Reading Indian Fiction in English
1. Introduction
E. M. Forster’s Aspects of the Novel (1927) is a seminal work that critically examines the novel as a literary genre. Originating from the Clark Lectures delivered at Trinity College, Cambridge, the book is known for its conversational tone and accessible insights. Forster's approach is not confined to the historical development of the novel but extends to understanding its structure, style, and the methodologies for critical reading. His observation that "the novel itself is often colloquial" highlights the genre's inherent flexibility and capacity for nuanced critique. Readers are encouraged to engage with Aspects of the Novel directly for a deeper appreciation of Forster’s insights.
2. The Author and His Works
E. M. Forster is celebrated as a prominent twentieth-century critic and novelist. His essays and ideas on fiction and art are compiled in works like Abinger Harvest and Two Cheers for Democracy. Forster’s critical stance underscores the novel’s unique lack of rigid structure, contrasting it with other literary forms like poetry and drama. This flexibility allows novelists to explore characters' inner lives and societal contexts with remarkable freedom, blending various writing styles to produce engaging narratives.
Forster’s novels often delve into human relationships and social commentary. He masterfully portrays cultural nuances, exploring themes that reflect the era while offering timeless insights. His critical works, such as Aspects of the Novel, further establish his influence in the literary world.
Significant Works by E. M. Forster
Novels
- Where Angels Fear to Tread (1905)
- The Longest Journey (1907)
- A Room with a View (1908)
- Howards End (1910)
- A Passage to India (1924)
- Maurice (written 1913–1914; published posthumously in 1971)
- Arctic Summer (1980, posthumous and unfinished)
Plays and Pageants
- Abinger Harvest (1934)
- England's Pleasant Land (1940)
Literary Criticism
- Aspects of the Novel (1927)
- The Feminine Note in Literature (posthumous, 2001)
Biography
- Goldsworthy Lowes Dickinson (1934)
- Marianne Thornton, A Domestic Biography (1956)
Travel Writing
- Alexandria: A History and Guide (1922)
- Pharos and Pharillon (1923)
- The Hill of Devi (1953)
3. Aspects of the Novel: Summary
Introductory
E. M. Forster’s Aspects of the Novel is one of the pioneering efforts to critically examine the genre of the novel. The book, based on a series of Clark lectures delivered at Trinity College, Cambridge, in 1927, explores what makes a novel both aesthetically pleasing and intellectually stimulating. Forster defines the novel as “a fiction in prose of a certain extent” and critiques the traditional scholarly methods of classifying novels chronologically or by subject. He argues that such approaches “move around books instead of through them” and fail to uncover their essence. Instead, Forster advocates for engaging with novels directly to discover their true content and meaning.
Forster acknowledges the limitations of the lecture's scope, as it excludes works outside English literature, particularly Russian and French novels. He praises authors like Tolstoy, Dostoyevsky, and Proust for their unmatched portrayals of human life, soul, and modern consciousness. Forster’s approach embraces flexibility, and the title’s use of the word "aspects" reflects the freedom to explore the novel in varied and unscientific ways.
The Seven Aspects of the Novel
E. M. Forster, in Aspects of the Novel, identifies seven critical elements that form the foundation of a novel. These aspects—story, characters, plot, fantasy, prophecy, patterns, and rhythm—serve as tools for understanding and analyzing the structure and essence of novels. Forster elaborates on each aspect with examples, providing readers with a comprehensive framework to appreciate the artistry of fiction.
1. The Story
The story is the most fundamental element of a novel, representing a sequential narrative of events designed to engage the reader’s curiosity. Forster explains that a story answers the basic question: “What happens next?” This intrinsic suspense keeps readers invested in the narrative. A successful story is not just entertaining but also instructive, blending substance with style.
To illustrate the importance of suspense, Forster refers to One Thousand and One Nights, where Scheherazade tells captivating stories to delay her execution. Her husband, the king, is kept in suspense as she abruptly ends her tales each morning, ensuring his curiosity saves her life. Forster likens readers to Scheherazade’s husband, emphasizing the universal appeal of suspense in storytelling. While the story is vital, Forster warns that it alone cannot sustain a novel; it must be complemented by other elements to achieve artistic depth.
2. People/Characters
Characters are the heart of a novel, representing the individuals through whom stories unfold. Forster categorizes characters into two types:
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Flat Characters: These characters are defined by one or two traits and remain unchanged throughout the story. Flat characters are easily recognizable and memorable because of their simplicity. Forster uses Charles Dickens’s works to exemplify flat characters, noting that while they are not complex, they are vivid and effective in driving the narrative. For instance, characters like Mr. Micawber from David Copperfield are immediately identifiable and require no further development.
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Round Characters: These characters are multi-faceted and evolve over the course of the novel, resembling real people with complex inner lives. Forster highlights Jane Austen’s works as examples of round characters. Austen’s protagonists, like Elizabeth Bennet in Pride and Prejudice, grow through their experiences, making them relatable and authentic.
Forster argues that both flat and round characters are essential for a novel’s success. While flat characters provide stability and continuity, round characters add depth and realism. He emphasizes that to make characters believable, authors must reveal their inner thoughts and motivations.
3. Plot
Forster distinguishes between a story and a plot by emphasizing the element of causality. While a story merely recounts events in sequence, a plot explores the cause-and-effect relationships between these events. For example:
- A story might say, “The king died, and then the queen died.”
