(1) The characters of a novel are of prime importance. As in actual life, they give tone to the society to which we are introduced. They should be clearly individualized, as in the drama, and maintain throughout a reasonable consistency. They may be taken from any class of society; and writers of large creative genius, like Shakespeare, Scott, Dickens, Balzac, will be distinguished both for the number and for the variety of their characters. It is not enough that the characters be described in their outward appearance and experiences. In all profounder work, as in George Eliot, there will be an unveiling of the hidden springs of motive and disposition. The great potentialities of human nature both for good and evil will be brought to light, and thus the mimic world of the novelist will reflect the life of the great real world in its more tragic aspects.

(2) By the incidents of a novel we mean the acts and experiences of the characters. They make up the connected and progressive story. The incidents may be as varied, as the occurrences of human life, sweeping the whole range of toil, sorrow, and joy. They may be either comic or tragic. The interest of a work of fiction depends largely upon its incidents. Separately they may be entertaining, absorbing, or thrilling; and taken together in their sequence they may carry us forward irresistibly to the conclusion. They should be in keeping with the time and place, and the several acts of the personages should be in harmony with their character and culture.

(3) As in real life, the personages of a novel or romance live and move in the midst of an environment. They are placed in the midst of circumstances, upon which they act and by which they are acted upon. They may live on land or sea, in the country or in the city, amid the wildness of unsubdued forests or the culture of long-established communities. They may be surrounded by intelligence and luxury or by ignorance and squalor.

The environment is brought before us by description, which necessarily constitutes no inconsiderable part of every work of fiction. The descriptive passages should be true to fact, and graphic enough to enable the reader to picture the scenes in his mind; but they should not be so long drawn as to encumber or impede the story. Description is subordinate in fiction; instead of being an end in itself, its purpose is to throw light upon the characters and incidents of the story.

(4) By plot, we mean the manner in which the incidents of a story are arranged with reference to the final issue. The incidents may be loosely connected or they may be so skillfully ordered as to arouse the reader's breathless interest. A skillful plot presupposes dramatic talent. This is not always found in union with a strong creative imagination; and thus it happens that some of our greatest novelists, as Thackeray and George Eliot, are defective in dramatic plots. While a skillfully arranged plot is not an essential element in a work of fiction, it is always a source of interest and power.

(5) Every work of fiction has an aim or purpose. Sometimes the author merely aims at telling an interesting story which has no other significance than to provoke a smile or a tear. Sometimes it may be intended to illustrate a period in history or the manners of a particular locality. Sometimes it is designed to throw light on some phase of human character or human experience. And again, it may be a vehicle for conveying some form of teaching or for illustrating the growth of culture and character. In studying a work of fiction the purpose should be clearly apprehended, for the merit of a novel or romance depends in a measure upon the author's aim and his degree of success in realizing it.

(6) Every work of fiction, consciously or unconsciously to the author, is apt to embody a particular view or philosophy of life. Every thoughtful person has convictions in regard to God, nature, and man. He may believe in a personal deity or an unconscious force as the source of all things. He may think of nature as a creation or as a product of impersonal natural law. He may think of man as an immortal being or as a creature whose existence ceases with death. But whatever may be an author's fundamental beliefs, they will inevitably color his work.

73. Kinds of Novels. Novels may be divided into various classes according to subject or method of treatment. As to method, we have already had the general division of romanticism and realism. Another generic classification has been proposed: first, novels of life, which include the works portraying both past and contemporary life; and second, novels of idea, which include didactic and artistic works of fiction. The didactic novel discusses some practical problem or advances some social or moral theory; the artistic novel subordinates the story to perfection of form.

It will be helpful to the student to distinguish the following classes:

(1) The society novel is devoted to a portrayal of existing men and manners. The field is a wide one. The characters may be taken from any class of society. The society novel may bring before us, as in Thackeray's "Vanity Fair," what is known as fashionable life. It may again, as in George Eliot's "Adam Bede" or Goldsmith's "Vicar of Wakefield," introduce us to the lives of plain people. It may acquaint us, as in Du Maurier's "Trilby," with the Bohemian or artist class in our great cities. It may deal, as in Dickens's "Oliver Twist" or Bulwer's "Paul Clifford," with the criminal class. In short, there is no class of society or type of character that may not become the subject of treatment in novels of this class.

(2) Local novels are devoted to the portrayal of the life and manners of a well-marked locality. They are social novels within a restricted field. Differences of race, of language, of pursuit, and of intelligence, as seen in particular localities, are reflected in novels of this kind. There is scarcely any portion of England that has not been described in some work of fiction. Charlotte Bronte brings Yorkshire scenery and character before us in "Shirley"; George Eliot portrays the scenes of her native Warwick in "The Mill on the Floss"; Blackmore's "Lorna Doone" portrays the scenery, life, and language of Devonshire.

