Nature of prose fiction. THE ELEMENTS OF PROSE FICTION ~ ENGLISH SUPER 2019-01-07
Nature of prose fiction Rating:
5,8/10
1863
reviews
Prose fiction
The splendid romances of King Arthur have derived many of their essential elements from popular sagas not very different in character from the account of Da Derga printed in this series. The description of the environment often points towards its importance. The novel has developed various sub-genres: In the epistolary novel the narrative is conveyed entirely by an exchange of letters. Yet there are some who have written with neither of these in view, like Jane Austen, who died leaving a considerable part of her work unpublished, and apparently without having sought to publish it. To all that is to come I am perfectly indifferent.
No one has been more explicit about this than Richardson, whose preface to “Pamela” is characteristic enough to quote at length: “If to divert and entertain, and at the same time to instruct and improve the minds of the youth of both sexes; “If to inculcate religion and morality in so easy and agreeable a manner as shall render them equally delightful and profitable; “If to set forth, in the most exemplary lights, the parental, the filial, and the social duties; “If to paint vice in its proper colours, to make it deservedly odious; and to set virtue in its own amiable light, and to make it look lovely; “If to draw characters with justness and to support them distinctly; “If to effect all these good ends in so probable, so natural, so lively, a manner, as shall engage the passions of every sensible reader, and attach their regard to the story; “If these be laudable or worthy recommendations, the editor of the following letters ventures to assert that all these ends are obtained here, together. Prose in Plays Prose written in plays aims to be dramatic and eventful. He stripped the Gothic type of romance of its sentimentality and absurdity, strengthened it with his great fund of historical and legendary information, gave it stability with his sanity and humor, and interest by his creation of a great series of vigorous and picturesque creations. They range from casual notes to flyers to posters to high school and college reports to briefings to formal speeches. This differentiates it from its immediate predecessor, the romance, which describes unrealistic adventures of supernatural heroes.
One hierarchical technique is to put points all together of event. Of “Martin Chuzzlewit” he says: “My main object in this story was to exhibit in a variety of aspects the commonest of all the vices; to show how selfishness propagates itself, and to what a grim giant it may grow from small beginnings. Hudson, Isak Dinesen, Henry Beston, Aldo Leopold. Discussion Led By: February 7: Reading: Please read these selections from the Norton anthology: John Burroughs, John Muir, W. Dickens characteristically combines the improvement of the individual with the reform of institutions.
But the style gives evidence of a finished literary tradition; the nameless and numerous contributors appear to have been men of books rather than the simple story-tellers of an age of oral delivery. This process typically contains conflicts and struggles, which are ideally overcome in the end so that the protagonist can become a valid and valuable member of society. Others will follow, others will outstrip me on the same lines; and I hazard the guess that man will be ultimately known for a mere polity of multifarious, incongruous and independent denizens. Examples are , Wilhelm Meister; , Tom Jones; , David Copperfield; , A Portrait of the Artist as a Young Man. They are usually series of episodes strung along the thread of the heroÂ’s or heroineÂ’s life. The question here is what differentiates these two genres of literature? Listen to my narrative, and then say what it is that has made me deserve to be placed on this dreadful eminence, if, indeed, every faculty be not suspended in wonder that I am still alive, and am able to relate it. People have been writing expository prose for well over two thousand of years and before, as far back as the Bible, Plato, Aristotle, Cato, and Julius Caesar.
This view has been arrived at by the observation and meditation which he has practised throughout his life; the conclusions which it involves affect the interpretation of everything that comes under his notice; and its first effect on his art is in determining the choice of subjects to be treated. The fabliaux of the same period, which, with the novelle of the Renaissance, belong to the ancestry of the short story of the modern magazine, are concerned with single situations, and do not attempt to display a whole phase of life in its subtlety and complexity. These rules were first set down in by teachers who elicited them from the smooth eloquence of Socrates, the impassioned and balanced reasoning of Demosthenes, and others. Other traits are taken from 's. Characterization, which so far had rarely been a prominent feature in any form of fiction except the drama, was developed in the seventeenth century in a peculiar species of writing known as the Character, outside of fiction altogether. Henceforth, I am callous to misfortune. But with all this variation the demand holds for truth to the permanent and essential traits of human nature and human life, and for vitality and interest in the presentation of this truth.
Literature can be seen as the collection of written works of a specific language, at a particular time, in a given culture which might be imaginative or creative in nature and is usually of specific artistic worth. And so the hogs streamed out of the theater crying, only hogs, only hogs. ” At times he approaches the moral aim of his more serious brethren, “to fill the place of bad thoughts and suggest better,” “to induce an idler to study the history of his country. Nature Nonfictional prose cover an almost variety of themes, and they assume many shapes. Many kinds of exposition take place in human affairs. With this renewed admiration for popular literature in its highest forms has come an enthusiastic interest in all the minor products of popular or semi-popular composition, and vast numbers of scholars have devoted themselves to the collection and investigation of folk songs and folk tales from every corner of the world. It is virtually impossible to attempt a unitary characterization of nonfictional prose.
Writers Writers who know how to read expository prose are better able to successfully write it themselves; they learn by example. The extent of this facility is fortunate; without a sufficient number of people equipped with these skills, modern civilization probably would break down. She put me in them new clothes again, and I couldn't do nothing but sweat and sweat, and feel all cramped up. But in its abundance of sentiment and frequency of moral purpose, it has elements which the novel of roguery lacked. Today, no other writing style is as appropriate for a writer who wants to disseminate facts and nothing else. In some stories, the author structures the entire plot chronologically, with the first event followed by the second, third, and so on, like beads on a string.
Yet he frequently repeats it. If you choose to do both projects, plan on about 15 pages each. The curious presence of Russian in the text of the Lazarillo also suggests the influence of medieval Slavic tales of tricksters, thieves, itinerant prostitutes, and brigands, who were common figures in the impoverished areas bordering on Germany to the west. But there can be more to expository prose than serious subjects and clear, content-laden sentences and paragraphs. This type has persisted with variations, especially the loss of the servant element, down to our own time, and reached its highest pitch of art in English in Thackeray’s “Barry Lyndon.
