The Study of a Novel

INDEX

Action and narration, 49.
Action, the single, 53.
Addison, 246; Sir Roger de Coverley, 96,
194, 198, 229; The Spectator, 145,

208, 229.
ESTHETIC INTEREST, GENERAL, 247-
264.

Esthetics, analysis and theory in, 247.
ÆSTHETICS, COMPARATIVE, 232–246.
Age of the author, 184.

Aldrich, T. B., The Queen of Sheba, 122.
Alemán, Mateo, Guzmán de Alfarache,
195.

Allen, Grant, Physiological Esthetics,
248, n.

Amadis of Gaul, 8, 22, 113, 206.

American Criticism of the Novel, Notes

on, 268, 295, 301-302.

Analysis of the novel, vii ff., 265–268.
See also Glossary, 269.
Analysis and theory in æsthetics, 247.
Andersen, H. C., The Improvisatore, 13,

82.

Annunzio, Gabriele d', 119, 192, 194, 195,
211, 307.

Romances of the Lily, 5.

Augustine, Saint, 51, 161, 209.
Austen, Jane, 9, 22, 67, 83, 98, 101, 126,
150, 151, 163, 164, 186, 197.
Northanger Abbey, 5.
Pride and Prejudice, 32, 33 54, 55, 58,

60, 62, 65, 67, 69, 70, 71, 72, 76 77,
80, 86, 87, 89, 91, 92, 95, 96, 99, IOI,
102, 106, 113, 117, 120, 134.
Sense and Sensibility, 6, 16, 33, 46, 98,
118, 123, 145, 148, 255.

Author, the, age of, 184.

and dramatis personæ, relations of,
IOI; in respect to settings, 87.
episodes in his life, 186.

individuality of, as a shaping force,
183.

sex of, 185.

Azeglio, Massimo d', Ettorre Fieramosca,
169, 170.

Background, middleground, and fore-
ground characters, 96.

Bacon, Francis, 156, 159, 245, 289; The
New Atlantis, 193.

Baldwin, J. M., Dictionary of Philosophy
and Psychology, 140.

Trionfo della Morte, 153, 189, 192, n., Balzac, Honoré de, 8, 86, 94, 106, 120,

121, 150, 153, 155, 156, 159, 176,

178, 183, 184, 190, 235, 297.

Comédie Humaine, La, 5, 6, 7, 106,

133, 135, 151, 170, 173, 178.
Deputy for Arcis, The, 8.
Eugénie Grandet, 33, 98, 184.
Letters of Two Brides, 13, 21.
Lost Illusions, 8.

Peau de Chagrin, La, 12, 153, 170, 297.
Père Goriot, Le, 33, 127.
Woman of Thirty, A, 8.

Barbauld, Anna L., 295.

Barclay, John, Argenis, 12, 192.

Browning, Elizabeth Barrett, Aurora
Leigh, 221.

Baumgart, H., Handbuch der Poetik, 110, Browning, Oscar, Life of George Eliot,

n., 305.

Beautiful, the, and the unbeautiful, 256.

Beckford, William, Vathek, 20, 33, 173,

177, 211.

Beethoven, 241.

172, 201.

Browning, Robert, xii, 19, 24, 117, 141,
142, 199, 221, 224, 228, 232; Pippa
Passes, 114.

Brugis, Nonis Aprilis, 288.

Beginning, middle, and end of composi- Brunetière, Ferdinand, 188, 215, 304;

tion, 32.

Behn, Mrs. Aphra, 186; Oroonoko, 102,

180.

Roman Naturaliste, 24, n., IOI,
140, 141, 168, 172, 304.

Buffon, Comte de, 207.

Belleau, Remi, Journée de la Bergerie, Bulwer Lytton, 194, 296; Kenelm Chil-

13.

Beowulf, 15, 19.

Besant, Walter, 180; Art of Fiction, 167,

174, 179.

and James Rice, All Sorts and Condi-
tions of Men, 214.

Beyer, C., Deutsche Poetik, 306.
Bible, The: Book of Esther, 120, 161,
258; Genesis, 46; Revelation, 161;
Book of Ruth, 16, 161.
BIBLIOGRAPHY AND REFERENCES, 309-
317.

Biography and the novel, 224.
Birken, Kurze Anweisung zur deutschen
Poesie, 290.

Björnson, Björnstjerne, 119, 187, 190, 242.
Blair, Hugh, Rhetoric, 279, 291.
Blake, William, 228.

Boccaccio, 150, 287; Ameto, 14; Decam-
eron, 4, 206.
Bodmer, J. J., 294.

Boileau, Nicolas, Les Héros de Roman,

290.

Book, the, as a unit of structure, 8.
Borinski, K., Die Poetik der Renaissance,
306.

Boswell, James, Life of Dr. Johnson, 209.
Bourget, Paul, 24, n., 195, 304; Cosmop-
olis, 82.

