II. GLOSSARY AND TOPICAL REFERENCES AN adequate dictionary of literary criticism would fill several volumes, and would require the labor of many scholars for a series of years. The aim of the following pages is to distinguish in several cases different meanings of the same term; to list some of the most precise terms, largely found in German criticism, as examples of technical analysis; and to give references for the study of a few topics of special importance. Most of the authorities to which reference is made are noted in the Bibliography. "Types of Fiction" refers to the list in this Appendix. Most of the terms commonly found in the criticism of the novel are also found in the criticism of epic and drama. Many of them belong to a still wider field, and the student should consult not only rhetorics and poetics, but general æsthetics and the dictionaries of the separate arts. Allegorische Mimik.—(Riemann.) Amplification-of Plot; -of Theme. Animalism.-For one definition see The Nation, Number 1618. Cf. Natu ralism. Anticipation.-Cf. use in music. Anticipatory-Hint; Suspense. (Hammond.) Art, Absolute.—The novel is rarely so considered. See general æsthetics, dictionaries of music, etc. l'Art pour l'Art.-For application to the novel, see Gilbert, pp. 122, 162; Lanson, p. 998; Warren, p. 220. Artist (in modern French sense).—See Brunetière, R. N., p. 162. Artistic.-I. Contrasted with scientific.-2. Referring to conscious method in the writer.-3. "The word artistic as applied to fiction, denotes a structure that produces the most telling effect on the reader." (Cody.) Author's Comment.-Generalization and interpretation rather than mere description. May sometimes be limited to passages in propria persona. See Chorus. Autobiographical.-1. In first-person form.-2. With reference to the author. Avoidance. Might be used as in musical analysis. Background.-1. Of minor characters, incidents, emotions, etc.-2. The settings.-3. The place setting. See Scenery. Beleuchtungseffekt.-(Riemann.) Besserungstheorie.-The theory that a hero should be dismissed in the best condition possible for the individual plot. (Riemann.) Cadence.-Artistic approach to a conclusion; as, chapter cadence, cadence of episode, etc.-Cf. use in music; versification. Caricature. See Baldwin; Morillot; Symonds. Catastrophe. 1. Incident or event closing the dramatic line (preferable technical usage).-2. Plot-conclusion marked by strong effect. See Climax and Conclusion. Catharsis, Aristotelian.—For a review of recent interpretations, see Baldwin. Central-Character;-Idea ;-Incident ;-Theme;-Truth; etc. Cervantine Humor.-Compared and contrasted with Rabelaisian Satire. Character, Central. —Necessary for the short story, not for the novel. (Cody.) But cf. p. 293 of this volume, under Smollett. Character Compensation.— See Hedging. Character-Disclosure ;-Elucidation. (Hammond.) Character, Dismissal of. See Riemann, on Absinken der Charaktere. Character Function.-Value as social type, in distinction from individual value. (Maigron, of Scott.) Character, Introduction of.-Technical definition in Davidson's Creative Art of Fiction. See also Dunlop, Bohn edition, I, p. 32. Cf. Personen, Einführung der. Character, Isolation of, in short story.-(Barrett.) Characterization, Center of.—(MacClintock.) Characters, Interplay of.— (MacClintock.) Chorus, Greek Dramatic. -Compared with author's comment. See Tom Jones, III, 7; preface to Sarah Fielding's The Cry; and Worsfold. Cf. Maigron on the lyrical choruses in Atala. Climax.-I. General rhetorical usage. -2. The center of the dramatic line (preferable usage in technical analysis).—3. The catastrophe. (Gardi ner; and many critics of the short story.) Climax,-False or Technical; - Preliminary. (Barrett.) Complication of Idea.-Governs length of story. (Cody.) Complication of Plot.—Contrasted with Resolution. Cf. also Dénoûment; Entanglement. Composition. For use in the sense of plastic power and unity in the structure, cf. music and painting. Comprehensiveness.—A common standard of judgment for the novel. See Totalität. Conclusion.-Distinguished from Catastrophe. (Barrett.) Conclusion, Dramatic. - Equals Catastrophe. (Cody.) Concreteness, Canon of.— (Gardiner.) Cf. Detaildarstellung. See p. 110. Convergence of Characters; of Narration and Action; - of Single Actions. Conversation.-See Dialogue. Counter-play. — 1. Of Characters (Simonds); cf. Interplay.-2. In plot-analysis. See Play. Decoration.-See p. 266, Dunlop. Cf. Dekoration. (Riemann.) Degeneration, Social.-See Baldwin, Nordau, Robiati; and Taylor, on Greek romance. Dénoûment. (In English criticism.)—1. The catastrophe.-2. The entire fall of the action. Cf. Resolution. Description.-Sometimes about equivalent to Scenery, or place setting. For philosophical definition, see Baldwin.