The Great English Novelist 1833

Will you hire a maid? (I hope you won't read novels written by writers who accept maids. I hope the protagonist can focus on his career) I'm very optimistic about the novel you wrote, keep going (ง˙o˙)ว

I hope that the harem of literary giants and several literary giants' books are all about single women.

The literary universe is expanding more and more

In fact, I really hope that this kind of book can contain some characters and plots from Balzac's novels.

Could it be said that he is still an iron-blooded writer?

In the vast landscape of online literature, the theme of "Wenzhaogong" has long become a landscape of its own. Travelers rely on the memories of later generations to appropriate famous works as their own, harvesting praise and wealth in different time and space - this model seems to be clever, but in countless works, it has been reduced to mechanical transportation and empty satisfaction. However, Manchester City's "The Great English Hero 1833" has injected a new soul into this over-exploited subject with an almost paranoid solidity and sincerity. Its most moving power lies not in how the protagonist Jonathan Rochester shocked London with a tale of two cities, but in its redefinition of the "literary giant" itself - a true literary giant does not steal existing fruits on the timeline, but plants the first tree with his own hands in an unnamed wasteland. When "Literary" becomes a technical activity The core setting of "The Great English Man 1833" is that the time traveler Rochester came to England in 1833. Relying on his memory of literary history, he knocked on the door of the literary world with works such as "A Tale of Two Cities". But the most subtle thing about this novel is that it does not treat the "literary hero" as a romantic and god-given myth, but reduces it to an extremely specific and extremely technical labor. There is an impressive detail in Chapter 6: when Carlyle read the opening line of "A Tale of Two Cities", "It was the most prosperous era, it was the most declining era", he immediately asserted that "this sentence will definitely become the aphorism of this book." But Rochester's reaction was not complacency, but he quickly entered into deeper thinking. In subsequent chapters, he realized that the information entropy of English is far inferior to that of Chinese - the four words "a promise of a thousand pieces of gold" and "a horse that cannot be chased" may correspond to the sum of hundreds of years of history, but English lacks such highly compressed expressions. Furthermore, he realized that Shakespeare was able to stand at the pinnacle of literature not only because of his talent, but also because he happened to be in a critical period of the formation of modern English. The compound words, part-of-speech changes, and suffix usage he created became the cornerstone of "world-class" language with the help of the subsequent global spread of English. This is an extremely clear understanding. Rochester was not immersed in the illusion that "copying a masterpiece will make you a god", but truly regarded himself as a writer who wanted to leave traces on the language level. What he is thinking about is no longer "what to copy", but "how to plant something that can really take root in the language soil of this era." This leap of thinking from "porter" to "creator" gives "The Great English Hero 1833" a rare intellectual density among similar works. It tells readers: Writers do not become gods by one work, but by their understanding, transformation and contribution to the language itself. A "Best of Times" and a "Worst of Times" Britain in 1833 is a very tense slice of history. Not long after the beginning of the novel, it is pointed out that the Chartist Movement in 1836 was not far away. This was an era when the empire was at its peak and the people at the bottom were suffering. It was an era when industrialization was advancing rapidly and social rifts were expanding rapidly. When Rochester wrote in "A Tale of Two Cities" that "it was but a precarious building, built upon layers upon layers of extravagance, incompetence, plunder, debt, pawning, oppression and exploitation, hunger and cold, and misery," Carlyle's reaction was a repeated sigh of "Yes... Yes...". The power of this passage comes precisely from its resonance with the reality of Britain in 1833. But the profoundness of the novel is that it does not stop social criticism at emotional catharsis. The title of Chapter 44, "Damn, this is no longer an ordinary almshouse, we must take a heavy blow", carries a kind of rough anger, but the treatment in the text is far more restrained than the title. Rochester's pen is more like the weapon of "an outstanding figure leading social progress and innovation" that Carlyle expected. He is not writing a novel that will make readers cry, but a book that will make readers open their eyes. When he saw the true condition of the workhouse in Chapter 44, his reaction was not simple moral indignation, but a deeper understanding of "systemic evil" - those structures "layered up" by extravagance, waste and hunger and cold, what needed was not sympathy, but dismantling. This narrative strategy that deeply combines literary creation with social criticism allows "The Great English Hero 1833" to transcend the shallow sense of satisfaction of "Wen Chaogong". Every time Rochester writes, he is in dialogue with an era; every one of his works is an anatomy of the social fabric of Britain in 1833. From "Fog" to "East": A Rewritten Line of Civilized Dialogue One of