The more circuitous procedure on the
part of the author produces a straighter effect for the reader; that
is why, other things being equal, the more dramatic way is better than
the less. It is indirect, as a method; but it places the thing itself
in view, instead of recalling and reflecting and picturing it. For any
story, no doubt, there is an ideal point upon this line of progress
towards drama, where the author finds the right method of telling the
story. The point is indicated by the subject of the story itself, by
the particular matter that is to be brought out and made plain; and
the author, while he regards the subject and nothing else, is guided
to the best manner of treatment by a twofold consideration. In the
first place he wishes the story so far as possible to speak for
itself, the people and the action to appear independently rather than
to be described and explained. To this end the method is raised to the
highest dramatic power that the subject allows, until at last,
perhaps, it is found that nothing need be explained at all; there need
be no revelation of anybody's thought, no going behind any of the
appearances on the surface of the action; even the necessary
description, as we shall see later on, may be so treated that this too
gains the value of drama. Such is the first care of the prudent
novelist, and I have dwelt upon it in detail.
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