America has afforded a very rich field for the local novel. Not a few of its choicest works belong to this class. Scarcely any part of our wide country or any special phase of its life has escaped the eyes of the enterprising story-teller. In his "Grandissimes," for example, George W. Cable gives us a glimpse of the Creole life of Louisiana. In the "Hoosier Schoolmaster" Edward Eggleston describes pioneer life in Indiana. In "Gabriel Conroy" Bret Harte brings before us the wild and lawless life of California a half century ago. In various works Miss Murfree has described the dwellers in the Tennessee mountains. New England and the South have been portrayed by various writers.

(3) The historical novel is devoted to the description of life in the past. It should be based on a careful study of the period to be portrayed. It may deal with the scenes of a hundred years ago or it may go back a thousand years before the Christian era.

No other department of fiction has a prouder array of great books. Historical fiction has gone hand in hand with a revived interest in historical and archaeological research. The greatest of all historical novelists is Scott, whose Waverley series covers the centuries between the crusades, which "Ivanhoe" describes, and the rebellion of Prince Edward Charles in 1745, which "Waverley" describes. But other great names—German, English, American—belong to this class of fiction. "Uarda," for example, by George Ebers, describes life in Egypt a thousand years before Christ. Kingsley's "Hypatia" takes us back to the city of Alexandria in the fifth century of our era. In the "Last Days of Pompeii" Bulwer Lytton describes the life of the Roman city at the time of its destruction. George Eliot's "Romola" portrays the spirit and manners of the city of Florence in the days of Savonarola and the revival of learning. "Ben Hur" by Lew Wallace is a tale of the Christ. "The Schoenberg-Cotta Family" by Mrs. Elizabeth Charles is a graphic portrayal of movements and scenes in Germany at the period of the Reformation.

Recently there has been a notable revival in historical fiction. It has come, perhaps, as a reaction against a hard realism and empty romanticism. It probably strikes its roots in the desire for knowledge which at the present time is so generally characteristic of the American people. Not a few of the recent books of phenomenal popularity—Churchill's "Richard Carvel," Miss Johnson's "To Have and to Hold," Ford's "Janice Meredith," Page's "Red Rock," Thompson's "Alice of Old Vincennes"—deal with interesting periods in the history of our country.

(4) The problem or purpose novel has been prominent in recent fiction. It has been a natural product of this restless, intellectual age. Fiction has been made the medium for the discussion of political, social, and religious problems. Not a few of them, as Bellamy's socialistic "Looking Backward," have had an enormous circulation. "Uncle Tom's Cabin" by Mrs. Stowe was a severe arraignment of slavery, and exerted a strong influence in molding the sentiment of a large part of our country. Recent theological unrest is reflected in Mrs. Ward's "Robert Elsmere" and in Margaret Deland's "John Ward, Preacher." The nature and influence of labor organizations are presented in Charles Reade's "Put Yourself in His Place," and in the anonymous American story "The Bread Winners." Hall Caine's "Christian" involves a serious indictment against the church in England. Disraeli traversed the field of English politics in his "Coningsby" and "Endymion," as did Trollope in his "Phineas Finn" and "Prime Minister." In his "Guardian Angel" and "Elsie Venner" Oliver Wendell Holmes traces the effects of heredity, a subject previously handled by Hawthorne in his "House of Seven Gables." In this way we see that nearly every great practical question of general interest may be discussed or portrayed in fiction.

(5) The love story and the story of adventure embrace a considerable though unambitious part of fiction. The love story deals with courtship and marriage. As a rule, after encountering more or less opposition or difficulty, the lovers are at last happily united. A thread of love usually runs through all the more ambitious types of fiction, for it is a source of universal interest that cannot lightly be set aside; but in the love story it is the central and dominant interest.

The story of adventure consists of a succession of interesting or thrilling incidents. The type of this species of fiction is Defoe's "Robinson Crusoe." The new romantic movement already referred to lays much stress on a rapid succession of exciting incidents. This is illustrated by Hope's "Prisoner of Zenda" or by most of R. L. Stevenson's works, of which "Kidnapped" and "The Master of Ballantrae" may be taken as fair examples.

(6) Naval fiction belongs to the sea. It is an interesting field, though somewhat limited in its range of character and incident. The sea itself, with its magnificent and changing moods, is a sublime object. The restricted life on shipboard—the telling of yarns beneath the starlit skies, the spirit of mingled superstition and daring, the prompt and brave activities attending a storm, and, above all, the excitement and dangers of battle—has for the landsman a peculiar charm.

