tural approach to, 16.
Technique, object of, 51.
Thackeray, William Makepeace, 28, 54, 58, 187, 191, 192.
Thematic story, 40.
Theory of fiction
Story and tale, 197.
Realism the method, 199.
Realism the artistic dogma, 199.
Short story, 200.
Interest, 201.
Power of real problems of life, 203.
Test of merit, 204.
Aim of executive artistry, 206.
Verisimilitude, 207.
Significance of plot, 208.
Thirty-Six Dramatic Situations, The, 62.
Thrawn Janet, 158.
Toilers of the Sea, The, 52.
Tolstoi, Leo, 192, 195.
Tom Jones, 28, 192.
Tone, 82, 132.
Tragedy, 157.
Transition, 103, 104, 105.
Trollope, Anthony, 182.
Turgenieff, Ivan, 146.
Ugliness, 89.
Unities, dramatic, 168.
Unity of short story, 201.
Vanity Fair, 54, 58, 187.
Verisimilitude, 84, 92, 106, 107, 115, 118, 119, 120, 123, 143, 207.
Verne, Jules, 204.
Victorian novelists, 191.
Viewpoint, 86, 116.
Virginians, The, 191, 192.
Vividness, 98, 101, 110, 114, 119.
V. V.'s Eyes, 134.
War and Peace, 192.
Warden, The, 182.
Weir of Hermiston, 91.
Wells, H. G., 204.
Wit, in dialogue, 127.
Without Benefit of Clergy, 44, 68, 120.
Worth of matter, 33.
Writer of fiction.
Critical faculty, 22.
Cultivation of genius, 23.
Observation and information, 24.
Open-mindedness, 25.
Attitude toward life, 25.
Prejudice and provincialism, 26.
Social question, 26.
Reading, 26.
Imagination, 29.
Wuthering Heights, 94.
Transcriber's Note:
Spelling and punctuation have been preserved as in the original
publication except for the following changes:
Page 24
less obvious, but, curiously enough, is is _changed to_
less obvious, but, curiously enough, is
Page 25
familiartiy with life, which cannot be brushed up _changed to_
familiarity with life, which cannot be brushed up
Page 28
Christrophe," "War and Peace," much of Thackeray's _changed to_
Christophe," "War and Peace," much of Thackeray's
Page 33
and deficiences before writing is necessary to make _changed to_
and deficiencies before writing is necessary to make
Page 37
Incident--Archtypal Character--Short Story and _changed
|