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(91) While unhistorical atmosphere can become intermittently available to historical knowledge, historical readings that preclude the temporal abridgements of the unhistorical fall victim to the interrelated maladies of monumentalism, antiquarianism, and hypercriticism. They multiply "effects without sufficient causes" (98); they view the past as "mere image, form without demonstrable content" (111); they strip actuality and effectivity from historical texts, so that "at no point does the work produce an effect, but always and only another critique; and the critique itself has no effect in turn" (112).
Enlighten me as to where the apocryphal matter commences." Lamb evidently bought Noble's tale, grumbling in 1822 that Defoe "left out the best part of [Roxana] in subsequent Editions from a foolish hypercriticism of his friend, Southerne." (32) In 1807, William Godwin had likewise admitted some confusion when discussing Roxana, "a novel commonly said to be written by Daniel Defoe." Godwin refers to the 1775 edition as having been brought out by "Mr.
A concern for legitimizing prose fiction seems clearly a part of Shelley's 1826 published attack on Anna Brownwell Jameson's Diary of an Ennuyee (1826), in which she states: "Fiction must contain no glaring improbability, and yet it must never divest itself of a certain idealism, which forms its chief beauty." (7) At the heart of what Shelley calls her "hypercriticism" of Jameson's Diary, a work she admits has "great spirit and great enthusiasm," is a concern for distinguishing morally edifying fiction from cheap trickery (355).