Bouterwek, Fr., History of Spanish Litera-
ture, 299.

Boyle, Roger, Parthenissa, 11, 25, 26.
Brandes, Georg, 306.
Brontë, Charlotte, Jane Eyre, 123, 186.
Brooke, Henry, The Fool of Quality, 209;

lingly, 10, 13, 43; Last Days of
Pompeii, 82; Last of the Barons,
112; Parisians, The, 99; Paul
Clifford, 10, 24, 43; Pausanias,
180; Rienzi, 14, 22.

Bunyan, John, 23, 83, 198, 224, 289; Holy
War, The, 17; Mr. Badman, 17,
125; Pilgrim's Progress, 17, 26,
71, 92, 123, 136, 185.

Burney (D'Arblay), Frances, 186; Eve-
lina, 21, 31.

Burns, Robert, 209, 228.

Burton, Robert, Anatomy of Melancholy,
195.

Byelinski, Vissarion G., 300.

Caine, Hall, The Manxman, 8.
Campanella, Tommaso, Civitas Solis,

26.

Carlyle, Thomas, 176, 196, 296; Chartism,
123; Correspondence, 230; French
Revolution, 48; Sartor Resartus,
230.

Carrière, M., Aesthetik, 306.
Catastrophe in plot, 60.
Caxton, William, 287.
Central character, 97.
Cervantes, 95, 150, 153, 156, 163, 290.
Don Quixote, 4, 5, 23, 33, 89, 102,
123, 153, 174, 179, 185, 189, 194,
195, 205, 206, 215, 224, 255, 290.
Galatea, 14.

Chapter, the, 9.

distribution of characters, 93.
Character and characterization, 109.
CHARACTERIZATION, 109–129.

Juliet Grenville, 8, 25, 117, 119.
Browne, Sir Thomas, Religio Medici, 189. | Character point of view, 71.

foreground, middleground, and back- CONSECUTIVE STRUCTURE, 28-46.

Contrast, 252.

Conversation, group, 18.

identity, individuality, and type in, 121. Cooper, J. F., 204; Last of the Mohicans,

ground, 96.

grouping of, 93–108.

Davenant, Sir William, preface of Gondi- | Edgeworth, Maria, 156, 186; Castle Rack-

bert, 289.

Defoe, Daniel, 7, 16, 23, 102, 115, 125, 150,

151, 157, 184, 196, 198, 202, 291.
Colonel Jacque, 17, 114, 124, 225.
Moll Flanders, 115, 124, 202.
Mrs. Christian Davies, 115.
Plague Year, Journal of the, 16, 17,

51, 64, 65, 76, 92, 94, 97, 98, 226,
260.

Robinson Crusoe, 4, 5, 6, 17, 33, 67, 70,
71, 74, 75, 84, 89, 95, 98, 115, 123,
124, 136, 143, 148, 149, 153, 154, 155,
161, 164, 165, 172, 174, 185, 188, 192,

205, 215, 291.

Deloney, Thomas, Jack of Newbury, 136.
De Quincey, Thomas, 296.
Design, general, 250.
Dialogic form, 17-19.

Dickens, Charles, 8, 24, 82, 104, 163, 184,
195, 198, 214, 296.

David Copperfield, 7, 71, 98, 102, 185.
Dombey and Son, 12, 22, 80, 84, 86, 87,
88, 90, 134, 201.
Edwin Drood, 180.
Old Curiosity Shop, 82.
Oliver Twist, 6.
Pickwick Papers, 184.
Tale of Two Cities, 5, 8.
Diderot, Éloge de Richardson, 293.
Divisions of a novel, 7-12.
Documentary form, 20-22.

Dostoyevsky, Fyódor M., 119, 160, 206,

235; Poor Folk, 21.

Dowden, Edward, 302.

Drama, the, and the novel, 234.

rent, 82, 184.

Eeden, Frederik van, 211.

Effects of a novel, particular, 209-214;
in general, see INFLUENCE OF A
NOVEL.

Eliot, George, 83, 101, 126, 133, 140, 144,
152, 156, 167, 168, 170, 171, 173,
174, 175, 176, 177, 178, 184, 185,
192, 193, 198, 199, 201, 205, 206,
228, 302; see Cross, J. W.

Adam Bede, 7, 10, 120, 126, 168, 170,
172, 173, 174, 203, 222.
Daniel Deronda, 7, 8, 171.
Felix Holt, 171.

Janet's Repentance, 22, 27, 46, 57, 59, 73.
Middlemarch, 136, 153, 170, 175, 185,

188.

Mill on the Floss, 22, 71, 117, 134,
170, 171.