Novelists of the sea are not numerous; for, in order to be in the best sense successful, the writer must have had a seafaring experience. James Fenimore Cooper, who had been in the navy, criticised Scott's "Pirate" as the work of a landsman. He undertook to produce a genuine story of the sea in his "Pilot," which, whatever else may be its defects, is correct in sailor's lingo and briny flavor. He was no less successful in "The Red Rover," the scenes of which antedate the Revolution. But the prince of marine novelists is unquestionably Frederick Marryat, whose "Peter Simple," "Jacob Faithful," and "Mr. Midshipman Easy" are perhaps unsurpassed in their sphere.

(7) The psychologic novel is concerned chiefly with mental analysis. It traces the workings of the soul under different circumstances and different influences. It follows the character in its ascent to higher goodness or in its descent to lower degradation. Stevenson's "Dr. Jekyll and Mr. Hyde," for example, is a powerful exhibition of the duality—the brute and the divinity—in human nature. Hawthorne's "Scarlet Letter," while in one sense a historical novel, is an incomparable study of the human soul under the weight of guilt and remorse. Throughout George Eliot's novels there is a constant portrayal of mental and moral conditions that give to her works an unusual depth and power. Her method has been justly called psychologic realism. Under this head we may place what has been called the "art and culture novel," the object of which is to exhibit the gradual development of individual character by means of a changing environment. The type of this sort of fiction is Goethe's "Wilhelm Meister."

The short story, which our magazines have rendered so popular in recent years, is a novel in miniature. It paints on a small canvas but with exceeding delicacy. Like the novel or the romance, it may find its materials in any age or in any class of society; and in its general method it conforms to the laws of fiction in general.

REVIEW QUESTIONS

68. What is fiction? How does it resemble the drama? What is said of dramatized novels? Define novel and romance. Give examples of each. 69. What is romanticism? When did it manifest itself? In what two particulars? 70. What is realism? Whence did it spring? What are its merits? What tendency of realistic writers is noted? What is the danger of realism? What is meant by the new romanticism? Mention some of its representative writers. 71. What is the aim of idealism? How does it do this? What two great novelists show idealistic tendencies? 72. What six things are to be noted in every novel? What two groups are distinguished among them? On what does the excellence of a novel depend? What is said of the characters? Whence may they be drawn? How are great writers distinguished? What characterizes profound novels? What is meant by incidents? What is said of their variety? How should they be arranged? What is meant by environment? What environments may be used? How may they be brought before us? What should be the character of this description? What is its place? What is meant by plot? What is presupposed in a skillful plot? What great writers are lacking in dramatic power? What purposes may be aimed at? Why should the purpose be apprehended? About what have thoughtful persons convictions? What is the effect of these convictions? Why should the writer's aim or purpose be understood?

73. How may novels and romances be divided? What are novels of life? novels of idea? What seven classes are distinguished? What is a society novel? What may it portray? What are local novels? What is said of them in America? Mention some well-known local novels. What is a historical novel? On what should it be based? What is said of historical fiction? Who is the greatest of historical novelists? Mention some others. What is said of recent tendencies? Mention some recent historical novels. What is meant by problem or purpose novels? Illustrate by various examples. What is the nature of the love story? of the story of adventure? Illustrate. What is naval fiction? Why are sea novelists not numerous? What is said of Cooper? Who is the chief of marine novelists? With what is the psychologic novel principally concerned? Give examples. What gives George Eliot's novels their depth? What is said of the short story? To what laws is it subject?

NOTE

As illustrative and practical exercises, let the student criticise several pieces of fiction assigned by the teacher. For this purpose any of the standard or popular works mentioned in the text may be selected, or any others to which the student may have access.

After classifying the work and determining its style, the student should investigate it according to its six component elements,—characters, incidents, environment, plot, purpose, and views of life. The points to be investigated under each head are suggested in the text.

As points of special interest, he may inquire into the origin of the work and the sources from which its materials were derived. This investigation will frequently reveal, as in the case of Thackeray, Charlotte Bronte, Dickens, and George Eliot, interesting autobiographic details.

The results of this investigation may be presented in a written critique, in which the value of the work as a whole, in the light of correct aesthetic and critical principles, should be determined. It will sometimes be found that novels of wide popularity are destitute of great intrinsic excellence.



INDEX

AEsthetics defined, 34; aesthetic elements, 35.

Allegory, 71.

Alliteration, 114.

Analogy, argument from, 172.

Anglo-Saxon and Latin elements of English, 56.

Annals, 158.

Antithesis, 75.

Apostrophe, 73.

Argumentation, 87; four kinds of, 172.

