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35. The Line of Emotion. In examining this, one may have the author, characters, or reader specially in mind. The fact that the author presents a character moved by fear does not necessarily mean that the author or the reader experiences that emotion. Nor does a mere discussion of emotion, whether by the author or a character, such as one should notice in the study of subject-matter, belong to the line of emotion. For general purposes, this is best traced by observation of the diction showing emotion in the characters or author or calculated to produce it in the reader. The intensity as well as kind of emotion may be noted. Critics who emphasize the emotional element as characteristic of the novel, have in mind an unusual degree of emotional stress. The line of intensity may be conceived as related to an imaginary base-line of normal unstressed emotion.

Practise in minute analysis of emotional sequence is best found in the lyric or short story of emotional type, or in selected passages of a novel. The line of intensity in Silas Marner, Chapter XIII, in which strong feeling is specially predominant, may be diagrammed somewhat as follows. The references to the text also note the kind of emotion, to some extent.

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1. If we drew separate lines for Godfrey and Silas, that for Silas would perhaps be somewhat higher. 2. Company in general: “Easy jollity," "enjoyment." 3. "Admired," "very pleasant." 4. "Startling,” "trembling," "throb," "terror." 5. "Half-breathlessly." 6. Ladies

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in general: "Curious." 7. Eppie: "Half-alarmed." 8. "Terrible effort." 9. 66 Strong sudden impulse." 10. Mrs. Kimble: "Mild surprise." 11. Doctor Kimble: "Some bitterness." 12. Eppie: "Began to cry." 13. "Felt the cry." 14. Dolly Winthrop: "Much "Suspense," passionate desire and dread,' sense of duty," "hope of freedom." 16. "Is she dead?” "What sort of woman is she?" 17. Eppie: "Soothed." 18. "Conflict of regret and joy," etc. 19. "Sharply." 20. "Sense of relief and gladness.” 21. Author, and semi-quotation of Godfrey.

concerned," "compassion."

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This analysis might be made more detailed or more simple; but it may serve to indicate a method. The centre of emotional interest is clearly in Godfrey. "Clash of emotion" is to some extent represented in the relations of Godfrey and Silas; more distinctly in the mind of Godfrey himself. The emotional pitch of the chapter as a whole is lowered by the comparatively mild beginning and conclusion, and by the presence and speech of characters not in very tense emotional

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36. Points. A point, in a detailed analysis, will not generally occupy more than a sentence, sometimes only a phrase or word. Points may be noted with reference to every phase of the structure and substance of the novel. Among the more important points that may be called specifically structural are: changes of tense, use of I or we form; asides to the reader; generalizations and typifications; details of action, settings, characterization and motivation; details to increase illusion; expectation (preparation, foreshadowing), reminiscence, repetition; sudden relief of suspense; surprise, etc. Points of subject-matter include any brief statement of theme or sub-theme, or any detail of the topics studied in Chapter VII. One may also notice points of "genetic criticism "— signs of revision or fatigue, etc.; of "dynamic criticism"-influence of another novel, of nationality, etc.; and of "kinetic criticism"- details which we like or dislike, which appear improbable, which might offend a certain class of readers, etc.

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Points having peculiar distinctness or force, especially from the reader's point of view, may be called effects.1 A novel dominated by startling single effects tends to become sensational; a novel without any such effects is rare, and can hardly resemble actual life. The short story is more likely than the novel to affect us as composed of brilliant single points; the mass quality being sometimes so obscured that we can scarcely see the wood for the trees.

As an example of analysis some of the principal points in Chapter XII of Silas Marner may be noted. This chapter contains many notable effects, including "touches of fantasy," which give it something of the quality of a romantic short story. It is entirely in non-dramatic form, except for the few details noted first. The numbers refer to the paragraphs.

Dramatic Form. Semi-quotation of Molly and Marner; Eppie's "Mammy."

Syntax. Repetition of "longing"; "demon"; "black remnant"; "pleaded"; "moment"; "bright living thing"; "gleam"; "toddled"; "flame"; "vision"; "Mammy," etc.

Interrogative; (6) and (8). "To close it- but he did not close it." Personification of "demon"; "white-winged messengers." Psychological phrases—e.g., "bewilderment of waking"; diate longing," — characteristic of author.

