sition; 2. By Initial
Position; 3. By Pause; 4. By Direct Proportion; 5. By Inverse
Proportion; 6. By Iteration; 7. By Antithesis; 8. By Climax; 9. By
Surprise; 10. By Suspense, and 11. By Imitative Movement.

SUGGESTED READING

VICTOR HUGO: "Notre Dame de Paris."--This is one of the great novels
of the world; and it illustrates, at many moments, every technical
device of emphasis that has been expounded in this chapter.

CHAPTER IX

THE EPIC, THE DRAMA, AND THE NOVEL

Fiction a Generic Term--Narrative in Verse and Narrative in
Prose--Three Moods of Fiction: I. The Epic Mood--II. The Dramatic
Mood: 1. Influence of the Actor; 2. Influence of the Theatre; 3.
Influence of the Audience--[Dramatized Novels]--III. The
Novelistic Mood.

=Fiction a Generic Term.=--Throughout the present volume, the word
_fiction_ has been used with a very broad significance, to include
every type of literary composition whose purpose is to embody certain
truths of human life in a series of imagined facts. The reason for
this has been that the same general artistic methods, with very slight
and obvious modifications, are applicable to every sort of narrative
which sets forth imagined people in a series of imagined acts. Nearly
all of the technical principles which have been outlined in the six
preceding chapters apply not only to the novel and the short-story,
but likewise to the epic and the lesser narrative in verse, and also
(though with certain evident limitations) to the drama. The materials
and methods of fiction may be studied in the works of Homer,
Shakespeare, and even Browning, as well as in the works of Balzac,
Turgenieff, and Mr. Kipling. The nature of narrative is necessarily
the same, whatever be its mood or its medium. The methods of
constructing plots, of delineating characters, of employing settings,
do not differ appreciably whether a narrative be written in verse or
in prose; and in either case the same selection of point of view and
variety of emphasis are possible. Therefore, in this volume, no
attempt has hitherto been made to distinguish one type of fictitious
narrative from another.

=Narrative in Verse and Narrative in Prose.=--Such a distinction, if it
be attempted at all, should be made only on the broadest and most
general lines. First of all, it should be admitted that, in an inquiry
concerned solely with the methods of fiction, no technical distinction
is possible between the na