Workers in the Dawn

That chance is past,' said Edward; and with these words the last link seemed to have been broken between his old love of art and his work.

Edward Eden's ambition → poverty → friendship with Arthur/Beatrice → social fallback → new commitment to workers → Beatrice independence = plot 78.

'You come here and blame us!' cried Beatrice, 'you, who have had every advantage, for being ourselves what we have made ourselves in spite of your offering.'

Edward Eden painter + Arthur/King family + Beatrice failed painter + Landless + Carr + Amy + Dora wider social = cast 80.

'I have hated her,' said Edward, 'because she has the secret that I have looked for.'

Mid-period Gissing; social problem machinery takes weight; some passages lyric but plot slows = pace 74.

[A]nd it seemed to him that the bell of city life was tolling the death-hour of every half-bright vision that he could have glimpsed before.

Gissing's didactic-but-passionate voice: 'workers in the dawn' rallying phrase = prose 86.

'You come here and blame us!' cried Beatrice, 'you, who have had every advantage, for being ourselves what we have made ourselves in spite of your offering.'

1880 London/Nascent West-end; working-class walls; Christian socialism; imperial layers = world 86.

That chance is past,' said Edward; and with these words the last link seemed to have been broken between his old love of art and his work.

Family tableau + pre-commit poet's life = hook 86.

[N]ew life had come to Edward Eden, but it seemed as if London had but to clear its gutters for him to find a settled scene there.

1880 earliest Gissing; Christian-Socialist spectrum before sociological realism = innov 82.

London seemed all his own. The sunset was gorgeous over the western horizon, and it cast its mystic light upon his face.

'London seemed all his own' / Beatrice begins separate salon = ending 80.