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Creasy: Fifteen Decisive Battles of the
Prescott: Conquest of Peru. BIOGRAPHY: Lockhart: Life of Scott.
Morley: English Men of Letters.
Palmer: Life of Alice Freeman Palmer. THE NOVEL: Allen: The Choir Invisible.
Dickens: Hard Times; Barnaby Rudge.
The Return of the Native.
Trollope: Barchester Towers.
Allen: Flute and Violin.
La Grande Bretèche.
The Revolt of Mother.
The Three Strangers.
THE SHORT-STORY: Kipling: Without Benefit of Clergy.
Matthews: Vignettes of Manhattan (se
The Piece of String.
The Fall of the House of Usher.
The Cask of Amontillado.
Boggs becomes Dramatic ("The
Wood-Fire in No. 3 ”).
The Bible: Ruth, Esther, and selections ad
Gesta Romanorum: selections.
My obligations are many. One cannot discuss the principles herein considered and fail to recognize indebtedness to Professors Barrett Wendell and Bliss Perry of Harvard, Professor Charles S. Baldwin of Columbia, and many others. I have endeavored, in the text, to give credit for such indebtedness, and in the footnotes I have specified the various publishers who have courteously allowed the use of copyrighted matter.
I take this opportunity also of expressing to my colleagues — especially to Samuel E. Allen, M.A. and George B. Dutton, Ph.D. — my obligations for their valuable and generous assistance in preparing this work for publication.
THE RHETORICAL PRINCIPLES
Narration “recounts the particulars of an occurrence, or makes a statement of facts, in chronological order.” — Standard Dictionary.
Narration is “an orderly recital of the details and particulars of some transaction or event, or of some series of transactions or events." - Century Dictionary.
“Narration is the recounting, in succession, of the particulars that together make up a transaction.” — GENUNG: Working Principles of Rhetoric.
An examination of these three definitions, which may fairly be called typical, reveals the two underlying principles of all narrative writing: (a) the conception of a unit, variously termed an "occurrence,"
occurrence,” a “transaction,” and an "event"; and (b) the successive details that constitute this unit, arranged in their chronological order, in an “orderly recital," in a "series."
From these essential parts of the three definitions in question it becomes apparent that the time-element plays a very important part in the process of narration, indeed, that it is fundamental. The unit variously denominated as an “occurrence," a “transaction,” an
event,” is from its very nature temporal. It indicates a circumstance that presents itself in the course of time; it is generally a part of some larger temporal whole, it
may be of an era, or of a life, or of a mere brief experi