Mr. Gilfil's Love Story, 22.
Romola, 79, 82, 149, 161, 168, 176, 177.
Scenes of Clerical Life, 170, 222.
Silas Marner, 7, 10, 11, 16, 18, 19, 22,

23, 24, 30, 31, 32, 33, 35, 36, 37, 38,
39, 41, 42, 43, 44, 45, 46, 50, 54, 57,
58, 59, 60, 61, 62, 63, 66, 68, 70, 72,
73, 76, 77, 78, 80, 83, 84, 85, 87, 88,
91, 92, 93, 94, 95, 97, 99, 100,
IOI, 106, III, 113, 115, 120, 123,
126, 136, 140, 142, 146, 148, 151,
159, 164, 168, 170, 174, 176, 203,
210, 222, 225, 228, 236, 238, 239,
240, 243, 245, 251, 253, 254, 255,
261.

Emerson, R. W., 145, 159, 188, 230.

Dramatic and non-dramatic form, 15-16, Emotional effect of the novel, 212.

31.

Dramatic line, the, 57-61.

DRAMATIS

PERSONE. THE, 91-108.

See CHARACTERS.

Dryden, John, 289.

Dumas, père, Alexandre, 104, 140, 180,

191.

Emotion, line of, 39.

English Criticism of the Novel, Notes on,
265-266, 287, 288, 289, 291-293,
295-297, 302-304.

Environment of the author, immediate
social, 197.

Environment of characters, physical, 114

Dunlop, J. C., History of Prose Fiction, Epic, the, and the novel, 222.

X, 266, 296.

Duologue, 18.

Earle, John, Microcosmography, 230.
Ebers, Georg, Homo Sum, 52, 138.

Episode in plot, 37.

Episode in the author's life, 186.
Epistolary form, 20, 31.

Erckmann-Chatrian partnership, 180.
Essay, the, and the novel, 226.

Eustathius, 287.

Event and incident, 34.
Everyman, 198.

Exhibition and interpretation of subject,
131.
Extensive and the intensive, the, in
subject-matter, 131; methods of
study, ix.

External material, language as, 248.
EXTERNAL STRUCTURE, I-27.

Fiction. See Ideality, Illusion, Prose
Fiction.

Fielding, Henry, 8, 10, 14, 74, 95, 134,
143, 155, 156, 157, 163, 169, 179,
184, 185, 192, 194, 198, 221, 223,
224, 226, 234, 265, 291.
Amelia, 8, 10, 134, 172.
Jonathan Wild, 10, 17.

Fuller (Ossoli), Margaret, 295.
Furetière, Antoine, Roman Bourgeois,

290.

Galdós, Pérez. See Pérez Galdós.
Garland, Hamlin, 198; Crumbling Idols,
301.
Garnett, Richard, History of Italian
Literature, 188, 196; Vathek, 173.
Gentleman's Magazine, The, 202, 292.
German Criticism of the Novel, Notes
on, 267, 290, 294, 299-300, 305-
307.

Germ of a composition, the, 167.
Gesta Romanorum, 287.

Giddings, F. H., Inductive Sociology, 107,
124, 132, n., 207.

Gilbert, Eugène, Le Roman en France
pendant le XIXe Siècle, 178, 277.

Joseph Andrews, 5, 6, 102, 123, 153, GLOSSARY AND REFERENCES, 269–278.

169, 179.

Tom Jones, xi, 5, 10, 33, 76, 98, 185.
Fielding, Sarah, 8, 172, 291.

and Jane Collier, The Cry, 8, 291.
Fitzmaurice-Kelly, J., History of Spanish
Literature, 179.

Flaubert, Gustave, 101, 150, 153; Madame
Bovary, 178.

Fogazzaro, Antonio, 137, 184, 195.
Foiling and climax, 44.

Force, as a quality of style, 164.

Godwin, William, Caleb Williams, 193.
Goethe, 100, 112, 140, 150, 156, 165, 167,
184, 206, 209, 224, 225, 230, 234,
244, 294, 299.
Wahlverwandtschaften, Die, 16, 144.
Werther, 13, 21, 102, 123, 128, 169,
182, 183, 184, 185, 190, 205, 206,
214, 255.

Wilhelm Meister, 5, 8, 33, 105, 123,
125, 142, 148, 149, 153, 155, 174,
180, 183, 184, 192, 206, 295.

FORCES, THE SHAPING, of a novel, 181- Gogol, Nikolai V., 160, 163, 171, 176,

201.

Foreground, middleground, and back-

ground characters, 96.

Form and subject-matter, 130.

Form in art, value of, 249.

Forms of discourse, 218.

180, 183, 187, 206, 300.

Dead Souls, 8, 180, 189, 195, 224.

Taras Bulba, 14, 22, 153, 170, 224.

Goldsmith, Oliver, 163, 292; Citizen of
the World, 229; Vicar of Wake-
field, 98, 102, 134, 172, 185.

Foscolo, Ugo, 190; Jacopo Ortis, 21, Gómez de Quevedo y Villegas, Fran-

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