Мазкур курс иши якунланган деб ҳисоблайман ва уни ҳимояга тавсия этаман

THE JIZZAKH STATE PEDAGOGICAL INSTITUTE

THE FACULTY OF FOREIGN LANGUAGE

COURSE WORK

THEME:

Scientific supervisor: Done by:

JIZZAKH-2021

1

Илмий раҳбар томонидан берилган

Исми, шарифи _Madrahimov Abdullajon

фанидан ёзган курс иши

Мазкур курс иши якунланган деб ҳисоблайман ва уни ҳимояга тавсия этаман.

Тақризчи Norbekova Gulrux

(исми, шарифи) (имзо)

“ ” 2021 йил

“Тасдиқлайман” Галиева М.Р.Кафедра мудири

“ 3 ” Май_2021 йил

2

Гуруҳ _215

талаба Madrahimov Abdullajon Раҳбар

ТОПШИРИҚ

1. Ишлайдиган лойиҳа (мавзу)

English literature at the end of the 19th and the beginning of the 20th century

2. Бошланғич маълумотлар

The aim of this course paper is to the study English literature

3. Қўлланмалар

a) The British Academy b) Wikipedia

c) https://www.thebritishacademy.ac.uk/blog/what-is-postcolonial- literature?gclid=Cj0KCQjwka_1BRCPARIsAMlUmEp3Da9lif3uTUpujj0jZKGLi H7puAA8dnZYxzKfamL3LWvTRaElmqIaAr3DEALw_wcB

4. Чизма қисмининг тузилиши

The course paper includes introduction, main part, conclusion and list of references.

5. Ёзма қисмининг тузилиши

a) English literature at the end of the 19th century

b) English literature at the beginning of the 20th century

c) The Best writers of the 20th century’s in English literature

d) Herbert George Wells’’s contribution to the English literature e) The uniqueness of the novel “ The Time Machine “

f) Қўшимча вазифа ва кўрсатмалар _

g) Курс (иши) лойиҳасини бажариш режаси

1 2 3 4 Ҳимоя

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Pages

MAIN PART

1. English literature at the end of the 19th century 6-9

2. English literature at the end of the 20th century 10-12

3. The Greatest writers of English literature at the end of

the 19th and at the beginning of the 20th century

13-17

4. H.G Wells’ contribution to English literature 18-21

CONCLUSION 25-26

REFERENCES 26

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INTRODUCTION

English literature, the body of written works produced in the English language by inhabitants of the British Isles(including Ireland) from the 7th century to the present day. The major literatures written in English outside the British Isles are treated separately under American literature,Australian literature, Canadian literature, and New Zealand literature.English literature has sometimes been stigmatized as insular. It can be argued that no single English novel attains the universality of the Russian writer Leo Tolstoy’s War and Peaceor the French writer Gustave Flaubert’s Madame Bovary. Yet in the Middle Ages the Old English literature of the subjugated Saxons was leavened by the Latin and Anglo-Norman writings, eminently foreign in origin, in which the churchmen and the Norman conquerors expressed themselves. From this combination emerged a flexible and subtle linguistic instrument exploited by Geoffrey Chaucer and brought to supreme application by William Shakespeare. During theRenaissance the renewed interest in Classical learning and values had an important effect on English literature, as on all the arts; and ideas of Augustan literary propriety in the 18th century and reverence in the 19th century for a less specific, though still selectively viewed, Classical antiquity continued to shape the literature. All three of these impulses derived from a foreign source, namely the Mediterranean basin. TheDecadents of the late 19th century and the Modernists of the early 20th looked to continental European individuals and movements for inspiration. Nor was attraction toward European intellectualism dead in the late 20th century, for by the mid-1980s the approach known as structuralism, a phenomenon predominantly French and German

in origin, infused the very study of English literature itself in a host of published

https://www.xabar.uz/uz/madaniyat/shavkat-mirziyoyev-adabiyot-san'at.From the congratulations of the

President of the Republic of Uzbekistan Shavkat Mirziyoyev to the participants of the international conference

"Current issues of international study and promotion of5Uzbek classical and modern literature"

critical studies and university departments. Additional influence was exercised by deconstructionist analysis, based largely on the work of French philosopherJacques Derrida.

