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CONTENTS Andre Gide 273 Aldous Huxley 274 III. CHARACTERIZATION The dial-plate or the inner workings? Henry Fielding 275 Sarah Fielding 275 Samuel Richardson 275 Sir Walter Scott 275 No pictures ofperfection Henry Fielding 277 Richard Cumberland 277 Jane Austen 278 George Sand 278 William Makepeace Thackeray 278 No portraits Henry Fielding 279 Stendhal 279 Charlotte Bronte 280 George Eliot 280 George Sand 280 Charles Dickens 280 Gustave Flaubert 281 Wilkie Collins 282 Robert Louis Stevenson 283 Henry James 283 Ford Madox Ford 284 Ivy Compton-Burnett 28A The novelists characters must be real to him. Anthony Trollope 285 The novelist haunted by his characters. Joseph Conrad 286 Uimage en disponibilite. Henry James 286 'Flat' and 'round' characters. E. M. Forster 288 Abandoning the 'old stable ego'. D. H. Lawrence 289 All novels deal with character. Virginia Woolf 290 A character has to be conventionalized. Arnold Bennett 290 Authenticity. Andre Gide 291 IV. DIALOGUE Strong language. Tobias Smollett 292 Flaubert describes his difficulties to Louise Colet. Gustave Flaubert 292 Relevant, natural, short. Anthony Trollope 294 Organic and dramatic. Henry James 295 xii
1 CONTENTS Further probletm. Ford Madox Ford 297 Stylization. Ivy Compton-Burnett 297 V. BACKGROUND Scott transforyns Melrose. Sir Walter Scott 299 The setting o/'Wuthering Heights'. Charlotte Bronte 300 Too much background. George Eliot 301 A new English county. Anthony Trollope 301 Wessex. Thomas Hardy 301 The scientific importance of background. Emile Zola 302 Map and almanack. Robert Louis Stevenson 303 The selection of telling detail. Anton Chekhov 304 Henry James follows the wrong master. Henry James 305 Pursuing the Guermantes'' way. Marcel Proust 306 Background reduced to a minimum. Ivy Compton-Burnett 307 VI. STYLE The judgment of style. Henry Fielding 308 Richardson' s style. Anna Barbauld 308 The voice of true feeling in epistolary narrative. Jean-Jacques Rousseau 309 Jane Austen becomes self-conscious. Jane Austen 3 1 Clear and simple. Stendhal 312 Flaubert on the art of writing. Gustave Flaubert 312 A protest. George Sand 314 The familiar style. George Eliot 314 Byron a model. Wilkie Collins 315 How to be intelligible and harmonious. Anthony Trollope 315 Naturalism and the grand style. Emile Zola 316 Exactness. Guy de Maupassant 317 On not having too much style. Thomas Hardy 318 An elegant and pregnant texture. Robert Louis Stevenson 318 The craft of writing. Joseph Conrad 319 Fresh, usual words. Ford Madox Ford 321 Thought charged with emotion. Andre Gide 322 Effects of the long week-end (igiS-ig^g). E. M. Forster 322 ACKNOWLEDGEMENTS 323 INDEX 325 XIU
Page 2 and 3: UNIVERSITY OF FLORIDA LIBRARIES COL
Page 5: NOVELISTS ON THE NOVEL
Page 8 and 9: 4 First published ig§g by Roiitled
Page 10 and 11: CONTENTS Ghost stories. Henry James
Page 12 and 13: 1 CONTENTS Part Two the genesis of
Page 14 and 15: CONTENTS TEXT 227 Unity and Coheren
Page 18 and 19: TO THE MEMORY OF MY FATHER
Page 21: B Part One THE NATURE OF PROSE FICT
Page 24 and 25: THE NATURE OF PROSE FICTION wings t
Page 26 and 27: THE NATURE OF PROSE FICTION Romance
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Page 30 and 31: THE NATURE OF PROSE FICTION person
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Page 38 and 39: . THE NATURE OF PROSE FICTION Henry
Page 40 and 41: THE NATURE OF PROSE FICTION method,
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Page 54 and 55: THE NATURE OF PROSE FICTION Even so
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Page 62 and 63: own. And what is THE NATURE OF PROS
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THE NATURE OF PROSE FICTION ROMANCE
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THE NATURE OF PROSE FICTION for of
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THE NATURE OF PROSE FICTION deviati
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THE NATURE OF PROSE FICTION almost
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THE NATURE OF PROSE FICTION and the
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THE NATURE OF PROSE FICTION which i
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THE NATURE OF PROSE FICTION ADJUSTI
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THE NATURE OF PROSE FICTION innumer
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THE NATURE OF PROSE FICTION TRUTH T
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THE NATURE OF PROSE FICTION In the
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THE NATURE OF PROSE FICTION and ill
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THE NATURE OF PROSE FICTION blocks,
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THE NATURE OF PROSE FICTION before
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THE NATURE OF PROSE FICTION REPRESE
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artistic works in form and colour,
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THE NATURE OF PROSE FICTION guidanc
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THE NATURE OF PROSE FICTION simply
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THE NATURE OF PROSE FICTION things.
