Novelists on the novel:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Columbia Univ. Press
1966
|
| Ausgabe: | Columbia paperback ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XV,336 S. |
| ISBN: | 0710046480 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Titel: Novelists on the novel
Autor: Allott, Miriam
Jahr: 1966
CONTENTS PREFACE XV Part One the nature of prose fiction I The Novel and the Marvellous II The Novel as a Portrait of Life III 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
CONTENTS Ghost stones. Henry James 56 Adjusting the exceptional and the non-exceptional. Thomas Hardy 58 II. THE NOVEL AS A PORTRAIT OF LIFE A new species of writing. Henry Fielding 59 The bounds of probability. Henry Fielding 60 No ‘sudden conversions . Samuel Richardson 61 Truth to be kept in sight. Richard Cumberland 62 The offspring of nature. Fanny Burney 62 The paths of common life: Jane Austen’s ‘ Emma’. Sir Walter Scott 63 Accidents admissible? Charles Dickens 66 Dickens defends fantasy. Charles Dickens 66 The art of novels is to represent nature. William Makepeace Thackeray 67 Realism compatible with sensationalism. Anthony Trollope 67 Truth lies in the ‘ exceptional’. Feodor Dostoevsky 68 Scientific realism. Emile Zola 68 Reality only a spring-board. Gustave Flaubert 69 The naturalist modifies nature. Emile Zola 70 Realists are illusionists. Guy de Maupassant 70 Representative art both realistic and ideal. Robert Louis Stevenson 72 The novel ‘an artificiality distilled from the fruits of observation’. Thomas Hardy 73 Imitation cannot serve as a standard. Leo Tolstoy 74 Art ‘all discrimination and selection’. Henry James 75 Imagined life clearer than reality. Joseph Conrad 76 Is life like this? Virginia Woolf 76 Realism impairs the sense of tragedy. D. H. Lawrence 77 Realism and stylization. André Gide 78 Truth stranger than fiction. Aldous Huxley 79 Not an observer, but a creator. François Mauriac 80 A discussion about categories of fiction: Henry James dismisses them 81 Robert Louis Stevenson remonstrates 82 Iir. THE ETHICS OF THE NOVEL The novelist and the young person. Samuel Richardson 85 Jean-Jacques Rousseau 85 Clara Reeve 86 vi
CONTENTS Oliver Goldsmith 87 Sir Walter Scott 87 Anthony Trollope 87 Charles Dickens 88 Henry James 88 François Mauriac 89 Reforming the wicked reader. Daniel Defoe 89 Gilding the pill. Samuel Richardson go Useful examples provided. Henry Fielding 91 Exemplary ambitions achieved. Tobias Smollett 91 No politics? Richard Cumberland 92 Stendhal 92 The reader uninterested in the moral. Sir Walter Scott 92 On not impaling the butterfly. Nathaniel Hawthorne 93 Truth is best. William Makepeace Thackeray 93 The writer’s responsibility. George Eliot 94 An argument about artistic detachment. Gustave Flaubert 94 George Sand 95 Gustave Flaubert 95 High moral purpose of the naturalists. Emile Zola 96 Foul to tell what is false: unsafe to suppress what is true. Robert Louis Stevenson 97 Natural truth better than didacticism. Thomas Hardy 98 The artist must set the question, not solve it. Anton Chekhov 99 Is it genuine, is it sincere? Henry James 99 Cherishing undying hope. Joseph Conrad 100 Thumbs off the scale. D. H. Lawrence 101 Best to be without any views. Ford Madox Ford 102 How to present ideas in a novel. Honoré de Balzac 103 Ivan Turgenev 103 D. H. Lawrence 104 André Gide 104 Aldous Huxley 104 Poetic justice. Ivy Compton-Burnett 104 Moral tragedy, André Gide 105 The Christian novelist. François Mauriac 106 Tailpiece. Oscar Wilde 108 vn
CONTENTS Part Two the genesis of a novel I The Novelist s Approach and Equipment II Germination III At Work: Effort and Inspiration INTRODUCTION III TEXT 125 I. THE novelist’s APPROACH AND EQUIPMENT Invoking assistance. Henry Fielding 125 In the destructive element immerse? Gustave Flaubert 125 Herman Melville 126 George Sand 126 Feodor Dostoevsky 127 The voice of true feeling. Stendhal 127 Leo Tolstoy 128 Only one tool in the workshop. Robert Louis Stevenson 129 Learning the lesson of the master. Guy de Maupassant 130 The soul of the artist. Leo Tolstoy 131 The watcher at the window. Henry James 131 The business of the novelist. Thomas Hardy 132 The novelist’s most precious possession. Joseph Conrad 132 The novelist’s essential characteristic. Arnold Bennett 133 The novelist’s raison d’être. François Mauriac 133 II. GERMINATION ‘Hence sprung Pamela’. Samuel Richardson 134 ‘7 thought of Mr. Pickwick,’. Charles Dickens 134 Mary Am Evans into George Eliot. George Eliot 135 A scarlet letter. Nathaniel Hawthorne 136 The beginning of Barchester. Anthony Trollope 136 Henry James is inoculated. Henry James 138 The inception of‘Nostromo’. Joseph Conrad 139 Proust recaptures the past. Marcel Proust 141 What is it to be? Virginia Woolf 142 No notebooks. Ivy Compton-Burnett 143 viii
CONTENTS III. THE NOVELIST AT WORK: EFFORT AND INSPIRATION Richardson in difficulties. Samuel Richardson 144 A carrier’s horse. Richard Cumberland 145 Whom the devil drives. Sir Walter Scott 145 Mo planning. Stendhal 146 What! what! what! how! how! how! Nathaniel Hawthorne 146 250 words every quarter of an hour. Anthony Trollope 147 Miseries and splendours of creation. Gustave Flaubert 148 Pain and travail of soul. Feodor Dostoevsky 149 Flesh in the ink-pot. Leo Tolstoy 150 Copious preliminaries. Henry James 150 Wrestling with the Lord. Joseph Conrad 151 Feathering about. Virginia Woolf 152 The novelist inspired. Henry Fielding 154 Charlotte Bronte 154 George Eliot 155 Gustave Flaubert 155 Henry J ames 156 Virginia Woolf 157 E. M. Forster 158 Part Three the craft of fiction I Structural Problems Unity and Coherence Plot and Story The Time-Factor II Narrative Technique III Characterization IV Dialogue V Background VI Style INTRODUCTION 161
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| spellingShingle | Allott, Miriam Novelists on the novel Roman Fiction History and criticism Anthologie (DE-588)4002214-6 gnd Kreativität (DE-588)4032903-3 gnd Romantheorie (DE-588)4076830-2 gnd Schriftsteller (DE-588)4053309-8 gnd Literatur (DE-588)4035964-5 gnd |
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| title | Novelists on the novel |
| title_auth | Novelists on the novel |
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| title_full | Novelists on the novel by Miriam Allott |
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