Manual of the Art of Fiction: Prepared for the Use of Schools and CollegesDoubleday, 1918 - 233 من الصفحات |
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الصفحة ix
... Nature - Curiosity and Sympathy . II . REALISM AND ROMANCE . Two Methods of Exhibiting the Truth - Every Mind Either Realistic or Romantic - Marion Crawford's Faulty Distinction - A Second Un- satisfactory Distinction - A Third ...
... Nature - Curiosity and Sympathy . II . REALISM AND ROMANCE . Two Methods of Exhibiting the Truth - Every Mind Either Realistic or Romantic - Marion Crawford's Faulty Distinction - A Second Un- satisfactory Distinction - A Third ...
الصفحة x
... NATURE OF NARRATIVE Transition from Material to Method - The Four Methods of Discourse - 1 . Argumentation ; 2. Exposition ; 3. Description ; 4. Narration , the Natural Mood of Fiction - Series and Succes- sion - Life Is Chronological ...
... NATURE OF NARRATIVE Transition from Material to Method - The Four Methods of Discourse - 1 . Argumentation ; 2. Exposition ; 3. Description ; 4. Narration , the Natural Mood of Fiction - Series and Succes- sion - Life Is Chronological ...
الصفحة xiii
... natural to the situation . It brags of its descent , although its origins are obscure . It has won its way to the front and it has forced its admission into circles where it was formerly denied access . It likes to forget that it was ...
... natural to the situation . It brags of its descent , although its origins are obscure . It has won its way to the front and it has forced its admission into circles where it was formerly denied access . It likes to forget that it was ...
الصفحة xv
... natural endowment . In English literature especially , prose - fiction tempted men as unlike as Defoe and Swift , Richardson and Fielding , Smollett and Sterne , Goldsmith and Johnson . And a little earlier the eighteenth century ...
... natural endowment . In English literature especially , prose - fiction tempted men as unlike as Defoe and Swift , Richardson and Fielding , Smollett and Sterne , Goldsmith and Johnson . And a little earlier the eighteenth century ...
الصفحة xvi
... natural gift poets or dramatists , seized upon the novel as a form in which they could express themselves freely and by which they might hope to gain a proper reward in money as well as in fame . The economic interpretation of literary ...
... natural gift poets or dramatists , seized upon the novel as a form in which they could express themselves freely and by which they might hope to gain a proper reward in money as well as in fame . The economic interpretation of literary ...
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عبارات ومصطلحات مألوفة
actors actual art of fiction artistic BLISS PERRY Brander Matthews chapter concrete critic definite delineating distinction drama dramatist economy of means Edgar Allan Poe element of action element of character 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 incident individual intellect interest Jane Austen Kipling Kipling's Ligeia logical look major knot Markheim Master of Ballantrae materials matter merely method mind mood narrated narrative effect nature novel novelette novelist omniscience outset passage pattern person phases philosophic plot Poe's point of view prose purpose reader realist represent ROBERT LOUIS STEVENSON romantic Scarlet Letter scene sense sentence series of events short-story single sort stand Stevenson story structure style tale technical tell Thackeray theme thing thought tion tive told truths of human unity words writer of fiction written
مقاطع مشهورة
الصفحة 28 - 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 209 - 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 115 - ... 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 84 - 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 151 - No more firing was heard at Brussels — the pursuit rolled miles away. Darkness came down on the field and city : and Amelia was praying for George, who was lying on his face, dead, with a bullet through his heart.
الصفحة 7 - 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 49 - Thou didst swear to me upon a parcel-gilt goblet, sitting in my Dolphin-chamber, at the round table, by a sea-coal fire, upon Wednesday in Wheeson week, when the prince broke thy head for liking his father to a singingman of Windsor, thou didst swear to me then, as I was washing thy wound, to marry me and make me my lady thy wife.
الصفحة 105 - 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 37 - 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 200 - can I never — can I never be mistaken — these are the full, and the black, and the wild eyes — of my lost love — of the lady — of the LADY LIGEIA.