Artistic element in literature, 8.

Author and his work, 19; personality of, 19; mental qualities of, 19; character of, 20; view of life of, 22; literary school of, 24; mood and purpose of, 24; life of, 27.

Autobiographic elements in literature, 21.

Autobiography, 162.

Ballad defined, 134.

Beauty, 35.

Biography, 160; three types of, 161; essentials of, 161.

Blank verse, 117.

Caesura, 118.

Character and authorship, 21.

Chronicle, 158.

Classic writers, 4.

Climax, 75.

Comedy, 148.

Criticism, defined, 2; history of, 3; standard of, 3; requisites of, 4; as an art, 5; diversity of, 5; diversity of, explained, 6; utility of, 7; materials of, 8.

Description, 35, 42, 85.

Diary, 162.

Diction, 58.

Discourse, kinds of, 84.

Drama, 148-153; unity of, 149; five principal parts, 150; other elements, 150.

Dramatis personae, 151.

Elegy, 137.

Eloquence, source of, 169.

English language, composite, 55; copious, 56; elements of, 56; what elements to choose, 57.

Enjambement, 118.

Epic poetry, 146; different species of, 147; mock epic, 147.

Epigram, 76.

Essay, 167; principal forms of, 167; criteria of, 168.

Exclamation, 73.

Exposition, 87.

Fable, 72.

Faculties, symmetrical, 92.

Farce, 149.

Felicity of expression, 38.

Fiction, defined, 178; elements of, 181; characters of, 182; incidents of, 182; environment in, 183; plot in, 183; aim of, 184; view of life of, 184; kinds of, 184; society novel, 185; local novel, 185; historical novel, 186; problem or purpose novel, 187; love story, 188; marine novel, 189; psychologic novel, 189; short story, 190.

Figures, defined, 68; kinds of, 68; of resemblance, 69; of contrast, 75.

Harmony of thought and expression, 37.

Heroism, 41.

History, defined, 156; divisions of, 157; methods of, 158; criteria of, 163.

Humor, 46.

Hymns, 135.

Hyperbole, 74.

Idealism, 180.

Imagination, 89; ill-governed, 90.

Interrogation, 76.

Irony, 77.

Life, an author's view of, 22.

Literary school, 24.

Love in literature, 40; love story, 188.

Ludicrous, the, in literature, 44.

Matter and form in literature, 9.

Metaphor, 70.

Meter, 111, 116.

Metonymy, 72.

Mind, generic differences of, 88.

Mock epic, 147.

Molding influences in literature, 8.

Moral character, 20; moral sublime, 43.

Narration, 86.

Necessity of understanding a work, 1.

Novel and romance, 178. See Fiction.

Ode defined, 136.

Opera, 149.

Oration, divisions of, 170; criteria of, 174.

Oratory, 169; different kinds of, 170.

Parable, 72.

Paragraph, 62.

Parody, 45.

Period in verse, 118.

Personification, 70.

Poet, the, 105; as seer, 106.

Poetic license, 120-122.

Poetry, defined, 103; and prose, 104; sources of, 104; classification of, 130; didactic, 130; descriptive, 132; pastoral, 133; lyric, 134; criteria of, 138; epic, 145.

Prose and poetry, 104; defined, 156.

Purpose of literary study, 1.

Realism, 179.

Rhyme, 112; different kinds of, 112-114.

Romance, metrical, 147; defined, 178. See Fiction.

Romanticism, 179.

Satire, 45, 131.

Sensibilities in ascendant, 90.

Sentences, different kinds of, 60; qualities of, 61.

Simile, 69.

Song defined, 135.

Sonnet, 137.

Spiritual truth, 39.

Stanza, defined, 115; different kinds of, 115-117.

Style, 61; defined, 84; importance of, 94; poetic, 120.

Synecdoche, 72.

Tale, metrical, 147; of adventure, 188.

Taste, literary, 34.

Tenderness and pathos, 43.

Tragedy, 148.

Tragi-comedy, 148.

Versification, defined, 107; quantity in, 107; accent in, 107; poetic feet in, 108-110; time element in, 111; meter in, 111.

Vision, 74.

Will, force of, in literature, 91.



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TRANSCRIBER'S NOTES:

The following changes have been made to the text:

page 36: "[quotation mark missing in original]The great brand

page 74: exaggerated form of statement,[original has period]

The following words appear in the text with and without hyphens. They have been left as in the original.

common-meter common meter long-meter long meter love-songs love songs short-meter short meter

The following words have variations in spelling. They have been left as in the original.

Athenaeum ATHENAEUM d'Arthur Darthur Pre-Shaksperean Shakespearian Shakspere's Shakespeare

THE END