Discuss the most important requirements for writing and fiction as given in "The Art of Fiction" by Henry James. (15 marks)
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Answer:
Henry James detested looseness in fiction, felt the importance of amusement, championed the causes of the indirect approach, central intelligence, and international theme. He showed his concern for`formfor`form and order', authenticity and a new vision in which imagination and fiction could be mixed
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Answer:
The novel has struggled to be taken seriously as an art form. The very title of James’s essay begins his campaign on its behalf: ‘art’ and ‘fiction’, often seen at odds with each other, are placed side by side here. Prose fiction includes short stories, novellas (longer short stories), and the novel. James regarded the novel as supreme in its importance, not least because of the possibilities it provided for larger-scale plot development and characterization. In this essay, as Mark Spilka has argued, James began ‘an adventure of immense importance to the novel’s history’ (1977: 208).
James begins by referring to ‘the mystery of story-telling’ (1884: 44), and it is worth reminding ourselves that the word ‘mystery’ originally referred to the secrets of a particular trade, or craft, and that ‘art’ was generally applied in mediaeval times and beyond to practical skills. James’s perspective in this essay is very much that of the producer, of the novelist, and he wants to retrieve this older, practical sense of ‘art’, together with the meaning that developed in the Romantic period (in literature, from around the 1780s through to the 1830s). In that period, artists were regarded as creative geniuses involved in the production of beautiful artefacts. What defined art, increasingly in the nineteenth century, was its detachment from the world, or its apparent lack of a specifiable purpose. The best fiction, for James, is an art because it involves both the kind of proficiency in a craft that comes with a long apprenticeship and the individual creative genius celebrated by Romantic writers such as the English poets William Wordsworth (1770–1850) and John Keats (1795– 1821). By combining these meanings of ‘art’, James attempts to fend off those who attack the novel for having ‘no great character’ and for being a ‘commodity so quickly and easily produced’ (1884: 49).
At the core of James’s definition of the novel is what he sees as its responsibility to represent life. He states that this is ‘the only reason for the existence of a novel’ (1884: 46). But it soon emerges that James is committed to a complex and shifting sense of what this responsibility amounts to. Part of the reason for these complications is James’s belief that ‘a novel ought to be artistic’ (1884: 47) as well as a representation of life. In an era of burgeoning popular photography, James wants to put as much distance as possible between the novel and crude realism. He argues that ‘[a] novel is in its broadest definition a personal, a direct impression of life’ (1884: 50). Crucially important here is the imaginative power of the writer; and this is what distinguishes the good novel from the bad, or popular, novel. To write artistic novels, rather than novels merely, the author must have ‘[t]he power to guess the unseen from the seen, to trace the implication of things, to judge the whole piece by the pattern’ (1884: 53).