The aim of course paper is the English literature at the end of the 19th and at the

beginning of the 20th century

To reach the aim I put forward the following tasks:

 to learn English literature at the end of the 19th century

 to study English literature at the beginning of the 20th century

 to investigate The Greatest writers of English literature in 20th century

 to study The uniqueness of the novel “ The Time Machine “

 to analyse Main idea and characters of the novel The subject of my course paper is the English literature The object of my course paper is English literature

The course paper includes introduction, main part, conclusion, and list of references.

MAIN PART

1. English literature at the end of the 19th century

This article is focused on English-language literature rather than the literature of England, so that it includes writers from Scotland, Wales, the Crown dependencies, and the whole of Ireland, as well as literature in English from countries of the former British Empire, including the United States. However, until the early 19th century, it only deals with the literature of the United Kingdom, the Crown dependencies and Ireland. It does not include literature written in the other languages of Britain.

The English language has developed over the course of more than 1,400 years.[1] The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britainby Anglo-Saxon invaders in the fifth century, are called Old English. Beowulf is the most famous work in Old English, and has achieved national epic status in England, despite being set in Scandinavia. However, following

the Norman conquest of England in 1066, the written form of the Anglo-Saxon

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language became less common. Under the influence of the new aristocracy, French became the standard language of courts, parliament, and polite society.[2] The English spoken after the Normans came is known as Middle English. This form of English lasted until the 1470s, when the Chancery Standard (late Middle English), a London-based form of English, became widespread. Geoffrey Chaucer (1343 –

Poet and playwright William Shakespeare (1564 – 1616) is widely regarded as the greatest writer in the English language and one of the world's greatest dramatists.[5][6][7] His plays have been translated into every major living language and are performed more often than those of any other playwright.[8] In the nineteenth century Sir Walter Scott's historical romances inspired a generation of painters, composers, and writers throughout Europe.[9]

The English language spread throughout the world with the development of the British Empire between the late 16th and early 18th centuries. At its height, it was thelargest empire in history.[10] By 1913, the British Empire held sway over 412 million people, 23% of the world population at the time,[11] During the nineteenth and twentieth centuries these colonies and the USA started to produce their own significant literary traditions in English. And in the last hundred plus years numerous writers from Great Britain, both the Republic of Ireland and Northern Ireland, the USA, and members of other former British colonies have received the Nobel Prize for works in the English language, more than in any other language.

It was in the Victorian era (1837–1901) that the novel became the leading literary genre in English.[115] Women played an important part in this rising popularity both as authors and as readers,[116] and monthly serialising of fiction also encouraged this

surge in popularity, further upheavals which followed the Reform Act of

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1832".[117] This was in many ways a reaction to rapidindustrialization, and the social, political, and economic issues associated with it, and was a means of commenting on abuses of government and industry and the suffering of the poor, who were not profiting from England's economic prosperity.[118]Significant early examples of this genre include Sybil, or The Two Nations (1845) by Benjamin Disraeli, and Charles Kingsley'sAlton Locke (1849).

1863), who during the Victorian period ranked second only to him, but he is now known almost exclusively for Vanity Fair(1847). The Brontë sisters, Emily, Charlotte and Anne, were other significant novelists in the 1840s and

1850s.[120] Jane Eyre(1847), Charlotte Brontë's most famous work, was the first of

the sisters' novels to achieve success. Emily Brontë's (1818–1848) novel was Wuthering Heights and, according to Juliet Gardiner, "the vivid sexual passion and power of its language and imagery impressed, bewildered and appalled reviewers,"[121] and led the Victorian public and many early reviewers to think that it had been written by a man.[122] The Tenant of Wildfell Hall (1848) by Anne Brontë is now considered to be one of the first feminist novels.[123]

Elizabeth Gaskell (1810–1865) was also a successful writer and her North and South contrasts the lifestyle in the industrial north of England with the wealthier south.[124]Anthony Trollope's (1815–1882) was one of the most successful, prolific and respected English novelists of the Victorian era. Trollope's novels portray the lives of the landowning and professional classes of early Victorian England.[125] George Eliot, pen name of Mary Ann Evans (1819–1880), was a major novelist of the mid-Victorian period. Her works, especially Middlemarch (1871–

