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									<content:encoded><![CDATA[<p>In his 1843 novel, Martin Chuzzlewit, Dickens used the pastoral mode to deliver a strong message about labor. To communicate this message, he employed the mode’s many traits, including its retreat into and return from the rural landscape and its focus on the country worker, traditionally the shepherd. This essay follows the novel’s pastoral ret&hellip;<span class="activity-read-more" id="activity-read-more-1618708"><a href="https://mla.hcommons.org/activity/p/1618708/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>In his 1843 novel, Martin Chuzzlewit, Dickens used the pastoral mode to deliver a strong message about labor. To communicate this message, he employed the mode’s many traits, including its retreat into and return from the rural landscape and its focus on the country worker, traditionally the shepherd. This essay follows the novel’s pastoral ret&hellip;<span class="activity-read-more" id="activity-read-more-1618707"><a href="https://mla.hcommons.org/activity/p/1618707/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>In his 1843 novel, Martin Chuzzlewit, Dickens used the pastoral mode to deliver a strong message about labor. To communicate this message, he employed the mode’s many traits, including its retreat into and return from the rural landscape and its focus on the country worker, traditionally the shepherd. This essay follows the novel’s pastoral ret&hellip;<span class="activity-read-more" id="activity-read-more-1618706"><a href="https://mla.hcommons.org/activity/p/1618706/" rel="nofollow ugc">[Read more]</a></span></p>
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									<content:encoded><![CDATA[<p>In his 1843 novel, Martin Chuzzlewit, Dickens used the pastoral mode to deliver a strong message about labor. To communicate this message, he employed the mode’s many traits, including its retreat into and return from the rural landscape and its focus on the country worker, traditionally the shepherd. This essay follows the novel’s pastoral ret&hellip;<span class="activity-read-more" id="activity-read-more-1618618"><a href="https://hcommons.org/activity/p/1618618/" rel="nofollow ugc">[Read more]</a></span></p>
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				<link>https://mla.hcommons.org/activity/p/1618477/</link>
				<pubDate>Mon, 17 Sep 2018 16:37:00 +0000</pubDate>

									<content:encoded><![CDATA[<p>In both her epic poem The Spanish Gypsy and her final novel Daniel Deronda, Eliot drew upon kabbalistic concepts of the heavens through the characters of Jewish mystics. In the later novel, Eliot moved the mystic, Mordecai, from the narrative&#8217;s periphery to its center. This change, symbolically equated within the novel to a shift from&hellip;<span class="activity-read-more" id="activity-read-more-1618477"><a href="https://mla.hcommons.org/activity/p/1618477/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Caroline Wilkinson deposited The “Former Sun” in the Sidereal Clock: The Kabbalistic Heavens and Time in The Spanish Gypsy and Daniel Deronda in the group GS Poetry and Poetics</title>
				<link>https://mla.hcommons.org/activity/p/1618476/</link>
				<pubDate>Mon, 17 Sep 2018 16:30:12 +0000</pubDate>

									<content:encoded><![CDATA[<p>In both her epic poem The Spanish Gypsy and her final novel Daniel Deronda, Eliot drew upon kabbalistic concepts of the heavens through the characters of Jewish mystics. In the later novel, Eliot moved the mystic, Mordecai, from the narrative&#8217;s periphery to its center. This change, symbolically equated within the novel to a shift from&hellip;<span class="activity-read-more" id="activity-read-more-1618476"><a href="https://mla.hcommons.org/activity/p/1618476/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Caroline Wilkinson deposited The “Former Sun” in the Sidereal Clock: The Kabbalistic Heavens and Time in The Spanish Gypsy and Daniel Deronda in the group CLCS Romantic and 19th-Century</title>
				<link>https://mla.hcommons.org/activity/p/1618473/</link>
				<pubDate>Mon, 17 Sep 2018 16:26:19 +0000</pubDate>

									<content:encoded><![CDATA[<p>In both her epic poem The Spanish Gypsy and her final novel Daniel Deronda, Eliot drew upon kabbalistic concepts of the heavens through the characters of Jewish mystics. In the later novel, Eliot moved the mystic, Mordecai, from the narrative&#8217;s periphery to its center. This change, symbolically equated within the novel to a shift from&hellip;<span class="activity-read-more" id="activity-read-more-1618473"><a href="https://mla.hcommons.org/activity/p/1618473/" rel="nofollow ugc">[Read more]</a></span></p>
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