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Appeal in "pretty stagger"; "primary mystery,” etc.

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Vocabulary. Effects of mystery gained by "glimmer"; "blurred "; amazement"; "marvel"; "wonderment"; "awe," etc.; of foreshadowing in "listening"; "gazing"; "yearning"; "unrest," etc. "Furze" and "catalepsy” are effects for many readers. Concreteness of "toddled"; "dangling"; "gurgling," etc.

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Phonology. Alliteration and vowel melody in "old quiverings . . . over his life." Rapid syllabification, aiding the sense, in "an inexplicable" to end of sentence. Cadences at close of chapter.

1 See the analysis of effects in Moulton's Shakespeare as a Dramatic Artist.

Dramatic Irony.

Point of View.

"How and when had the child come in?"

Implied in calling Mrs. Cass, "Molly"; Marner,

"Silas." Child's point of view.

Foreshadowing. Very many points. "Freezing wind"; "She walked always,” etc.; (4) as a whole; and (8).

Preparation. "As if there was gold " is a counterpoint of Chapter XIV, paragraphs 14 and 33, etc.

Reminiscence. "Her husband would be smiling" (of preceding chapter); "had its father's hair; "-Godfrey has previously been mentioned as a blond. "Opium " is reminiscent of Chapter III, paragraph 23.

Surprise. Abrupt introduction of Eppie (1), made more emphatic by position at end of paragraph, after matter important and surprising in itself; "suddenly” (5); “but he did not see the child" (6). Suspense. The chapter abounds with effects. "She would go . and disclose herself" — momentary anticipation unfulfilled. Consecutive suspense and relief in "In another moment . . . it was an empty phial." The last clause comes as near being sensational as any in the entire novel. Suspense in (8) falls into distinct masses — stages, closed by relief, and marked by "instead of the hard coin," "his little sister," etc. The mass of suspense in (10) is relieved suddenly by last sentence. It does not depend on the reader's ignorance of facts, but on his uncertainty as to how the author will give a new turn to the fact already known, and on the ignorance of Silas.

Contrast. Of this chapter with the last; of the time setting - New Year's Eve-with the tragedy; of tragedy for Molly and blessing for Silas; in special depression of Silas at the moment when his life is to receive new impulse.

Special effects of pathos are found throughout-in vocabulary, syntax, point of view, etc.

37. Mass in Momentum. — By momentum is meant the general effect of increasing value characteristic of any æsthetic series, but particularly distinct in narration. By a loose analogy with physical force, it may be analyzed into the two elements of "mass," considered as the accumulation of previous interest at any point; and "velocity," that is, the rapidity with which new interest is accumulating at this point.

Mass may include all that we consciously or unconsciously retain for ourselves, but it is more clearly structural when the novelist summarizes or otherwise recalls the previous interest. The reminiscences of Chapters XVI and XXI in Silas Marner give increased momentum to the new events introduced, as in real life it is often memory that gives peculiar force to present experience. In the third part of Robinson Crusoe, the essay on "Solitude" has back of it the whole lonely experience of the hero on the island, which to some extent Defoe recalls. Individual memory is of special value in psychological characterization; as in Tolstoi's Resurrection.

Expectation is a convenient term for all suggestion of coming events. The most general expectation of a narrative is implied in the simple fact that it is to be read. Preparation may be used for more definite announcement; anticipation for an introduction of details to be repeated at a later stage; foreshadowing for vague, impressionistic prophecy of future events. Suspense is a general term to denote that the interest in any of these forms of expectation is raised to especially high pitch.

Among special ways of producing suspense are announcement of an important meeting of characters, and introduction of characters with concealed identity, particularly when the identity is concealed from the reader or the character himself. Concealed identity, in various forms, plays a considerable part in Sidney's Arcadia, as in many romances of chivalry and pastoral romances; in Les Misérables, Bulwer's Paul Clifford and Kenelm Chillingly. The technical treatment is probably modelled after that of the drama; the "recognition” in catastrophe, after the classical drama. An interesting example of double "recognition "— false and true-is found in Dolly Cowslip, in the catastrophe of Smollett's Sir Launcelot Greaves.

38. The Rate of Movement. The general rate of movement the thematic "tempo" - may often be given with

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