the most amazing settings in the novel is the looming "alternative line" between Rochester and Dickens. In real history, Dickens is the author of works such as A Tale of Two Cities and Hard Times, and is the founder of British critical realist literature. But in the timeline of "The Great Englishman 1833", due to Rochester's existence, "A Tale of Two Cities was published before The French Revolution" - Carlyle had not yet written his historical work that influenced Dickens, and Rochester had already taken away "Charles Dickens's script at that time." What is even more intriguing is that the novel does not simply treat Dickens as a tragic character who was "robbed" of his work. In Chapter 7, after reading Rochester's "A Tale of Two Cities", Dickens admitted that "this A Tale of Two Cities, written by Rochester, is extremely wonderful in description. If he had written it himself", he would probably not be able to reach the same level. This is an extremely advanced way of processing: the "replaced" of history in turn acknowledges the excellence of the substitute, as if to say that a good work will eventually find its time, and the name that carries it is nothing but an accident of history. The most profound extension of this "alternative line" lies in Rochester's concern for the "East". Henry Noel Brailsford is quoted in the novel's introduction: "Rochester, you are right, the East is absolutely capable of establishing its own modern state." This sentence implies that Rochester's writing career is not just serving his status in the British literary world. He is also conveying certain spiritual resources to a distant, yet unawakened civilization in a secret way. When a time traveler uses the knowledge of later generations to "start a business" in a foreign literary world, is his gaze also looking at the future in another direction? This dual perspective spanning time, space and civilization allows "The Great English Hero 1833" to develop a deep texture about civilized dialogue and the flow of knowledge under the framework of "Wenzhaogong". "Standing and Earning Money": The Writer's Philosophy of Survival In Chapter 85, there is a very symbolic title: "I want to stand and make money." This sentence expresses Rochester's philosophy of survival as a literary giant - he should not be a scholar raised by aristocrats who laughs with him in salons, nor should he be a writer who bows to the market for royalties. What he wanted was to use his own pen to earn a dignified dignity in the British literary world in 1833, as well as a remuneration sufficient to support him to continue writing. This is highly consistent with the underlying narrative logic of the novel. In Chapter 14, Rochester's situation when he got his first manuscript fee was that "two pounds was still not enough" and he was "in urgent need of a way to make quick money." This sense of urgency from the level of survival gives the writer's "entrepreneurial" path full of real weight. He was not playing an elegant game of words, but using words to gain a foothold in a world where rent was measured in shillings and pence. Mrs. Bunting's face when urging for rent, Emerson's ease in advancing the rent for him, Carlyle's promise that "you will appear directly in the British literary world" when he came to the door - all these details together constitute the true ecology of a literary giant before he becomes famous: talent requires time, but time needs bread to support it. When Rochester finally established a foothold in the London literary world and had a drink and chat with Carlyle, Dickens and others, the readers felt not only the victory of a time traveler, but also a writer who used his own way to earn the right to "stand and speak" in an unfriendly world. This sense of dignity that grows out of survival difficulties is the most touching aspect of "The Great English Man 1833". Conclusion: The Weight of a Literary Hero What "The Great English Hero 1833" ultimately tells us is a story about "weight". Those written sentences are not light decorations borrowed from the future, but buildings built brick by brick, layer by layer. Every time Rochester writes, he has to face Mrs. Bunting's rent bill, Emerson's kindness, Carlyle's insightful eyes, and Dickens's sincere admiration for "if I could write it myself." What he carries is not only the memory of a time traveler, but also the expectations of an era for literature, and the secret gaze of one civilization on another. Perhaps this is the reason why this novel deserves to be read carefully. In an era when the subject matter of "civilian copycats" is becoming more and more fast food, "The Great English Man 1833" has chosen a less flattering path. It believes that writing itself has weight, that language itself has life, and that the birth of a literary giant is not about stealing fruits on the timeline, but planting the first tree with one's own hands in an unnamed wilderness. Such a story, with the moisture of the thick fog in London in 1833, the sharpness of the long and difficult English sentences on the Carlisle Expressway, and all the stubbornness of a low-level writer struggling between survival and ideals, finally merged into a simple but heavy sentence: Writers are earned standing.

I see the French writer recommended you. The traffic will probably be better in a few days.

I hope there will be a beautiful little maid session

When I had the same number of words as you, I was also ranked 71st. I would have known that I would have written about an unpopular niche treasure country. The UK is indeed not popular.