You are here
قراءة كتاب A Manual of the Art of Fiction
تنويه: تعرض هنا نبذة من اول ١٠ صفحات فقط من الكتاب الالكتروني، لقراءة الكتاب كاملا اضغط على الزر “اشتر الآن"
A
MANUAL OF THE ART
OF FICTION
|
Other Books by Clayton Hamilton |
|
|
|
|
| ON THE TRAIL OF STEVENSON | $3.50 net |
|
Published by Doubleday, Page & Company |
|
| THE THEORY OF THE THEATRE | $1.60 net |
| STUDIES IN STAGECRAFT | $1.60 net |
| PROBLEMS OF THE PLAYWRIGHT | $1.60 net |
|
Published by Henry Holt & Company |
|
A Manual of
THE ART OF FICTION
Prepared for the Use of Schools and Colleges
By
CLAYTON HAMILTON
Member of the National Institute of Arts
and Letters; Extension Lecturer in
English, Columbia University
With an Introduction by
BRANDER MATTHEWS
Member of the American Academy of Arts
and Letters; Professor of Dramatic
Literature, Columbia University
GARDEN CITY NEW YORK
DOUBLEDAY, PAGE & COMPANY
1919
Copyright, 1918, by
Doubleday, Page & Company
All rights reserved, including that of
translation into foreign languages,
including the Scandinavian.
TO
FREDERIC TABER COOPER
WITH ADMIRATION FOR THE CRITIC
WITH AFFECTION FOR THE FRIEND
This MANUAL OF THE ART OF FICTION is a revised and amplified edition of “Materials and Methods of Fiction,” by Clayton Hamilton, which was first published in 1908. The earlier work was immediately recognized as an important piece of constructive criticism and has held its position ever since as one of the leading books in its field. On the tenth anniversary of its appearance, the publishers have asked the author to prepare this annotated and enlarged edition, particularly for the use of students and teachers in schools and colleges.
DOUBLEDAY, PAGE & COMPANY.
Garden City, New York, 1918.
CONTENTS
| FOREWORD | vii | |
| INTRODUCTION | xiii | |
| I. | THE PURPOSE OF FICTION | 3 |
|
Fiction a Means of Telling Truth—Fact and Fiction—Truth and Fact—The Search for Truth—The Necessary Triple Process—Different Degrees of Emphasis—The Art of Fiction and the Craft of Chemistry—Fiction and Reality—Fiction and History—Fiction and Biography—Biography, History, and Fiction—Fiction Which Is True—Fiction Which Is False—Casual Sins against the Truth in Fiction—More Serious Sins against the Truth—The Futility of the Adventitious—The Independence of Created Characters—Fiction More True Than a Casual Report of Fact—The Exception and the Law—Truthfulness the only Title to Immortality—Morality and Immorality in Fiction—The Faculty of Wisdom—Wisdom and Technic—General and Particular Experience—Extensive and Intensive Experience—The Experiencing Nature—Curiosity and Sympathy. |
||
| II. | REALISM AND ROMANCE | 25 |
|
Two Methods of Exhibiting the Truth—Every Mind Either Realistic or Romantic—Marion Crawford's Faulty Distinction—A Second Unsatisfactory Distinction—A Third Unsatisfactory Distinction—Bliss Perry's Negative Definition—The True Distinction One of Method, Not of Material—Scientific Discovery and Artistic Expression—The Testimony of Hawthorne—A Philosophic Formula—Induction and Deduction—The Inductive Method of the Realist—The Deductive Method of the Romantic—Realism, Like Inductive Science, a Strictly Modern Product—Advantages of Realism—Advantages of Romance—The Confinement of Realism—The Freedom of Romance—Neither Method Better Than the Other—Abuses of Realism—Abuses of Romance. |
||
| III. | THE NATURE OF NARRATIVE | 44 |
|
Transition from Material to Method—The Four Methods of Discourse—1. Argumentation; 2. Exposition; 3. Description; 4. Narration, the Natural Mood of Fiction—Series and Succession—Life Is Chronological, Art Is Logical—The Narrative Sense—The Joy of Telling Tales—The Missing of This Joy—Developing the Sense of Narrative—The Meaning of the Word ``Event''—How to Make Things Happen—The Narrative of Action—The Narrative of Character—Recapitulation. |
||
| IV. | PLOT | 60 |
|
Narrative a Simplification of Life—Unity in Narrative—A Definite Objective Point—Construction, Analytic and Synthetic—The Importance of Structure—Elementary Narrative—Positive and Negative Events—The Picaresque Pattern—Definition of Plot—Complication of the Network—The Major Knot—``Beginning, Middle, and End''—The Sub-Plot—Discursive and Compacted Narratives—Telling Much or Little of a Story—Where to Begin a Story—Logical Sequence and Chronological Succession—Tying and Untying—Transition to the Next Chapter. |
||
| V. | CHARACTERS | 77 |
|
Characters Should Be Worth Knowing—The Personal Equation |