72), are important examples of literary realism, and are admired for their

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combination of high Victorian literary detail, with an intellectual breadth that removes them from the narrow geographic confines they often depict.[126]

1903. His best known novel is New Grub Street (1891).

Although pre-dated by John Ruskin's The King of the Golden River in 1841, the history of the modern fantasy genre is generally said to begin with George MacDonald, the influential author of The Princess and the Goblin and Phantastes (1858). Wilkie Collins'epistolary novel The Moonstone (1868), is generally considered the first detective novel in the English language.Robert Louis Stevenson (1850–1894) was an important Scottish writer at the end of the nineteenth century, author of Strange Case of Dr Jekyll and Mr Hyde (1886), and the historical novel Kidnapped (1886). H.G. Wells's (1866–1946) writing career began in the 1890s with science fiction novels like The Time Machine (1895), andThe War of the Worlds (1898) which describes an invasion of late Victorian England by Martians, and Wells is seen, along with Frenchman Jules Verne (1828–1905), as a major figure in the development of the science fiction genre. He also wrote realistic fiction about the lower middle class in novels like Kipps (1905).

2. English literature at the beginning of the 20th century

English literary modernism developed in the early twentieth-century out of a general sense of disillusionment with Victorian era attitudes of certainty, conservatism, and

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belief in the idea of objective truth The movement was influenced by the ideas of Charles Darwin(1809–1882), Ernst Mach (1838–1916), Henri Bergson (1859–

1891); August Strindberg (1849–1912). A major British lyric poet of the first decades of the twentieth-century was Thomas Hardy (1840–1928). Though not a modernist, Hardy was an important transitional figure between the Victorian era and the twentieth-century. A major novelist of the late nineteenth-century, Hardy lived well into the third decade of the twentieth-century, though he only published poetry

in this period. Another significant transitional figure between Victorians and

m. o2 dJeohrniHsetnsr,y antdhSearalhaHteuttonn(iende.)t, eNeenwtphe-rscpeencttivuersyon Rneonaviseslainscte, Henry James (1843–1916),

cthoonugtihnt :ueesdsaytsoinptuhebhliisthorymoaf sjcoiernnceo, vedeulcsatiinontoantdhpehitlwosoepnhtyi:eitnhm-cemenortyury, including The Golden Bowl (1904). Polish-born modernist novelist Joseph Conrad(1857–1924) published his first important works, Heart of Darkness, in 1899 and Lord Jim in 1900. However, the Victorian Gerard Manley Hopkins's (1844–1889) highly original poetry was not published until 1918, long after his death, while the career of another major modernist poet, Irishman W.B. Yeats (1865–1939), began late in the Victorian era. Yeats was one of the foremost figures of twentieth-century English literature.But while modernism was to become an important literary movement in the early decades of the new century, there were also many fine writers who, like Thomas Hardy, were not modernists. During the early decades of the twentieth- century the Georgian poets like Rupert Brooke (1887–1915), and Walter de la Mare (1873–1956), maintained a conservative approach to poetry by combining romanticism, sentimentality and hedonism. Another Georgian poet, Edward Thomas (1878–1917) is one of the First World War poets along with Wilfred

Owen (1893–1918), Rupert Brooke (1887–1915), Isaac Rosenberg (1890–1917),

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and Siegfried Sassoon (1886–1967). Irish playwrights George Bernard Shaw (1856–1950), J.M. Synge (1871–1909) and Seán O'Casey were influential in British drama. Shaw's career began in the last decade of the nineteenth-century, while Synge's plays belong to the first decade of the twentieth-century. Synge's most famous play, The Playboy of the Western World, "caused outrage and riots when it was first performed" in Dublin in 1907. George Bernard Shaw turned the Edwardian theatre into an arena for debate about important political and social issues. Novelists who are not considered modernists include H. G. Wells (1866–

1920s, and novelist Virginia Woolf (1882–1941), who was an influential feminist,

and a major stylistic innovator associated with the stream-of-

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consciousness technique in novels like Mrs Dalloway (1925) and To the Lighthouse (1927). T.S. Eliot had begun this attempt to revive poetic drama withSweeney Agonistes in 1932, and this was followed by others including three further plays after the war. In Parenthesis, a modernist epic poem based on author David Jones's (1895–1974) experience of World War I, was published in

another significant modernist in the 1930s.

