of Fiction: The First Stage--The Second Stage--The
Third Stage: 1. Setting as an Aid to Action--2.
Setting as an Aid to Characterization--Emotional
Harmony in Setting--The Pathetic Fallacy--Emotional
Contrast in Setting--Irony in Setting--Artistic and
Philosophical Employment--1. Setting as a Motive
toward Action--2. Setting as an Influence on
Character--Setting as the Hero of the
Narrative--Uses of the Weather--Romantic and
Realistic Settings--A Romantic Setting by Edgar
Allan Poe--A Realistic Setting by George
Eliot--The Quality of Atmosphere, or Local
Color--Recapitulation.

VII. THE POINT OF VIEW IN NARRATIVE 120
The Importance of the Point of View--Two Classes, The
Internal and the External--I. Subdivisions of the
First Class: 1. The Point of View of the Leading
Actor; 2. The Point of View of Some Subsidiary
Actor; 3. The Points of View of Different Actors; 4.
The Epistolary Point of View.--II. Subdivisions of
the Second Class:--1. The Omniscient Point of View;
2. The Limited Point of View; 3. The Rigidly
Restricted Point of View--Two Tones of Narrative,
Impersonal and Personal: 1. The Impersonal Tone; 2.
The Personal Tone--The Point of View as a Factor in
Construction--The Point of View as the Hero of the
Narrative.

VIII. EMPHASIS IN NARRATIVE 139
Essential and Contributory Features--Art Distinguishes
Between the Two by Emphasis--Many Technical Devices:
1. Emphasis by Terminal Position; 2. Emphasis by
Initial Position; 3. Emphasis by Pause [Further
Discussion of Emphasis by Position]; 4. Emphasis by
Direct Proportion; 5. Emphasis by Inverse
Proportion; 6. Emphasis by Iteration; 7. Emphasis by
Antithesis; 8. Emphasis by Climax; 9. Emphasis by
Surprise; 10. Emphasis by Suspense; 11. Emphasis by
Imitative Movement.

IX. THE EPIC, THE DRAMA, AND THE NOVEL 157
Fiction a Generic Term--Narrative in Verse and Narrative
in Prose--Three Moods of Fiction: I. The Epic