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THE NATURE OF PROSE FICTION 'romanc
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. THE NATURE OF PROSE FICTION same
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— THE NATURE OF PROSE FICTION of
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THE NATURE OF PROSE FICTION think t
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THE NATURE OF PROSE FICTION life is
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THE NATURE OF PROSE FICTION NO POLI
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. THE NATURE OF PROSE FICTION the r
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, THE NATURE OF PROSE FICTION must
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THE NATURE OF PROSE FICTION who wri
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THE NATURE OF PROSE FICTION than th
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THE NATURE OF PROSE FICTION down, t
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, THE NATURE OF PROSE FICTION (iii)
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THE NATURE OF PROSE FICTION THE CHR
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. THE NATURE OF PROSE FICTION myste
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INTRODUCTION AS WE HAVE SEEN, the n
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THE novelist's APPROACH AND EQÛIPM
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THE NOVELIST S APPROACH AND EQÛIPM
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THE novelist's approach AND EQ,UIPM
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GERMINATION quent elation of the in
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AT work: effort and inspiration ///
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AT work: effort and inspiration use
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THE GENESIS OF A NOVEL of health, b
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, THE GENESIS OF A NOVEL merit. It
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THE GENESIS OF A NOVEL recognize fr
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THE GENESIS OF A NOVEL of which has
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Germination HENCE SPRUNG PAMELA Two
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THE GENESIS OF A NOVEL first story.
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THE GENESIS OF A NOVEL been some te
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THE GENESIS OF A NOVEL owner of whi
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THE GENESIS OF A NOVEL of its succe
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The Novelist at Work: Effort and In
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THE GENESIS OF A NOVEL Captain. Nay
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— THE GENESIS OF A NOVEL during t
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THE GENESIS OF A NOVEL very dear to
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THE GENESIS OF A NOVEL their appoin
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THE GENESIS OF A NOVEL THE NOVELIST
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THE GENESIS OF A NOVEL as hypnotic
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THE GENESIS OF A NOVEL birds, dawn
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INTRODUCTION IT IS ON MATTERS of me
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STRUCTURAL PROBLEMS had considered
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STRUCTURAL PROBLEMS Wuthering Heigh
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STRUCTURAL PROBLEMS independence an
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STRUCTURAL PROBLEMS The entire orde
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STRUCTURAL PROBLEMS novelist's incr
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STRUCTURAL PROBLEMS for organic uni
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tells US, 'is STRUCTURAL PROBLEMS a
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N STRUCTURAL PROBLEMS of art' seems
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STRUCTURAL PROBLEMS acknowledging w
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STRUCTURAL PROBLEMS wearing down hu
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STRUCTURAL PROBLEMS handling of the
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STRUCTURAL PROBLEMS of experience d
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NARRATIVE TECHNIQÛE dialogue: all
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NARRATIVE TECHNIQÛE thing it had t
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NARRATIVE TEGHNIQÛE rank quality o
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NARRATIVE TECHNIQ,UE writers like S
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NARRATIVE TEGHNIQÛE bility. Conrad
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CHARACTERIZATION in The Waves embod
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CHARACTERIZATION exasperation under
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CHARACTERIZATION writer's emotions,
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CHARACTERIZATION and idiosyncrasies
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CHARACTERIZATION dimensional nature
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CHARACTERIZATION than Lear or Ophel
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DIALOGUE 'real' and the stylized. T
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5 Chapter xxxiv. 211 DIALOGUE divid