—" Fiction is essentially a descriptive art." (Cody.) Dialog, Alternierend-explizierend; — Alternierend-replizierend; - Theoretisierend; contrasted with Rede als Ausdruck des Affekts. Dialogue" is a description of conversation." (Cody.) (Riemann.) Dialogue, Characteristic ; - Descriptive; - Dramatic; - Reflective; Thematic. Didactic Interpolation. Disentanglement.-See Dénoûment. Disposition.—See p. 266, Dunlop. Dramatic.-1. Objective, contrasted with lyrical.—2. Intense, striking, in reference to action or feeling. See Types of Fiction. Dramatic - Effect ;-Form;-Irony ;- Moment ;-Movement ;-Order of Thought, contrasted with Scenic Order (DeMille's Rhetoric);— Probability;-Situation. Dynamic Criticism (Analysis). — A convenient term in reference to the forces that influence a novel. Cf. Genetic; Kinetic. Effectism.-Author's tendency to over-emphasize single effects. Emotions, Primary.-Contrasted with the complex emotions of civilization; common in the naturalistic novel. See Baldwin, on Fear. Entanglement.-Contrasted with Dénoûment. Environment,-Immediate ;-Remote. (Hammond.) For philosophical definition see Baldwin. Epic (adj.).—1. Narrative.-2. Comprehensive and objective; contrasted with lyrical.—3. Having the special qualities of epic poetry; most commonly applied to historical romance. Episode.-I. Of an entire composition. The novels of Henry James are all episodes.'-2. Psychological meaning; see Gardiner.-3. A centrifugal narrative of some scope and marked unity.-4. See Section 33. See also dictionaries of music. Erkennungsscene.- (Riemann.) Esthopsychologie. - Hennequin, mainly with reference to the effect of art it might also refer to the creative process. Exciting (Inciting) Force.—(Erregende Moment, Freytag.) —The motivating force which originates the plot-movement. Exposition.-I. General rhetorical use.-2. Explanation of action not directly given, as entr'acte exposition. Expositions-- Monolog; Scene. (Riemann.) Fable, The. Often in eighteenth century criticism, e.g., Fielding, about equal to Plot. (German Fabel is still so used.) Fantasy, Touch of.- Especially in short story. See Matthews' Philosophy of the Short Story. Form. Generally equals structure, or structure and style. Compare Baldwin, Bray, Perry, and Riemann's Dictionary of Music.—“Der Roman ist . . . zwar eine sehr mangelhafte Form, aber ein bestimmter und selbständiger Ausdruck eines Stils." (Vischer.) Form, Geschichte der. - Contrasted with Stoffgeschichte. Frame.. 1. General structural outline. — 2. The environing action or settings for "frame-stories," such as the Decameron. Gedankenkreis. Of the speech of characters. (Riemann.) Genetic Criticism (Analysis). —A convenient term applicable to the process of composition; or to the development of the novel as a species. Cf. Dynamic; Kinetic. Gothic. - 1. Of northern Europe, especially in the middle ages. -2. Barbarian; romantic, as opposed to classical. Largely a term of reproach, in eighteenth century criticism.. See Bray; Phelps; Ruskin's Stones of Venice. Gothic Machinery. — See Machinery. Grands Genres, les. Especially of tragedy, comedy and epic, "genres essentiellement classiques, appelés pour cette raison les grands genres." (Maigron.) The novel became a grand genre early in the nineteenth century.' (Lanson.) Grenzen des Romans, Die. — The comprehensiveness and amorphous quality of the novel have led critics to special effort to define its limits. See, for example, Spielhagen's Technik des Romans; Das Gebiet des Romans. Hedging. In characterization, the principle of compensation. (Moulton.) This term might be applied also to incidents and settings. l'Héroisme sentimental. (Lanson.) Humor. -1. A quality of style. See Leigh Hunt's Wit and Humor. -2. Predominant and one-sided tendency of character; as in Novel of Humors. An early definition in Jonson's dialogic preface to Every Man out of his Humour. Cf. Riemann's treatment of Steckenpferd in Tristram Shandy, etc. See Traill. Hypernatural. -"In fiction . . . a character must be exaggerated to appear natural." (Quoted in Barrett.) Ideal. Baldwin gives six meanings for the term as used in æsthetic criticism. See also Bray. Idealization, Monochromatic. I-Form. (Ich-Form.) - Contrasted with third-person form. (Er-form.) Impression. "The novel gives a personal impression of life; the drama a personal demonstration of life." (Lockwood and Emerson: Composition and Rhetoric.) "A novel is, in the broadest definition, a personal impression of life." (H. James: Art of Fiction.) Impression, Unity of. —A standard of excellence in the short story rather than the novel. (Matthews.) Impressionism.—See Brunetière's R. N.; and criticism of painting. Baldwin gives Sterne as an example. Incident. 1. See Section 31.-2. The "event which supplies the motive for the action of the scene." (Simonds.) —3. See Moulton. Indirekte Rede - als Einleitung der direkten; —als ordnendes Prinzip. (Riemann.) Inference (The Reader's).- Recognized as a definite principle of artistic effect. See, for example, Smith's Writing of the Short Story. Interplay of Characters.-Cf. Counter-play. |