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3. The Greatest writers of English literature at the end of the 19th and at the beginning of the 20th century

1914, Swansea, Glamorgan [now in Swansea], Wales—died November 9,

1953, New York, New York, U.S.), Welsh poet and prose writer whose work is known for its comic exuberance, rhapsodic lilt, and pathos. His personal life, punctuated by reckless bouts of drinking, was notorious. Thomas spent his childhood in southwestern Wales. His father taught English at the Swansea grammar school, which in due course the boy attended. Because Dylan’s mother was a farmer’s daughter, he had a country home he could go to when on holiday. His poem “Fern Hill” (1946) describes its joys. Although he edited the school magazine, contributing poetryand prose to it, Thomas did badly at school since he was always intellectually lazy with regard to any subject that did not directly concern him. His practical knowledge of English poetry was enormous, however. He had begun

writing poems at a very early age, and scholars have shown that the bulk of his poetic

3. Encyclopedia of the Renaissance, ed. Paul Grendler et al. (New York: Charles

ouSctpriubntewr’sasSocnos,m19p9l9e)ted, at least in embryonic form, by the time he moved to London

at the age of 21. At age 16 he left school to work as a reporter on the South Wales Evening Post. Thomas’s first book, 18 Poems, appeared in 1934, and it announced a strikingly new and individual, if not always comprehensible, voice in English poetry. His original style was further developed in Twenty-Five Poems (1936) and The Map of Love (1939). Thomas’s work, in its overtly emotional impact, its insistence on the importance of sound and rhythm, itsprimitivism, and the tensions between its biblical echoes and its sexual imagery, owed more to his Welsh background than to the prevailing taste in English literature for grim social commentary. Therein lay its originality. The poetry written up to 1939 is concerned with introspective, obsessive, sexual, and religious currents of feeling; and Thomas seems to be arguing rhetorically with himself on the subjects of sex and death, sinand redemption, the natural processes, creation and decay. The writing shows prodigious energy, but the final effect is sometimes obscure or diffuse. Thomas basically made

London his home for some 10 years from about 1936. He had become famous in

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literary circles. In 1937 he married Caitlin Macnamara, with whom he had two sons and a daughter. His attempts to make money with theBritish Broadcasting Corporation (BBC) and as a film scriptwriter were not sufficiently remunerative, and the family was very poor. He wrote film scripts during World War II, having been excused from military service owing to a lung condition. Unfortunately, he was totally lacking in any sort of business acumen. He fell badly behind with his income taxreturns, and what money he managed to make was taken from him, at source, by the British Exchequer. He took to drinking more heavily and to borrowing from richer friends. Still, he continued to work, though in his maturity the composition of his poems became an ever-slower and more painstaking business. E.M. Forster, in full Edward Morgan Forster, (born January 1, 1879, London, England— died June 7, 1970,Coventry, Warwickshire), British novelist, essayist, and social and literary critic. His fame rests largely on his novelsHowards End (1910) and A Passage to India (1924) and on a large body of criticism. Forster’s father, an architect, died when the son was a baby, and he was brought up by his mother and paternal aunts. The difference between the two families, his father’s being strongly evangelical with a high sense of moral responsibility, his mother’s more feckless and generous-minded, gave him an enduring insight into the nature of domestic tensions, while his education as a dayboy (day student) at Tonbridge School, Kent, was responsible for many of his later criticisms of the English public school (private) system. At King’s College, Cambridge, he enjoyed a sense of liberation. For the first time he was free to follow his own intellectual inclinations; and he gained a sense of the uniqueness of the individual, of the healthiness of moderate skepticism, and of the importance of Mediterranean civilization as a counterbalance to the more straitlaced attitudes of northern European countries. On leaving Cambridge, Forster decided to devote his life to writing. His first novels and short stories were redolent of an

