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4 First published ig§g by Roiitledge and Kegan Paul Ltd. Broadway House, 68-^-4 Carter Lane, E.G. and Columbia University Press Columbia University, .New York (g) Miriam Allott i()fjg Second and third impressions ig6o Fourth impression ig62 Printed in Great Britain by Butler & Tanner Ltd., Frame and London
PREFACE Part One CONTENTS the nature of prose fiction XV I II III The Novel and the Marvellous The Novel as a Portrait of Life The Ethics of the Novel INTRODUCTION page 3 TEXT 41 I. THE NOVEL AND THE MARVELLOUS Rejecting romantic improbability. Samuel Richardson 41 A caution against the supernatural. Henry Fielding 42 Romance reformed by the novelist. Tobias Smollett 43 Pleasing delusions. Sarah Fielding 44 La belle nature. Jean-Jacques Rousseau 44 Combining the marvellous and the probable. Clara Reeve 45 Romance lacks unity of design. Thomas Holcroft 46 The difference between the novel and the romance. Clara Reeve 47 Sunt certi denique fines Richard Cumberland 47 Mrs. Sarah Green 48 An epic in prose? Anna Barbauld 48 Novel: romance: epic. Sir Walter Scott 49 The historical romance combines the marvellous and the probable Sir Walter Scott 50 Nathaniel Hawthorne 50 The novelist's sense of conflict Gustave Flaubert 51 Guy de Maupassant 52 The quality of romance. Robert Louis Stevenson 53 A romantic realist. Joseph Conrad 54 Cutting the cable. Henry James 55 V
Page 2 and 3: UNIVERSITY OF FLORIDA LIBRARIES COL
Page 5: NOVELISTS ON THE NOVEL
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 16 and 17: CONTENTS Andre Gide 273 Aldous Huxl
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
Page 28 and 29: THE NATURE OF PROSE FICTION weight.
Page 30 and 31: THE NATURE OF PROSE FICTION person
Page 32 and 33: THE NATURE OF PROSE FICTION by an i
Page 34 and 35: : THE NATURE OF PROSE FICTION which
Page 36 and 37: THE NATURE OF PROSE FICTION article
Page 38 and 39: . THE NATURE OF PROSE FICTION Henry
Page 40 and 41: THE NATURE OF PROSE FICTION method,
Page 42 and 43: THE NATURE OF PROSE FICTION centuri
Page 44 and 45: . ^ THE NATURE OF PROSE FICTION par
Page 46 and 47: . THE NATURE OF PROSE FICTION of 'r
Page 48 and 49: THE NATURE OF PROSE FICTION Instead
Page 50 and 51: THE NATURE OF PROSE FICTION photogr
Page 52 and 53: THE NATURE OF PROSE FICTION and act
Page 54 and 55: THE NATURE OF PROSE FICTION Even so
Page 56 and 57: THE NATURE OF PROSE FICTION also th
Page 58 and 59:
THE NATURE OF PROSE FICTION Until l
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^ THE NATURE OF PROSE FICTION may f
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own. And what is THE NATURE OF PROS
Page 64 and 65:
THE NATURE OF PROSE FICTION Cervant
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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,
Page 90 and 91:
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)
Page 126 and 127:
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
Page 133 and 134:
THE novelist's APPROACH AND EQÛIPM
Page 135 and 136:
THE NOVELIST S APPROACH AND EQÛIPM
Page 137 and 138:
THE novelist's approach AND EQ,UIPM
Page 139 and 140:
GERMINATION quent elation of the in
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AT work: effort and inspiration ///
Page 143:
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
Page 150 and 151:
THE GENESIS OF A NOVEL recognize fr
Page 152 and 153:
THE GENESIS OF A NOVEL of which has
Page 154 and 155:
Germination HENCE SPRUNG PAMELA Two
Page 156 and 157:
THE GENESIS OF A NOVEL first story.
Page 158 and 159:
THE GENESIS OF A NOVEL been some te
Page 160 and 161:
THE GENESIS OF A NOVEL owner of whi
Page 162 and 163:
THE GENESIS OF A NOVEL of its succe
Page 164 and 165:
The Novelist at Work: Effort and In
Page 166 and 167:
THE GENESIS OF A NOVEL Captain. Nay
Page 168 and 169:
— THE GENESIS OF A NOVEL during t
Page 170 and 171:
THE GENESIS OF A NOVEL very dear to
Page 172 and 173:
THE GENESIS OF A NOVEL their appoin
Page 174 and 175:
THE GENESIS OF A NOVEL THE NOVELIST
Page 176 and 177:
THE GENESIS OF A NOVEL as hypnotic
Page 178 and 179:
THE GENESIS OF A NOVEL birds, dawn
Page 181 and 182:
INTRODUCTION IT IS ON MATTERS of me
Page 183 and 184:
STRUCTURAL PROBLEMS had considered
Page 185 and 186:
STRUCTURAL PROBLEMS Wuthering Heigh
Page 187 and 188:
STRUCTURAL PROBLEMS independence an
Page 189 and 190:
STRUCTURAL PROBLEMS The entire orde
Page 191 and 192:
STRUCTURAL PROBLEMS novelist's incr
Page 193 and 194:
STRUCTURAL PROBLEMS for organic uni
Page 195 and 196:
tells US, 'is STRUCTURAL PROBLEMS a
Page 197 and 198:
N STRUCTURAL PROBLEMS of art' seems