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DIALOGUE spersed here and there—a
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BACKGROUND its 'development'. It is
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BACKGROUND in the imaginative recon
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STYLE that 'incorrect' writers like
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STYLE names,—snowdrop, primrose,
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STYLE Furthermore, Fielding likes t
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: STYLE ing Heights, as it is point
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TEXT / Structural Problems UNITY AN
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— STRUCTURAL PROBLEMS he begins a
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STRUCTURAL PROBLEMS ling recurrence
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STRUCTURAL PROBLEMS EPISODES DISTRA
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STRUCTURAL PROBLEMS FOCUS (5 July 1
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STRUCTURAL PROBLEMS better without
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— STRUCTURAL PROBLEMS of the read
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STRUCTURAL PROBLEMS pushed out of s
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STRUCTURAL PROBLEMS It would seem a
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STRUCTURAL PROBLEMS STORY THE SPOIL
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— STRUCTURAL PROBLEMS DOING AWAY
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. s STRUCTURAL PROBLEMS please acce
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STRUCTURAL PROBLEMS of the entire w
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STRUCTURAL PROBLEMS found, to proce
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STRUCTURAL PROBLEMS which intervene
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NARRATIVE TECHNIQÛE be pleaded for
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NARRATIVE TECHNIQÛE her own mouth,
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. NARRATIVE TEGHNIQ,UE enjoyed on t
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NARRATIVE TEGHNIQÛE ways rather th
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NARRATIVE TECHNIQUE FORM AS VARIED
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NARRATIVE TECHNIQUE everything she
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NARRATIVE TEGHNIQÛE eminence, they
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NARRATIVE TECHNIQÛE should form a
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NARRATIVE TECHNIQUE (viii) . . . th
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Characterization THE DIAL-PLATE OR
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. CHARACTERIZATION mood fittest to
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CHARACTERIZATION comings? in compan
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CHARACTERIZATION up, I have as a ne
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CHARACTERIZATION write my story, wh
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CHARACTERIZATION caused trouble, I
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CHARACTERIZATION then had to find f
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CHARACTERIZATION All the principal
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. CHARACTERIZATION This implies a f
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DIALOGUE Bovary is driving me mad!
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DIALOGUE dialogue on extraneous mat
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DIALOGUE US to dance hand in hand r
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V Background SCOTT TRANSFORMS MELRO
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BACKGROUND TOO MUCH BACKGROUND ...
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BACKGROUND vacuum. Man is not alone
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BACKGROUND HENRY JAMES FOLLOWS THE
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BACKGROUND all the corners of Germa
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STYLE reader, in the most lively ma
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STYLE ephemeral, sterile emotion wh
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STYLE It will be as rhythmical as v
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STYLE BYRON A MODEL ... I don't att
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STYLE moment, has no place here. Le
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STYLE life, and a far keener sense
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demand to STYLE be promptly improve
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ACKNOWLEDGEMENTS The compiler and t
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INDEX OF AUTHORS AND TITLES IN THE
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INDEX OF AUTHORS AND TITLES Fathers
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INDEX OF AUTHORS AND TITLES 5 Nostr
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INDEX TO THE TEXT Austen, Jane. Cha
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INDEX TO THE TEXT 2.51; narrative t
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INDEX TO THE TEXT Mrs. Barbauld on
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1 1 j 1 . AfR 19 '65 Date Due Due R
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m
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