.H. Able, George Meredith and Thomas Love Peacock: A Study in Literary Influence, 1933, New York, Phaeton Press, 1970, p. 100; Judith Ann Sage, ‘George Meredith and Thomas Love Peacock: A Note on Literary Influence’, English Language Notes, no.4, June 1967, pp. 279–83.Google Scholar
  12. 29.
    Thomas Love Peacock, Three Novels, Nelson, London, 1940: Crotchet Castle (first published 1831), Chapter 14, p. 287.Google Scholar
  13. 31.
    It was Stevenson who wrote about the ‘young friend of Meredith’s’ who complained that Willoughby was a portrait of himself, to which Meredith replied, ‘No, my dear fellow; he is all of us’. Stevenson added that ‘I am like the young friend of the anecdote — I think Willoughby an unmanly but a very serviceable exposure of myself.’ J.A. Hammerton, George Meredith in Anecdote and Criticism, London, Grant Richards, 1909, p. 222.Google Scholar

Copyright information

© Neil Roberts 1997

Authors and Affiliations

  • Neil Roberts
    • 1
  1. 1.University of SheffieldUK

Personalised recommendations