The English novel: a study in the development of personality [NOOK Book]

Overview

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections ...
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The English novel: a study in the development of personality

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NOOK Book (eBook - Digitized from 1897 volume)
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Overview

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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Product Details

  • BN ID: 2940019209484
  • Publisher: New York, C. Scribner's sons
  • Format: eBook
  • Edition description: Digitized from 1897 volume
  • File size: 538 KB

Read an Excerpt


inal rhythmic cluster, "into the Strand." So of the other introduced words, " encountered " and " hanging " : each has its own rhythm for an English tongue always gives these words with definite time-relations between the syllables, that is, in rhythm. Therefore, in order to make prose out of this verse, we have not destroyed the rhythms: we have added to them. We have not made it formless: we have made it contain more forms. Now in this analysis, which I have tried to bring to its very simplest terms, I have presented what seems to me the true genesis of prose, and have set up a distinction which, though it may appear abstract and insignificant at present, we shall presently see lies at the bottom of some most remarkable and pernicious fallacies concerning literature. That distinction is: that the relation of prose to verse is not the relation of the formless to the formal: it is the relation of more forms to fewer forms. It is this relation which makes prose a freer form than verse. When we are writing in verse, if we have started the line with an iambus (say) then our next words or syllables must make an iambus, and we are confined to that form; but if in prose, our next word need not be an iambus because the first was, but may be any one of several possible rhythmic forms : thus, while in verse we must use one form, in prose we may use many forms: and just to the extent of these possible forms is prose freer than verse. We shall find occasion presently to remember that prose is freer than verse, not because prose is formless while verse is formal, but because any given sequence of prose has more forms in it than a sequence of verse. Here reserving toa later place the special application of all this to the novel I have brought my firstgeneral point to a stage wher...
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