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Shania Twain & Gavin DeGraw Tickets
Staples Center
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August 20, xxxx
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font color="#fbf5f5" size="1">it must be "gappy and scrappy," while the more these pains are taken the more artificial it will become. In the third, the book is extremely likely, in the taking of these pains and even without them, to become intolerably lengthy and verbose. In the first part at least of the first part of Pamela, Richardson avoided these dangers fairly if not fully; in the second part he succumbed to them; in his two later novels, though more elaborate and important plots to some extent bore up the expansion, he succumbed to them almost more. Pains have been taken above to show how the first readers of Pamela might rejoice in it, because of its contrast with the character of the seventeenth?century novel which was most read--the Scudery or "heroic" romance. It is not, I think, too severe to say that nothing but the parallel with that romance, and the tolerance induced by familiarity with it, could make any one put up with the second part of Pamela itself, or with the inhumanly prolonged divagation of Clarissa and Grandison. Nor, as has been hinted, is the solace of the letters--in the opportunity
of setting forth different tempers and styles--here much taken. The English Novel 35 There is no doubt that one main attraction of this letter?plan (whether consciously experienced or not does not matter) was its ready adaptation to Richardson's own special and peculiar gift of minute analysis of mood, temper, and motive. The diary avowedly, and the letter in reality, even though it may be addressed to somebody else, is a continuous soliloquy: and the novelist can use it with a frequency and to a length which would be intolerable and impossible on the stage. Now soliloquy is the great engine for self--revelation and analysis. It is of course to a great extent in consequence of this analysis that Richardson owes his pride of place in the general judgment. It is quite possible to lay too much stress on it, as distinguishing the novel from the romance: and the present writer is of opinion that too much stress has actually been laid. The real difference between romance per se and novel per se (so far as they are capable of distinct existence) is that the romance depends more on incident