e following passage from "The Masque of the Red
Death," notice how much of the effect is due to imitative movement in
the narrative:--

"But from a certain nameless awe with which the mad assumptions of
the mummer had inspired the whole party, there were found none who put
forth hand to seize him; so that, unimpeded, he passed within a yard
of the Prince's person; and, while the vast assembly, as if with one
impulse, shrank from the centers of the rooms to the walls, he made
his way uninterruptedly, but with the same solemn and measured step
which had distinguished him from the first, through the blue chamber
to the purple--through the purple to the green--through the green to
the orange--through this again to the white--and even thence to the
violet, ere a decided movement had been made to arrest him. It was
then, however, that the Prince Prospero, maddening with rage and the
shame of his own momentary cowardice, rushed hurriedly through the six
chambers, while none followed him on account of a deadly terror that
had seized upon all." The specter and the Prince pass successively
through the same series of rooms; but it takes the former fifty-one
words to cover the distance, whereas it takes the latter only six.

In every story that is artistically fashioned, the methods of emphasis
enumerated in this chapter will be found to be continually applied.
Its essential features will be rendered prominent by position
(terminal or initial), by proportion (direct or inverse), by iteration
or parallelism, by antithesis, by climax, by surprise, by suspense,
by imitative movement, or by a combination of any or all of these.
The necessity of emphasis is ever present; the means of emphasis are
simple; and any writer of narrative who knows his art will endeavor to
employ them always to the best advantage.

CHAPTER IX

THE EPIC, THE DRAMA, AND THE NOVEL

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 s