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themes (the importance of women in their own right, for example) from earlier English novelists such asGeorge Meredith, he broke with the elaborations and intricacies favoured in the late 19th century and wrote in a freer, more colloquial style. From the first his novels included a strong strain of social comment, based on acute observation of middle-class life. There was also a deeper concern, however, a belief, associated with Forster’s interest in Mediterranean “paganism,” that, if men and women were to achieve a satisfactory life, they needed to keep contact with the earth and to cultivate their imaginations. In an early novel, The Longest Journey (1907), he suggested that cultivation of either in isolation is not enough, reliance on the earth alone leading to a genial brutishness and exaggerated development of imagination undermining the individual’s sense of reality. The same theme runs through Howards End, a more ambitious novel that brought Forster his first major success. The novel is conceived in terms of an alliance between the Schlegel sisters, Margaret and Helen, who embody the liberal imagination at its best, and Ruth Wilcox, the owner of the house Howards End, which has remained close to the earth for generations; spiritually they recognize a kinship against the values of Henry Wilcox and his children, who conceive life mainly in terms of commerce. In a symbolic ending, Margaret Schlegel marries Henry Wilcox and brings him back, a broken man, to Howards End, reestablishing there a link (however heavily threatened by the forces of progress around it) between the imagination and the earth. The resolution is a precarious one, and World War I was to undermine it still further. Forster spent three wartime years inAlexandria, doing civilian war work, and visited India twice, in 1912–13 and 1921. When he returned to former themes in his postwar novel A Passage to India, they presented themselves in a negative form: against the vaster scale of India, in which the earth itself seems alien, a resolution between it and the imagination could appear

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open to experience, can glimpse their possible concord, and then only momentarily, in the courtroom during the trial at which she is the central witness. Much of the novel is devoted to less spectacular values: those of seriousness and truthfulness (represented here by the administrator Fielding) and of an outgoing and benevolent sensibility (embodied in the English visitor Mrs. Moore). Neither Fielding nor Mrs. Moore is totally successful; neither totally fails. The novel ends in an uneasyImmediate reconciliation between Indians and British is ruled out, but the further possibilities inherent in Adela’s experience, along with the surrounding uncertainties, are echoed in the ritual birth of the God of Love amid scenes of confusion at a Hindu festival. The values of truthfulness and kindness dominate Forster’s later thinking. A reconciliation of humanity to the earth and its own imagination may be the ultimate ideal, but Forster sees it receding in a civilization devoting itself more and more to technological progress. The values of common sense, goodwill, and regard for the individual, on the other hand, can still becultivated, and these underlie Forster’s later pleas for more liberal attitudes. During World War II he acquired a position of particular respect as a man who had never been seduced by totalitarianisms of any kind and whose belief in personal relationships and the simple decencies seemed to embody some of the common values behind the fight against Nazism and Fascism. In 1946 his old college gave him an honorary fellowship, which enabled him to make his home in Cambridge and to keep in communication with both old and young until his death. The resolution is a precarious one, and World War I was to undermine it still further. Forster spent three wartime years inAlexandria, doing civilian war work, and visited India twice, in 1912–13 and 1921Although the later Forster is an important figure in mid-20th-century culture, his emphasis on a kindly, uncommitted, and understated morality being congenial to many of his contemporaries, it is by his novels that he is more likely to be remembered, and these are best seen in the context of the preceding Romantic tradition. The novels sustain the cult of the heart’s affections that was central to that tradition, but they also share with the

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a concern that remains important to an age that has turned against other aspects of Romanticism. In addition to essays, short stories, and novels, Forster wrote abiography of his great-aunt, Marianne Thornton (1956); a documentary account of his Indian experiences, The Hill of Devi (1953); and Alexandria: A History and a Guide (1922; new ed., 1961). Maurice, a novel with a homosexual theme, was published posthumously in 1971 but written many years earlier. D.H. Lawrence, in full David Herbert Lawrence, (born September 11, 1885, Eastwood, Nottinghamshire, England—died March 2, 1930, Vence, France), English author of novels, short stories, poems, plays, essays, travel books, and letters. His novels Sons and Lovers (1913), The Rainbow (1915), andWomen in Love (1920) made him one of the most influential English writers of the 20th century.

