Chapter II: Art in the Novel

_a._ Completeness in the story:

1. Exclusion of unimportant and irrelevant matter.

α. The “story-teller” in us all.

β. The distractions of real life, with its
far-relatedness.

γ. The “outside” event in melodrama too like
life.

2. Exclusion of author’s one-sided moral verdict.

3. Must not be “_for_” some characters, and “_against_”
others.

_b._ Understanding of Life in novel:

1. False simplicity of poetic justice, of all good, and
all bad.

2. Cant phrases offend because they appear imitative,
not sincere.

3. Psychological and dramatic treatment:

α. Dramatic writer trusts reader’s insight.

β. Action is more convincing than description of
motive.

4. Humor and wit:

α. Humor is knowledge of human nature, its
contrasted greatness and littleness.

β. Wit is a juggling of words into contrasted or
incongruous effects.

γ. Both are a bringing together of the
incongruous, in a paradox of unity.

NINTH MEETING

_Art_ (Continued)

I. ART IN POETRY:

_a._ Difference between Poetry and Prose:

1. Poetry is “set to music,” and the rhythm carries part
of the message.

2. This unreality or distance from life makes it more
complete and beautiful in itself.

3. The emotions and imagination picture completeness
more easily than the intellect:

α. Because the desire for completeness is a
feeling.

_b._ Completeness and understanding in Poetry:

1. Metaphor and simile a relationing of far-off things.

2. Symbol in Play replaces them:

α. The Fairy-story.

3. Taking sides destroys poetry.

4. Exaggerated and conventional phrases are weak because
they are insincere.

II. ART IN MUSIC:

_a._ Music is itself harmony and completeness:

1. The most intangible and removed, it is yet the most
satisfying symbol of completeness and harmony.

III. THE OPERA:

_a._ Its attempt to combine all the Arts in one harmonious
expression.