Two methods of judging a novel might be called, with some degree of correctness, the quantitative and the qualitative. The former method takes account of all varieties of excellence and defect, and judges in accordance with the resulting sum of values. The latter method selects some one master test, conceived as a summum bonum for the novel, and the individual work is ranked high or low as it meets or fails to meet this test. The dogmatic critics accept the second method, though not agreeing among themselves as to what the single test should be. Again, one may attempt to judge the novelist, the novel itself, or the novel as it affects the reader. Judgment of the author may be based upon his character, his purpose, or the degree of success in attaining his purpose. It is a delicate matter often, in art as in life, to discover just what human purpose is,1 and the critic may well note the application of the biblical "judge not" to his own special field. The judgment of a novel in itself may note only the inward relations of beauty, consistency, etc., or it may compare the presentation of the novel with the outside real world represented, directly or through fictitious imagery. Judg ment of a novel by the effect it produces can never be entirely a judgment of the novel itself; for its influence is never exerted without the coöperation of other influences. In all forms of judgment, if the critic has a clear theory of the novel, it will be brought to the front; and many obscure theories often emerge from the darkness---theories of life as well as of art so soon as he essays to give a final verdict upon a work produced by his fellow-man. 1 See Mackenzie: Manual of Ethics; 3d ed., p. 136. APPENDIX I. SYSTEMATIC ANALYSIS OF A NOVEL A MORE or less definite method of analysis is often implied in reviews or studies of fiction, without any announcement of it. Many critics, particularly those of impressionistic creed, object vigorously to detailed formal analysis. In the following examples the method is clearly stated by the critic. In some cases the general outline of analysis was planned for several types of literature, but in all it has been applied to the novel. In the present statement, only the main heads are given when there is much subdivision, and some alterations and explanations have been made, the most important being indicated by brackets. The purpose here is simply to suggest a comparative view, and the student should consult the originals. The examples are arranged in chronological order. Compare analyses of epic and drama. See also some references in the Bibliography, and examine the introductions to novels edited for school purposes. For many technical terms, consult the Glossary. 1. Fielding. (Prefaces to David Simple, Tom Thumb, Covent Garden Tragedy, and Joseph Andrews.) A plan for the "regular examination" of drama and novel. I. The Fable.-(II. The Action.) - III. Incident. IV. The Characters.-V. The Sentiments.— (VI. The Moral.) —VII. Diction which is the "lowest perfection in a writer and one which many of great genius seem to have little regarded." 2. Dunlop. (Chapter I.) "Points chiefly to be considered in a novel or romance." [Mainly for judicial criticism.] I. The Subject. (Story; Nuda Materia.) II. The Disposition. [I.e., Narrative method.] III. The Ornaments; of which the “most important” are : A. The Style. B. The Characters. C. The Sentiments. 3. Masson. (Chapter I.) "Points for criticism in a novel." I. The Subject. (Scheme, idea, total meaning, aim, impression.) "The first or main matter of interest for the critic." Compare Section 119 of the present work. II. Incident. (Construction; plot-interest.) III. Description. (Scenery.) IV. Characters. (By which "a novelist is chiefly judged.") V. Style, and other "obvious matters." VI. The Extra-poetical Contents. 4. Hennequin. (Appendix; applied to Victor Hugo.) Plan for a complete study of "Esthopsychologie." I. Analyse Esthétique. A. Les Moyens. 1. Les Moyens Externes. (a) Vocabulaire. (b) Syntaxe. (c) Composition. — (d) Ton.—(e) Procédés de Description. (Des lieux et des gens; des âmes; des idées abstraites.) 2. Les Moyens Internes. (Sujets préférés.) (a) Époques. — (6) Lieux. — (c) Moments. — (d) Person nages (extérieur, intérieur).— (e) Sujets abstraits. B. Les Effets. (Synthèse des Moyens.) [Repetition of the above analysis, with reference to the effects.] II. Analyse Psychologique. A. Les Causes (in the individual author). 2. Faits Expliqués. B. Interprétation Physiologique. III. Analyse Sociologique. A. Détermination des catégories d'admirateurs. B. Conclusions des livres spéciaux aux catégories spéciales. IV. Conclusions générales. Synthèses. 5. Crawshaw. A general method for literary types, modified for the novel; with detailed subdivisions, not given here. I. Study of the Form. A. Structure. B. Style. II. Study of the Substance. A. Beauty (and the unbeautiful) in characters, plot, etc. B. Ideality (including the "main ideal conception," and reality) in characters, plot, settings, etc. C. Emotion. D. Thought (including the "central thought "). 6. Maigron. Without definite announcement of plan, his chief technical analysis is I. Le Récit.-II. Les Personnages. — III. La Description.— IV. Le Dialogue. 7. Riemann. (Analysis with reference to special types of fiction, or to Goethe individually, is here omitted.) I. Komposition. A. Gliederung. [I.e., “External structure."] B. Einsätze. C. [Intercalations.] 1. Eingeschobene Icherzählungen. 2. Eingeschobene Briefe. D. Lyrische Einlagen. (Citate; rhythmische Prosa; lyrische Mo nologe, etc.) II. Die Mittel der Charakteristik. A. Charaktergemälde und typische Gegenüberstellungen. B. Das Absinken der Charaktere. C. Charakterentwicklung. D. Physiognomik und Mimik. (Much subdivided.) 8. The Present Volume. The underlying analysis in mind is as follows: (c) Internal. (Organic.) — Plot; Settings; Dramatis Per sonæ; Characterization. 2. Style. (Transitional to II., A, 1 and 2.) B. Subject-Matter. II. Relations of the Novel. A. Psychological and Social. 1. The Process of Composition. ("Genetic Analysis.") 1. Other Types of Literature. 2. The Individual Arts (other than literature). 9. Current American Criticism. The following technical analysis may be said to be generally recognized, with many individual variations in details:— I. Form.-A. The Characters. — (B. Characterization.) C. Plot. (General analysis, and " details of narrative method.") - D. Settings. E. Style. II. Subject-Matter. (With emphasis on the "central idea"; often on "purpose.") |