Summary
Introduction
In the introductory chapter, Forster sets the stage for his exploration of the English novel. He defines the novel simply, citing M. Abel Chevalley in Le Roman Anglais de notre temps, as "a fiction in prose of a certain extent." Forster then clarifies that English literature refers to works written in the English language, no matter where the author is from. Crucially, Forster emphasizes that his discussion will avoid historical contexts like chronology, periodization, or the novel's development. He states that "time, all the way through, is to be our enemy." Instead, he envisions the world's greatest novelists from different eras sitting together in a circle, akin to "a sort of British Museum reading room—all writing their novels simultaneously." Lastly, he notes the deliberate ambiguity of the term "aspects of the novel" to suggest an open-ended conversation. He plans to discuss seven aspects: story, characters, plot, fantasy, prophecy, pattern, and rhythm.
The Story
In the chapter titled "The Story," Forster begins by asserting that, at its core, a novel tells a story. He explains that a story must be driven by suspense—the question of "what happens next?" He defines a story as "a narrative of events arranged in their time sequence." Forster emphasizes that a compelling novel should imbue the story with a sense of value. He examines Sir Walter Scott's The Antiquary as an example of a novel structured around a series of events that answer "what happens next." However, he criticizes The Antiquary for lacking a sense of value in its narrative. Forster contrasts this with Tolstoy's War and Peace, which he praises for integrating value into its unfolding events. Additionally, he mentions American writer Gertrude Stein, who tried to eliminate the element of time from the novel, focusing solely on value. Forster concludes that this attempt results in nonsense.
Characters
In two chapters titled "People," Forster delves into the concept of characterization in novels. He identifies five "main facts of human life"—"birth, food, sleep, love, and death"—and contrasts how these experiences are lived by real people (homo sapiens) versus how they are portrayed by characters in novels (homo fictus). Forster then analyzes the character of Moll Flanders from Defoe's novel of the same name, emphasizing how the story's form is shaped by the evolution of its central character. In a subsequent lecture on characters, Forster differentiates between flat characters, whose traits are relatively simple and clear-cut, and round characters, whose personalities are more intricate and developed. He sees merit in using both types, citing Charles Dickens as a novelist whose predominantly flat characters still manage to create "a vision of humanity that is not shallow." While Forster spends less time on round characters, he mentions Russian authors Leo Tolstoy and Fyodor Dostoyevski, whose characters are mostly round. He briefly touches on the topic of point of view, concluding that novels with a shifting or inconsistent perspective can still be effective if the author skillfully integrates these changes into the story.
Plot
In a chapter dedicated to plot, Forster defines it as a sequence of events over time, with a focus on causality. He asserts that understanding plot requires two key reader traits: intelligence and memory. He discusses George Meredith, whom he acknowledges as a master of plot despite not being a great novelist. Forster then examines Thomas Hardy, noting that Hardy's plots are meticulously structured, often at the expense of character depth, as characters are molded to fit the plot, thereby lacking independent vitality. Forster argues that "nearly all novels are feeble at the end" because plot demands resolution, which...
(This entire section contains 1146 words.)
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often compromises character development. He observes that "death and marriage" are the most convenient endings for novelists. He cites André Gide’sLes Faux monnayeurs as an attempt to eliminate plot entirely, concluding that while plot can sometimes stifle character life, it remains a crucial element of the novel.
Fantasy
In a section on fantasy, Forster highlights that two crucial components of a novel are fantasy and prophecy, both of which carry a mythological aspect. Using Sterne's novel Tristram Shandy as an example, Forster argues that even novels without explicit supernatural elements can suggest the presence of supernatural forces. He enumerates several common fantasy devices employed by authors, such as ‘‘introducing a god, ghost, angel, or monkey, monster, midget, witch into everyday life.’’ He further expands this list to include ‘‘introducing ordinary characters into uncharted territories, the future, the past, the earth's core, the fourth dimension; or explorations and fragmentations of personality.’’ Additionally, he explores parody and adaptation as fantasy elements, noting their particular value to skilled writers who may struggle with original character creation. For instance, he cites Henry Fielding's Joseph Andrews, which started as a parody of Richardson's Pamela. He also references James Joyce's Ulysses, an adaptation of the ancient Greek text Odyssey.
Prophecy
Forster describes the prophetic aspect in a novel as ‘‘a tone of voice’’ of the author, a ‘‘song’’ where ‘‘the theme is the universe,’’ even if the subject matter is not universally broad. He emphasizes that engaging with prophetic elements requires readers to adopt ‘‘humility’’ and ‘‘suspend their sense of humor.’’ Comparing Dostoevsky to George Eliot, Forster concludes that while both authors convey a universal vision in their works, Eliot tends to be preachy, whereas Dostoevsky effectively delivers a ‘‘prophetic song’’ without preaching. Forster admits that only four writers have successfully crafted prophetic novels: Dostoevsky, Melville, D. H. Lawrence, and Emily Brontë. He examines passages from Moby Dick and the short story ‘‘Billy Budd’’ to demonstrate Melville’s prophetic voice, and uses Wuthering Heights to discuss Brontë as ‘‘a prophetess.’’ He regards D. H. Lawrence as the only contemporary novelist who has successfully achieved a prophetic voice in his work.
Pattern and Rhythm
In a chapter focusing on pattern and rhythm, Forster compares the concept of pattern in novels to visual art. He likens the narrative structure of Anatole France's Thaïs to an hourglass and Percy Lubbock's Roman Pictures to a chain. Forster believes that pattern brings an aesthetic beauty to a novel. However, when discussing Henry James's The Ambassadors, he argues that the novel sacrifices character vibrancy for the rigid structure of an hourglass pattern. Forster concludes that the main issue with pattern in novels is that it "shuts the door on life." He then shifts to the concept of rhythm, which he defines as "repetition plus variation," suggesting it is more suitable for novels than pattern. Forster cites Marcel Proust's multi-volume work Remembrance of Things Past as a successful example of rhythm. He asserts that rhythm allows for a more open-ended narrative structure while preserving the depth of characters.
Conclusion
In a brief conclusion, Forster speculates about the future of the novel, asserting that it will remain unchanged because human nature itself does not change. He concludes that "the development of the novel" is essentially "the development of humanity."