Youth and early career

Lawrence was the fourth child of a north Midlands coal miner who had worked from the age of 10, was a dialect speaker, a drinker, and virtually illiterate. Lawrence’s mother, who came from the south of England, was educated, refined, and pious. Lawrence won a scholarship to Nottingham High School (1898–1901) and left at 16 to earn a living as clerk in a factory, but he had to give up work after a first attack of pneumonia. While convalescing, he began visiting the Haggs Farm nearby and began an intense friendship (1902–10) with Jessie Chambers. He became a pupil- teacher in Eastwood in 1902 and performed brilliantly in the national examination. Encouraged by Jessie, he began to write in 1905; his first story was published in a local newspaper in 1907. He studied at University College, Nottingham, from 1906 to 1908, earning a teacher’s certificate, and went on writing poems and stories and drafting his first novel, The White Peacock. The Eastwood setting, especially the contrast between mining town and unspoiled countryside, the life and culture of the miners, the strife between his parents, and its effect on his tortured relationship with Jessie all became themes of Lawrence’s early short stories and novels. He kept on returning to Eastwood in imagination long after he had left it in fact. In 1908

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Lawrence went to teach in Croydon, a London suburb. Jessie Chambers sent some of his poems to Ford Madox Hueffer (Ford Madox Ford), editor of the influential English Review. Hueffer recognized his genius, the Review began to publish his work, and Lawrence was able to meet such rising young writers as Ezra Pound. Hueffer recommended The White Peacock to the publisher William Heinemann, who published it in 1911, just after the death of Lawrence’s mother, his break with Jessie, and his engagement to Louie Burrows. His second novel, The Trespasser (1912), gained the interest of the influential editor Edward Garnett, who secured the third novel,Sons and Lovers, for his own firm, Duckworth. In the crucial year of 1911–12 Lawrence had another attack of pneumonia. He broke his engagement to Louie and decided to give up teaching and live by writing, preferably abroad. Most importantly, he fell in love and eloped with Frieda Weekley (née von Richthofen), the aristocratic German wife of a professor at Nottingham. The couple went first to Germany and then toItaly, where Lawrence completed Sons and Lovers. They were married in England in 1914 after Frieda’s divorce.

Sons and Lovers

Lawrence’s first two novels, first play, and most of his early short stories, including such masterpieces as Odour of Chrysanthemums and Daughters of the Vicar (collected in The Prussian Officer, and Other Stories, 1914), use early experience as a departure point. Sons and Lovers carries this process to the point of quasi-autobiography. The book depicts Eastwood and the Haggs Farm, the twin poles of Lawrence’s early life, with vivid realism. The central character, Paul Morel, is naturally identified as Lawrence; the miner-father who drinks and the powerful mother who resists him are clearly modeled on his parents; and the painful devotion of Miriam Leivers resembles that of Jessie Chambers. An older brother, William, who dies young, parallels Lawrence’s brother Ernest, who met an early death. In the novel, the mother turns to her elder son William for emotional fulfillment in place of his father. This section of the original manuscript was much reduced by Garnett

before publication. Garnett’s editing not only eliminated some passages of sexual

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outspokenness but also removed as repetitive structural elements that constitutethe establishment of a pattern in the mother’s behaviour and that explain the plural nouns of the title. When William dies, his younger brother Paul becomes the mother’s mission and, ultimately, her victim. Paul’s adolescent love for Miriam is undermined by his mother’s dominance; though fatally attracted to Miriam, Paul cannot be sexually involved with anyone so like his mother, and the sexual relationship he forces on her proves a disaster. He then, in reaction, has a passionate affair with a married woman, Clara Dawes, in what is the only purely imaginary part of the novel. Clara’s husband is a drunken workingman whom she has undermined by her social and intellectual superiority, so their situation mirrors that of the Morels. Though Clara wants more from him, Paul can manage sexual passion only when it is split off from commitment; their affair ends after Paul and Dawes have a murderous fight, and Clara returns to her husband. Paul, for all his intelligence, cannot fully grasp his own unconscious motivations, but Lawrence silently conveys them in the pattern of the plot. Paul can only be released by his mother’s death, and at the end of the book, he is at last free to take up his own life, though it remains uncertain whether he can finally overcome her influence. The whole narrative can be seen as Lawrence’s psychoanalytic study of his own case, a young man’s struggle to gain detachment

