Aspects of the Novel

Published in 1956, Aspects of the Novel is a nonfiction title by E.M. Forster. The book is a treatise on writing and literary criticism. The information was first presented by Forster in a series of lectures at Cambridge University and then later released in book form. Forster (1879-1970) is a renowned English author. The author of five novels, his works use a humanistic approach in their focus on class differences in Britain in the 20th century. He was a member of the famous Bloomsbury Group, which also included Virginia Woolf and John Maynard Keynes.

In Aspects of the Novel, Forster says in his introductory note, "Since the novel is itself often colloquial it may possibly withhold some of its secrets from the graver and grander streams of criticism, and may reveal them to backwaters and shallows." Using examples from the works of several famous authors, the book breaks down the seven elements vital to a novel: story, people, plot, fantasy, prophecy, pattern, and rhythm. Forster communicates this information in a simple, easy to understand manner and derides the "pseudoscholarship" of traditional literary criticism.

Before beginning, Forster lays down his approach. He defines a novel simply as "a fiction in prose of a certain extent," while English literature is any work written in the English language, rather than those only from a specific country or location. He also states that "time, all the way through, is to be our enemy," and thus, he will not look at novels for their chronology or periodization. Rather, he communicates his wish to imagine that all the greatest novelists throughout time are sitting together in a circle, writing their books simultaneously.



In the first chapter, titled "The Story," Forster says that a novel, in its most basic form, tells a story by arranging narrative events in a time sequence, and that the story should be founded on the question, "What happens next?" A good story, however, must add value. He moves on to discuss an example: The Antiquary by Sir Walter Scott. Scott's work is indeed founded on the "what happens next" question, but it lacks value. In contrast, War and Peace by Leo Tolstoy is a good example of a sequence of events that unfolds over time while adding value.

Forster's teachings on characterization are the most oft-discussed. In "People," he explains the difference between "flat" and "round" characters using works by Charles Dickens as an example. Flat characters are those that only have one or two defining characteristics, while round characters are fully developed. Both, however, are necessary in a story. "Those who dislike Dickens have an excellent case. He ought to be bad," says Forster. According to Forster, nearly all Dickens characters are flat, yet his stories nevertheless manage to paint "a vision of humanity that is not shallow." Jane Austen, on the other hand, focuses her stories on round characters, and although she usually ends her novels before they have had a chance to live out their lives, the reader has no difficulty in imagining them doing so.

Forster explains that the characters in stories are not real people but must seem like real people. Sometimes a reader will find that they seem more real than the actual people in the reader's life. An author accomplishes this by revealing the character's hidden, inner life. Forster also goes on to discuss that while activities like sleeping and eating don't take up much space in stories, love is usually over-represented.



In the chapter on Plot, Forster explains that a story is a narrative of events, but a plot is a narrative of events that focuses on causality. Whereas a story might say, "The King died, and then the Queen died," a plot would say, "The King died, and then the Queen died of grief." Both have a time sequence, but in the plot, time is overshadowed by causality. Plots demand intelligence from their readers, including the ability to remember events and connect threads, and this allows the author to create mystery by delaying certain explanations until later in the plot. However, plot must be a balance between events and character. Characters must influence the plot based on their personalities or else they are simply swept away by Fate.

In the sections on Fantasy and Prophecy, Forster explains that fantasy is introduced into a novel to create a magical effect; however, fantasy is not always mystical. Instead it can also be found in the magic of everyday things and people. He also discusses parody and adaptation, which allow a story to be layered upon by many author's imaginations. Prophecy, Forster says, is an ancient author's voice with a universal theme--that is, the characters are more than just characters. He uses Fyodor Mikhailovich Dostoyevsky, whose characters always represent something more than themselves, as an example. Unlike symbolism, which has concrete meanings, the meanings of prophecy are more imprecise, yet unfailingly universal.

Lastly, Forster discusses Pattern and Rhythm. Pattern is the shape of a novel. Sometimes it is a geometric shape, such as an hourglass (where one character's social climb intersects with another's social fall) or a circle (where a character ends up back where they started). Pattern allows a reader to see the book as a whole. Forster warns, however, that pattern must grow organically. When characters are forced into a pattern, the story loses authenticity and richness. Rhythm is represented by a motif that appears in slight variations throughout the story and serves to help unify it.