Style
Rebecca Harding Davis' literary style is most commonly labeled as realism. Her literary works mark a transition from romanticism to literary realism. For instance, "Life on the Iron Mills" utilizes a realistic style comparable to writers in the height of American literary realism, which came two decades after the text was published. Although realism is the genre most prominently attached to Harding Davis' collective works, naturalism is also prevalent in her writing style. Naturalism is thematically linked to realism. Where realists, like Harding Davis, endeavor to depict reality, naturalists expand on that reality by approaching the scientific and or psychological influences on characters due to their environments. In Life in the Iron Mills, the two genres are blended to create a realistic depiction of the everyday life of iron mill worker Hugh Wolfe, as well as illustrate the effects of that environment on him. In addition to realism and naturalism, Harding Davis also published works employing such literary genres as the gothic and folklore.
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Famous quotes containing the word style:
“Style is the dress of thoughts; and let them be ever so just, if your style is homely, coarse, and vulgar, they will appear to as much disadvantage, and be as ill received, as your person, though ever so well-proportioned, would if dressed in rags, dirt, and tatters.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“I concluded that I was skilled, however poorly, at only one thing: marriage. And so I set about the business of selling myself and two children to some unsuspecting man who might think me a desirable second-hand mate, a man of good means and disposition willing to support another man’s children in some semblance of the style to which they were accustomed. My heart was not in the chase, but I was tired and there was no alternative. I could not afford freedom.”
—Barbara Howar (b. 1934)
“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”
—Cyril Connolly (1903–1974)