【正文】 新知三聯(lián)書店, 2003.[16] 陳景行. 英國性與英國貴族的衰弱：論《長日留痕》中管家的職責(zé)和尊嚴(yán)[J]. 北京電力高等專科學(xué)院學(xué)報, 2011(3): 327328.[17] 德里克薩義德. 文化與帝國主義[M]. 北京: 生活 Ian Angus (eds.). Journalism and Letters of George Orwell[C]. Harmondsworth: Penguin books, 1970.[10] Parekh, Bhiku. Defining British National Identity[J]. The Political Quarterly, 2009 (1): 251262.[11] Paxman, Jeremy. The English: A Portrait of a People[M]. Minneapolis: the University of Minneasota Press, 2009.[12] Ruskin, John. Lectures on Art[M]. London: Library Edition, 1870.[13] Sandiford, Peter John. The Public House and Its Role in Society’s Margins[J]. International Journal of Hospitality Management, 2011(1): 765773.[14] Schwarz, Bill. Black Metropolis White England[A]. Mica Nava (eds.). In Modern Times: Reflection on a Century of English Modernity[C]. London: Routledge, 1996.[15] 愛德華yearning andlife much as I had found him in his barrackroom but a little while before, except that he was not writing, but was sitting with a book before him, from which his eyes and thoughts were far astray” (Dickens 1993: 586). In order to inherit property, Richard pays dearly as he not only spends all his money, sells his military rank and even uses Ada Clare’s property, but also his health and life. However, Richard never gives up his pursuit to the heritage. Even on his deathbed, Richard is asking “when shall I go from this place, to that pleasant country where the old times are ……when shall I go?”(Dickens 1993: 734) The pursuit of Richard to the case of Jarndyce . Jarndyce is precisely the pursuit of the English, which is the process of identifying themselves in the new industrial era.The tragic result of Richard reveals the frustration and helpless of Dickens. Dickens struggled to inherit and keep the tradition or old culture and style, however, all of his striving seems unavailing just like Richard – the heritage has been spent up in the judicial proceedings. So Dickens has to promise to the reality to accept and adapt himself to the modern life and mindset with nostalgia for the past. Englishness and the English countryside In the speech delivered on May 6, 1924 on the meanings of Englishness, Stanley Baldwin, the former British prime minister, mentioned the honorable nature of the “Englishman”. For the homeloving prime minister, the love for England was closely related to an inborn love for home and garden in the English countryside: “nothing can be more touching than to see how the working man and woman after generations in the towns will have their bits of garden if they can, will go to the garden if they can, to look at something they never seen as children, but which their ancestors knew and loved” (Baldwin 1926: 8). He considered the English countryside the symbol of Englishness and also believed that it’s a kind of ideal home. Anticipation to the Traditional CountrysideIn the mind of Charles Dickens, country should remain the traditional landscape of country, while the city should keep his urbanism. This idea is same with what David Matless supported, “Let Urbanism prevail and preponderate in the town and let the country remain rural” (Matless 1998: 32). They reach a consensus that the distinction should be kept clear rather than hermaphrodites. So every time Dickens put his pen into the countryside life and the idyllic scenery, his tone will be leisure, free and easy.In Bleak House, Dickens shows and describes the countryside mainly through the eye of Estber Summerson. And much of his description expresses there is something in it that persists. Fox provides us a grammar of English behavior.The problem with Orwell’s famous description of “old maids biking to Holy Communion through the mists of the autumn morning . . . solid breakfasts and gloomy Sundays, smoky towns and winding roads, green fields and red pillar boxes”(Orwell 1970:7475) is that it could have applied to any nation within the United Kingdom. It is indeed shared, in the sense that is has also bee stereotypical. The same goes for John Betjeman’s definition:“ For me England stands for . . . oillit churches, Women’s Institutes, modest village inns, arguments about cowparsley on the altar, the noise of mowing machines on Saturday afternoons, local newspapers, local auction… branchline trains, light railways, leaning on gates and looking across fields”(Paxman 2009:151). Although some of these features are still valid as hallmarks of Englishness, they are mostly redolent of the kind of nostalgia expressed by Blake in “Jerusalem”, nostalgia for an immutable pastoral England. Nostalgia may well be a permanent characteristic of the English people and indeed Ackroyd sees it as a “national mood” pervading the music of Vaughan Williams and Edward Elgar with the Victorian Age in particular a period of unremitting nostalgia. Krishan Kumar contends that “all that the English can really call upon is the highly selective, partly no