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4. H.G.Wells’ contribution to English literature

Early life

Wells was the son of domestic servants turned small shopkeepers. He grew up under the continual threat of poverty, and at age 14, after a very inadequate education supplemented by his inexhaustible love of reading, he was apprenticed to a draper in Windsor. His employer soon dismissed him; and he became assistant to a chemist, then to another draper, and finally, in 1883, an usher at Midhurst Grammar School. At 18 he won a scholarship to study biology at the Normal School (later the Royal College) of Science, in South Kensington,London, where T.H. Huxley was one of his teachers. He graduated from London University in 1888, becoming a science teacher and undergoing a period of ill health and financial worries, the latter aggravated by his marriage, in 1891, to his cousin, Isabel Mary Wells. The marriage was not a success, and in 1894 Wells ran off with Amy Catherine Robbins (died

1927), a former pupil, who in 1895 became his second wife.

Early writings

Wells’s first published book was a Textbook of Biology (1893). With his first novel, The Time Machine (1895), which was immediately successful, he began a series of science fiction novels that revealed him as a writer of marked originality and an immense fecundity of ideas: The Wonderful Visit (1895),The Island of Doctor Moreau (1896), The Invisible Man(1897), The War of the Worlds (1898), The First Men in the Moon (1901), and The Food of the Gods (1904). He also wrote many

short stories, which were collected in The Stolen Bacillus(1895), The Plattner

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Story (1897), and Tales of Space and Time (1899). For a time he acquired a reputation as a prophet of the future, and indeed, in The War in the Air (1908), he foresaw certain developments in the military use of aircraft. But his imagination flourished at its best not in the manner of the comparatively mechanical anticipations of Jules Verne but in the astronomical fantasies of The First Men in the Moon andThe War of the Worlds, from the latter of which the image of the Martian has passed into popular mythology. Behind his inventiveness lay a passionate concern for man and society, which increasingly broke into the fantasy of his science fiction, often diverting it into satire and sometimes, as in The Food of the Gods, destroying its credibility. Eventually, Wells decided to abandon science fiction for comic novels of lower middle-class life, most notably in Love and Mr. Lewisham(1900), Kipps: The Story of a Simple Soul (1905), and The History of Mr. Polly (1910). In these novels, and in Tono-Bungay (1909), he drew on memories of his own earlier life, and, through the thoughts of inarticulate yet often ambitious heroes, revealed the hopes and frustrations of clerks, shop assistants, and underpaid teachers, who had rarely before been treated in fiction with such sympathetic understanding. In these novels, too, he made his liveliest, most persuasive comment on the problems of Western society that were soon to become his main preoccupation. The sombre vision of a dying world in The Time Machine shows that, in his long-term view of humanity’s prospects, Wells felt much of the pessimism prevalent in the 1890s. In his short-term view, however, his study of biology led him to hope that human society would evolve into higher forms, and with Anticipations (1901),Mankind in the Making (1903), and A Modern Utopia (1905), he took his place in the British public’s mind as a leading preacher of the doctrine of social progress. About this time, too, he became an active socialist, and in 1903 joined theFabian Society, though he soon began to criticize its methods. The bitter quarrel he precipitated by his unsuccessful attempt to wrest control of the Fabian Society from George Bernard Shaw and Sidney and Beatrice Webb in 1906–

parodied as the Baileys.

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Middle and late works

Wells published a novelized version of a film script,The Shape of Things to Come. (Produced by Alexander Korda, the film Things to Come [1936] remains, on account of itsspecial effects, one of the outstanding British films of the 20th century.) Wells’s version reverts to the utopianism of some earlier books, but as a whole his outlook grew steadily less optimistic, and some of his later novels contain much that is bitterly satiric. Fear of a tragic wrong turning in the development of the human race, to which he had early given imaginative expression in the grotesque animal

mutations ofThe Island of Doctor Moreau, dominates the short novels and fables he

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wrote in the later 1930s. Wells was now ill and aging. With the outbreak of World War II, he lost all confidence in the future, and in Mind at the End of Its Tether (1945) he depicts a bleak vision of a world in which nature has rejected, and is destroying, humankind.

