I can imagine that
by examining and comparing in detail the workmanship of many novels by
many hands a critic might arrive at a number of inductions in regard
to the relative properties of the scene, the incident dramatized, the
incident pictured, the panoramic impression and the rest; there is
scope for a large enquiry, the results of which are greatly needed by
a critic of fiction, not to speak of the writers of it. The few books
that I have tried to take to pieces and to re-construct are not
enough--or at least it would be necessary to deal with them more
searchingly. But such slight generalizations as I have chanced upon by
the way may as well be re-stated here, before I finish.
And first of the dramatic incident, the scene, properly so
called--this comes first in importance, beyond doubt. A novelist
instinctively sees the chief turns and phases of his story expressed
in the form of a thing acted, where narrative ceases and a direct
light falls upon his people and their doings. It must be so, for this
is the sharpest effect within his range; and the story must naturally
have the benefit of it, wherever the emphasis is to fall most
strongly. To the scene, therefore, all other effects will appear to be
subordinated in general; and the placing of the scenes of the story
will be the prime concern. But precisely because it has this high
value it will need to be used prudently.
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