Page 199 and 200:
STRUCTURAL PROBLEMS acknowledging w
Page 201 and 202:
STRUCTURAL PROBLEMS wearing down hu
Page 203 and 204:
STRUCTURAL PROBLEMS handling of the
Page 205 and 206:
STRUCTURAL PROBLEMS of experience d
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NARRATIVE TECHNIQÛE dialogue: all
Page 209 and 210:
NARRATIVE TECHNIQÛE thing it had t
Page 211 and 212:
NARRATIVE TEGHNIQÛE rank quality o
Page 213 and 214:
NARRATIVE TECHNIQ,UE writers like S
Page 215 and 216:
NARRATIVE TEGHNIQÛE bility. Conrad
Page 217 and 218:
CHARACTERIZATION in The Waves embod
Page 219 and 220:
CHARACTERIZATION exasperation under
Page 221 and 222:
CHARACTERIZATION writer's emotions,
Page 223 and 224:
CHARACTERIZATION and idiosyncrasies
Page 225 and 226:
CHARACTERIZATION dimensional nature
Page 227 and 228:
CHARACTERIZATION than Lear or Ophel
Page 229 and 230:
DIALOGUE 'real' and the stylized. T
Page 231 and 232:
5 Chapter xxxiv. 211 DIALOGUE divid
Page 233 and 234:
DIALOGUE spersed here and there—a
Page 235 and 236:
BACKGROUND its 'development'. It is
Page 237 and 238:
BACKGROUND in the imaginative recon
Page 239 and 240:
STYLE that 'incorrect' writers like
Page 241 and 242:
STYLE names,—snowdrop, primrose,
Page 243 and 244:
STYLE Furthermore, Fielding likes t
Page 245 and 246:
: STYLE ing Heights, as it is point
Page 247 and 248:
TEXT / Structural Problems UNITY AN
Page 249 and 250:
— STRUCTURAL PROBLEMS he begins a
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STRUCTURAL PROBLEMS ling recurrence
Page 253 and 254:
STRUCTURAL PROBLEMS EPISODES DISTRA
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STRUCTURAL PROBLEMS FOCUS (5 July 1
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STRUCTURAL PROBLEMS better without
Page 259 and 260:
— STRUCTURAL PROBLEMS of the read
Page 261 and 262:
STRUCTURAL PROBLEMS pushed out of s
Page 263 and 264:
STRUCTURAL PROBLEMS It would seem a
Page 265 and 266:
STRUCTURAL PROBLEMS STORY THE SPOIL
Page 267 and 268:
— STRUCTURAL PROBLEMS DOING AWAY
Page 269 and 270:
. s STRUCTURAL PROBLEMS please acce
Page 271 and 272:
STRUCTURAL PROBLEMS of the entire w
Page 273 and 274:
STRUCTURAL PROBLEMS found, to proce
Page 275 and 276:
STRUCTURAL PROBLEMS which intervene
Page 277 and 278:
NARRATIVE TECHNIQÛE be pleaded for
Page 279 and 280:
NARRATIVE TECHNIQÛE her own mouth,
Page 281 and 282:
. NARRATIVE TEGHNIQ,UE enjoyed on t
Page 283 and 284:
NARRATIVE TEGHNIQÛE ways rather th
Page 285 and 286:
NARRATIVE TECHNIQUE FORM AS VARIED
Page 287 and 288:
NARRATIVE TECHNIQUE everything she
Page 289 and 290:
NARRATIVE TEGHNIQÛE eminence, they
Page 291 and 292:
NARRATIVE TECHNIQÛE should form a
Page 293 and 294:
NARRATIVE TECHNIQUE (viii) . . . th
Page 295 and 296:
Characterization THE DIAL-PLATE OR
Page 297 and 298:
. CHARACTERIZATION mood fittest to
Page 299 and 300:
CHARACTERIZATION comings? in compan
Page 301 and 302:
CHARACTERIZATION up, I have as a ne
Page 303 and 304:
CHARACTERIZATION write my story, wh
Page 305 and 306:
CHARACTERIZATION caused trouble, I
Page 307 and 308:
CHARACTERIZATION then had to find f
Page 309 and 310:
CHARACTERIZATION All the principal
Page 311 and 312:
. CHARACTERIZATION This implies a f
Page 313 and 314:
DIALOGUE Bovary is driving me mad!
Page 315 and 316:
DIALOGUE dialogue on extraneous mat
Page 317 and 318:
DIALOGUE US to dance hand in hand r
Page 319 and 320:
V Background SCOTT TRANSFORMS MELRO
Page 321 and 322:
BACKGROUND TOO MUCH BACKGROUND ...
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BACKGROUND vacuum. Man is not alone
Page 325 and 326:
BACKGROUND HENRY JAMES FOLLOWS THE
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BACKGROUND all the corners of Germa
Page 329 and 330:
STYLE reader, in the most lively ma
Page 331 and 332:
STYLE ephemeral, sterile emotion wh
Page 333 and 334:
STYLE It will be as rhythmical as v
Page 335 and 336:
STYLE BYRON A MODEL ... I don't att
Page 337 and 338:
STYLE moment, has no place here. Le
Page 339 and 340:
STYLE life, and a far keener sense
Page 341 and 342:
demand to STYLE be promptly improve
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ACKNOWLEDGEMENTS The compiler and t
Page 345 and 346:
INDEX OF AUTHORS AND TITLES IN THE
Page 347 and 348:
INDEX OF AUTHORS AND TITLES Fathers
Page 349 and 350:
INDEX OF AUTHORS AND TITLES 5 Nostr
Page 351 and 352:
INDEX TO THE TEXT Austen, Jane. Cha
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INDEX TO THE TEXT 2.51; narrative t
Page 355 and 356:
INDEX TO THE TEXT Mrs. Barbauld on
Page 358 and 359:
1 1 j 1 . AfR 19 '65 Date Due Due R
Page 360:
m
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