A Manual of the Art of FictionDoubleday, Page, 1918 - 233 من الصفحات |
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عبارات ومصطلحات مألوفة
actors actual art of fiction artistic BLISS PERRY Brander Matthews chapter concrete convey critic definite delineation distinction drama dramatist economy of means Edgar Allan Poe element of action element of setting emotional emphasis employed entire epic essay exhibit experience feel fiction-writer fictitious George Eliot George Meredith Guy de Maupassant happen Hawthorne Henry James hero imagined facts important incidents individual intellect interest Jane Austen Kipling Kipling's logical look major knot Markheim Master Master of Ballantrae materials merely mind mood moral narrated narrative effect nature novel novelette novelist omniscience outset passage pattern person phases philosophic plot point of view present prose purpose reader realist represent ROBERT LOUIS STEVENSON romantic sake Scarlet Letter scene selected sense sentence short-story single sort stand story structure style tale technical tell Thackeray thing thought tion tive told truths of human unity Victor Hugo words writer of fiction written
مقاطع مشهورة
الصفحة 30 - Master shall praise us, and only the Master shall blame ; And no one shall work for money, and no one shall work for fame ; But each for the joy of the working, and each, in his separate star, Shall draw the Thing as he sees It for the God of Things as They Are!
الصفحة 211 - That like a broken purpose waste in air : So waste not thou ; but come ; for all the vales Await thee ; azure pillars of the hearth Arise to thee ; the children call, and I Thy shepherd pipe, and sweet is every sound, Sweeter thy voice, but every sound is sweet ; Myriads of rivulets hurrying thro' the lawn, The moan of doves in immemorial elms, And murmuring of innumerable bees.
الصفحة 33 - Novel. 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.
الصفحة 117 - ... considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate, its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down, but with a shudder even more thrilling than before, upon the remodelled and inverted...
الصفحة 86 - I WAS ever of opinion that the honest man who married and brought up a large family did more service than he who continued single and only talked of population.
الصفحة 9 - Canst thou not minister to a mind diseased ; Pluck from the memory a rooted sorrow ; Raze out the written troubles of the brain ; And, with some sweet oblivious antidote, Cleanse the stuff'd bosom of that perilous stuff Which weighs upon the heart ? Doct.
الصفحة 107 - Then, when the dusk of evening had come on, and not a sound disturbed the sacred stillness of the place — when the bright moon poured in her light on tomb and monument, on pillar, wall, and arch, and most of all (it seemed to them) upon her quiet grave...
الصفحة 39 - That the novelist must write from his experience, that his "characters must be real and such as might be met with in actual life;" that "a young lady brought up in a quiet country village should avoid descriptions of garrison life...
الصفحة 29 - What is character but the determination of incident ? What is incident but the illustration of character ? What is either a picture or a novel that is not of character?
الصفحة 88 - So did his hair, just grizzled with an iron-gray, which was all brushed off his forehead, and stood bolt upright, or slightly drooped in kindred action with his heavy eyelids. So did his person, which was sleek though free from corpulency. So did his manner, which was soft and oily. In a word, even his plain black suit, and state of widower, and dangling double eyeglass, all tended to the same purpose, and cried aloud,