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be called "centripetal"; others, "centrifugal." In a general way, the sentence or paragraph is the standard unit of incident; the chapter, of event and scene; chapter groups, of episode.

A situation, in a technical sense, is a summary of important circumstances at any stage of the plot, though items of situation may be given in solution. A situation is of course implied at every stage, which the reader may work out for himself if the novelist does not state it. In general, a novel is an alternation of movements and situations; the sense of spirited progress depending on the predominance of the former; the sense of reflective leisure, philosophical breadth, largely on the predominance of the latter.

31. Event and Incident. By event is here meant a unified mass of action of some scope and distinct significance in the plot, composed of distinct minor units of action — the incidents. Occasionally important incidents are found isolated.

Every event, in the complete meaning of the term, has a very marked identity, in sequence of incidents, and especially in time and place settings. It is readily distinguished from all other events in the same novel or other novels; but realism tends more than romance to give highly individualized details of incident and setting., Important events are likely to have definite introduction and conclusion and a definite time setting; to be preceded and followed by - a time interval, and to be given specific motivation. In the sequence of incidents, however, an event may be so typical, whether this be intended by the author or not, as to lose in large part its individual quality.

The single combat of knights in the romance of chivalry, for example, frequently has about this sequence of incidents: the knights perceive

one another, a challenge is given, the shock with spears and unhorsing, the attack with swords, etc. Compare this with the archery contest in Chapter XIII of Ivanhoe, an event which in outline is still somewhat typical, but has detail enough to individualize it thoroughly: —

Preparation. Announcement, selection of archers, inspection, etc. First Target. Preparation, casting of lots, the shooting, dialogue of John and Robin Hood. Second Target. Change of target, Hubert's shot-aim, shot, flight, — Robin Hood's shot, dialogue of Hubert and John, Hubert's successful shot, dialogue, Robin's shot. The Wand. Preparation, dialogue, the shot. Finale. Congratulations, dispersion of crowd.

This event is an excellent example in miniature of dramatic line, and of many details of narrative form.

Events or incidents may also be generalized, though they are in that case usually given mainly in outline, for obvious reasons. The novelist makes liberal use of generalized events to give the impression of solidity, of accumulation of happenings, in little space. Such passages are often introduced by formulas like "he was in the habit of," "every Sunday afternoon," etc. In the next to the last paragraph of Chapter II, Silas Marner, the generalized incident, "But at night," etc., offers striking contrast with the unique "little incident" of the preceding paragraph.

An incident which, as given, cannot be analyzed, may be called an ultimate point of incident. Modern realism is inclined to give these points in more detail than the ordinary consciousness would note to make them approach the elements of physical, physiological, and psychological reality. In this very manner, however, it may destroy the impression of reality. A more effective realism may be that which coincides as nearly as possible with the degree of detail the average, or at least the non-scientific, consciousness would note from a given point of view. Of this kind of realism the passage from Ivanhoe noticed above is a

fairly good example. If Scott had attempted to note every muscular change in Robin Hood as he shot, he would have been more realistic in one sense, but the effect of reality would probably have been blurred.

Events may be classified in many ways. One of special significance, and of special value in preparation for study of subject-matter, is that which distinguishes personal experiences, domestic, social, professional, natural, supernatural events, etc. Important results depend on the number, distribution, type, and treatment of events. External events and incidents as such are of greatest value in the novel of action in the novel of character they may sink to a relatively unimportant position.

32. The Scene.-A scene may be considered a specialized treatment of an event, and between the two no exact line need be drawn. Analogy with the drama suggests that essential unity of dramatis personæ, unity and continuity of time, elaboration and unity of circumstantial and place settings, and predominance of dialogue are characteristic of a completely developed scene. Though either scene or event may be composed of a soliloquy, with its objective environment, the terms apply with more force to masses in which there is obvious and even somewhat complicated external activity. Some critics, chiefly those who emphasize its descriptive quality, consider the novel as essentially a series of scenes. While this conception often gives a satisfactory analysis, there are many novels in which fully developed scenes are found only at considerable intervals.

In Silas Marner, taking the chapter as a unit, the best examples of developed scenes are in Chapters V, VI, VII, IX, XVIII, XIX, and XX. There are many other minor or fragmentary scenes; but as a whole,

Silas Marner can hardly be considered as composed of a series of scenes, even allowing for the necessary transitions. It does not open with a scene, as the romances of Scott frequently do, or close with a very distinct one.

33. Episode. This term may be defined as a unified mass composed of a series of events or scenes, with their accompanying situations. In a novel of clear structure the episodes are well-relieved. They may be centripetal or centrifugal (episode in a common secondary sense); progressive or reverting; may belong to a single action or the whole plot, etc. Episode, being a larger mass, is not likely to be so closely unified in time, place, or characters as a scene, but it may have its own identity in each of these and other particulars.

Incident, event, and episode are terms that may be taken relatively, in reference to the perspective of the whole composition. In a general history of the United States, the Civil War may be an episode, the battle of Gettysburg an event, Pickett's charge an incident, the death of a single general an ultimate point of incident. But in the analysis of a short story devoted entirely to Pickett's charge, the movement of the army across the plain might be an episode, the death of a single soldier an event, the dropping of his rifle an incident, and "the bayonet struck first" an ultimate point.

OUTLINE OF THE EPISODES IN SILAS MARNER

EPISODE I. Life of Silas Marner before the robbery. Chapters I and II. As a whole, in reference to the rest of the narrative, and as treated, a situation.

1. At Lantern Yard. I. A movement without well-developed scene. 2. At Raveloe. II. In the main a situation, with somewhat scattered incidents, rather than event or scene.

EPISODE II. The Robbery. Chapters III to X. As a whole a distinct movement.

1. III-IV. Preparatory movement in two events.

2. V. Climax of episode. Incident expanded into event.

3. VI to IX. "Fall" of the episodic line. Chapter VI a centrifugal event with scene quality.

4. X. Transitional to next episode, with somewhat of situation quality.

EPISODE III. The Coming of Eppie. Chapters XI to XV. Movement passing into situation.

1. XI and XII. Preparatory. XI somewhat centrifugal, and with scene quality; XII much more distinctly a forward movement.

2. XIII. Climax of episode and of the Godfrey Cass action.

3. XIV and XV. "Fall" of the episode; but with situation quality. EPISODE IV. Final relations of Marner, Eppie, and the Casses. Chapter XVI to Conclusion. Mixed qualities of movement and

situation.

1. XVI to XVIII. Preparatory movement.

2. XIX. Climax of episode. (Real catastrophe of plot.)

3. XX. "Fall" of episode.

4. XXI. Somewhat centrifugal, so far as this single episode is concerned. Event.

5. Conclusion. Catastrophic event, resolving into situation at the end.

34. Lines of Interest. "Thread of interest" is the more common phrase, but it is frequently used in reference to the narrative interest alone. The consecutive points of characterization, subject-matter, and all other important "topics may also be traced as more or less distinct lines. Some of these perhaps need no further comment than is suggested by the analysis of masses and points in this chapter; the important lines of single action are considered in the next chapter. It is convenient to notice here, partly as a representative analysis, partly on account of its special significance in the novel, the "line of emotion."

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