A Study of Prose FictionHoughton, Mifflin,, 1902 - 406 Seiten |
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Häufige Begriffe und Wortgruppen
acters action actual Adam Bede admirable æsthetic American art of fiction artist beauty chapter char character climax conscious criticism Daniel Deronda delineation depicted describe Dickens drama effect element emotion English Novel experience expression fact feeling fiction-writer field forces George Eliot give Hawthorne Henry James human imagination impression individual influence instinct interest landscape literary literature Marble Faun material means ment method Middlemarch mind modern moral nature novelist observation Old Mortality painting Partial Portraits passion personages persons play plot Poe's poet poetic poetry portrait precisely present prose fiction qualities question reader realism representative rôle romantic romantic fiction romanticism Scarlet Letter scene scientific Scott sense setting short story spirit stage story-writers student style sympathy tale Thackeray theme theory things Thomas Hardy tion tive traits truth ture turn Vanity Fair words writer
Beliebte Passagen
Seite 301 - In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished, because undisturbed ; and this is an end unattainable by the novel.
Seite 173 - There is one point at which the moral sense and the artistic sense lie very near together; that is, in the light of the very obvious truth that the deepest quality of a work of art will always be the quality of the mind of the producer.
Seite 305 - Yet these commonplace people - many of them - bear a conscience, and have felt the sublime prompting to do the painful right...
Seite 232 - That young lady had a talent for describing the involvements, and feelings, and characters of ordinary life, which is to me the most wonderful I ever met with. The Big Bow-wow strain I can do myself like any now going ; but the exquisite touch, which renders ordinary commonplace things and characters interesting, from the truth of the description and the sentiment, is denied to me.
Seite 210 - Our art is occupied, and bound to be occupied, not so much in making stories true as in making them typical ; not so much in capturing the lineaments of each fact, as in marshalling all of them towards a common end.
Seite 232 - The Big Bow-Wow strain I can do myself like any now going ; but the exquisite touch which renders ordinary common-place things and characters interesting, from the truth of the description and the sentiment, is denied to me" (Lockhart's Life tf Scott, chap.
Seite 150 - There are, so far as I know, three ways, and three ways only, of writing a story. You may take a plot and fit characters to it, or you may take a character and choose incidents and situations to develop it, or lastly — you must bear with me while I try to make this clear...
Seite 301 - A skilful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents — he then combines such events as may best aid him in establishing this preconceived effect.
Seite 267 - The latter form of composition is presumed to aim at a very minute fidelity, not merely to the possible, but to the probable and ordinary course of man's experience. The former — while, as a work of art, it must rigidly subject itself to laws, and while it sins unpardonably so far as it may swerve aside from the truth of the human heart — has fairly a right to present that truth under circumstances, to a great extent, of the writer's own choosing or creation.
Seite 300 - ... in the composition of a rhymed poem, not to exceed in length what might be perused in an hour.