A group of men, including the narrator, is listening to the Time Traveller discuss his theory that time is the fourth dimension. The Time Traveller produces a miniature time machine and makes it disappear into thin air. The next week, the guests return, to find their host stumble in, looking disheveled and tired. They sit down after dinner, and the Time Traveller begins his story. The Time Traveller had finally finished work on his time machine, and it rocketed him into the future.

When the machine stops, in the year 802,701 AD, he finds himself in a paradisiacal world of small humanoid creatures called Eloi. They are frail and peaceful, and

give him fruit to eat. He explores the area, but when he returns he finds that his time machine is gone. He decides that it has been put inside the pedestal of a nearby statue. He tries to pry it open but cannot. In the night, he begins to catch

glimpses of strange white ape-like creatures the Eloi call Morlocks. He decides that the Morlocks live below ground, down the wells that dot the landscape.

Meanwhile, he saves one of the Eloi from drowning, and she befriends him. Her name is Weena. The Time Traveller finally works up enough courage to go down into the world of Morlocks to try to retrieve his time machine. He finds that matches are a good defense against the Morlocks, but ultimately they chase him out of their realm. Frightened by the Morlocks, he takes Weena to try to find a place where they will be safe from the Morlocks' nocturnal hunting. He goes to what he calls the Palace of Green Porcelain, which turns out to be a museum. There, he finds more matches, some camphor, and a lever he can use as a weapon. That night, retreating from the Morlocks through a giant wood, he accidentally

starts a fire. Many Morlocks die in the fire and the battle that ensues, and Weena is

killed. The exhausted Time Traveller returns to the pedestal to find that it has

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already been pried open. He strides in confidently, and just when the Morlocks think that they have trapped him, he springs onto the machine and whizzes into the future. The Time Traveller makes several more stops. In a distant time he stops on a beach where he is attacked by giant crabs. The bloated red sun sits motionless in

He claims that the machine is now gliding forward into the future. The guests ask why they cannot still see it, since they too are moving into the future, and the Time Traveller explains that it is moving forward too quickly to be seen, like the spokes of a wheel or a speeding bullet. The guests are amazed. The Traveller then shows them a much larger machine, with which he plans to explore time. The narrator concludes that not many of the guests believed the Time Traveller, as he was a

very intelligent man, likely to play elaborate pranks. The narrator returns to dinner at his house the next week. The guests include some of the men from the previous week and some new guests. They have been instructed to begin dinner without their host. When he enters, he is incredibly dusty and dishevelled. He quickly drinks some champagne, then goes to wash up. The narrator suggests to the other guests that their host has been travelling in time. The others are incredulous and

make sarcastic remarks in reply. When the Time Traveller is finally ready to tell

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his story, the guests quickly raise objections. The Time Traveller says that he has no energy to argue and will speak only if everyone agrees not to interrupt. The guests agree, and sit in increasingly rapt attention as the story begins.

The Time Traveller's name is never given. Apparently the narrator wants to protect his identity. The Time Traveller is an inventor. He likes to speculate on the future and the underlying structures of what he observes. His house is in Richmond, a suburb of London.

The Narrator

The narrator, Mr. Hillyer, is the Time Traveller's dinner guest. His curiosity is enough to make him return to investigate the morning after the first time travel.

Weena

Weena is one of the Eloi. Although the Time Traveller reports that it is difficult to distinguish gender among the Eloi, he seems quite sure that Weena is female. He easily saves her from being washed down the river, and she eagerly becomes his

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Conclusion

1890s, but the completed novella did not appear until 1895, when Wells was 34 years old. It was the first tale of time travel, and it is considered one of the forerunners of the science fiction genre.The Time Machine's literary influences are numerous. Most obvious is Jonathan Swift's Gulliver's Travels,written a century earlier. The Time Machine is a fusion of tales from fantastic lands, commentary on current British social questions, and an introduction to cutting-edge scientific theories.Wells went on to publish more works of science fiction, including The Island of Doctor Moreau (1896), The Invisible Man (1897), and The War of the Worlds (1898). He also published comic works of fiction such as The History of

Mr. Polly (1910) and An Outline of History (1920).

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