- A plot would add depth: “The king died, and then the queen died of grief.”
A well-crafted plot requires intelligent readers who can track details, follow multiple threads of reasoning, and anticipate outcomes. Forster asserts that a good plot maintains a delicate balance between events and characters. If characters lack agency and fail to influence the narrative, the story risks being overtaken by the deterministic force of Fate. Suspense is a crucial element of plotting, achieved by withholding key details until the appropriate moment in the story.
4. Fantasy
Fantasy introduces an element of magic or the extraordinary into the novel, creating an otherworldly or imaginative atmosphere. However, Forster clarifies that fantasy is not limited to supernatural phenomena. It can also manifest in the unusual or whimsical aspects of everyday life, highlighting the extraordinary within the mundane.
Fantasy allows authors to expand their creative boundaries, offering readers a break from realism while retaining thematic relevance. Forster also discusses parody and adaptation as tools that enable multiple interpretations of a single story, demonstrating the flexibility and richness of the genre.
5. Prophecy
Prophecy, as described by Forster, transcends individual characters and events, addressing universal truths and timeless themes. Characters in prophetic novels often embody larger ideas, representing the author’s vision of humanity or existential concerns. Forster cites Dostoyevsky as a master of prophecy, noting how his characters stand for concepts that resonate beyond the narrative.
Unlike symbolism, which is precise and specific, prophecy is broad and interpretive, allowing readers to connect with the novel’s deeper meanings. Forster argues that prophecy adds a spiritual or philosophical dimension to a novel, elevating it from a mere story to a profound exploration of life’s mysteries.
6. Patterns
Patterns provide the structural framework of a novel, determining its shape and form. Forster identifies common patterns, such as:
- Circular Pattern: The narrative ends where it began, creating a sense of closure and continuity.
- Hourglass Pattern: Characters’ fortunes rise and fall, intersecting at pivotal moments in the story.
Patterns help readers perceive the novel as a cohesive whole, offering clarity and organization. However, Forster warns that patterns must emerge naturally from the narrative. When characters are forced to conform to a pre-determined structure, the authenticity and depth of the story suffer. Patterns should complement the narrative rather than dictate its course.
7. Rhythm
Rhythm is the recurring motif or theme in a novel, repeated with variations to create a sense of continuity and progression. Unlike patterns, which define the novel’s structure, rhythm adds emotional and aesthetic depth to the story. It allows the narrative to flow seamlessly, guiding readers through the text without abrupt disruptions.
Forster explains that rhythm is not mechanical but organic, emerging from the interplay of characters, events, and themes. A well-crafted rhythm enhances the reader’s experience, making the novel memorable and impactful.
4. Aspects of the Novel: A Critical Appreciation
E. M. Forster's Aspects of the Novel is a pioneering work that provides a comprehensive examination of the essential components of a novel. Forster’s conversational tone and illustrative examples make the text accessible while offering profound insights into the art of novel-writing. He delves into the narrative’s fundamental elements—story, character, plot, fantasy, prophecy, pattern, and rhythm—each contributing to the novel’s form and impact.
1. The Story
Forster defines the story as the foundational aspect of a novel, describing it as "a narrative of events arranged in time sequence." The story's primary function is to engage the reader’s curiosity by answering the question, “What happens next?” Forster emphasizes that the story’s logic must align with both temporal and value-based realities to make sense. While the story is crucial, he suggests it is best experienced when read aloud, as novels possess an auditory appeal reminiscent of traditional storytelling. This element creates an immersive experience that enhances the aesthetic pleasure of the narrative.
2. People/Characters
Forster considers characters, or "people," as the most fundamental aspect of a novel, stating that the pertinent question is not “What happened next?” but “To whom did it happen?” Characters serve as vehicles for the author’s voice and values, subtly establishing the novel’s moral and emotional depth. Forster highlights the importance of balancing the author’s creative freedom with the characters’ realism to ensure believability. He identifies five essential human activities—birth, eating, sleeping, loving, and dying—as the foundation of fictional characterization. These universal experiences connect characters to readers, enabling deeper empathy.
Forster classifies characters into two categories:
- Flat Characters: Simple, predictable, and defined by one or two traits, such as caricatures or comic relief. They are easy to recognize and do not require re-introduction.
- Round Characters: Multi-dimensional, complex, and capable of growth, both internally and externally. These characters resemble real individuals and add depth to the narrative.
Forster emphasizes that a novel benefits from the interplay of flat and round characters, each serving distinct purposes.
3. Plot
Forster distinguishes between story and plot by introducing the concept of causality. While a story merely recounts events in sequence, a plot interweaves these events with cause-and-effect relationships, adding depth and intrigue. For example:
- Story: “The king died, and then the queen died.”
- Plot: “The king died, and then the queen died of grief.”
A well-crafted plot demands both intelligence and memory from the reader. It should be cohesive, free of loose ends, and aesthetically satisfying. Forster stresses that the plot must balance mystery and clarity, engaging the reader’s intellect without misleading them. The emphasis on causality and interconnectedness elevates the plot beyond mere narrative, offering a richer reading experience.
4. Fantasy
Fantasy introduces elements of the extraordinary or supernatural, allowing novelists to explore realms beyond ordinary experience. Forster highlights that fantasy need not always include magic; it can also uncover the extraordinary within the mundane. By blending reality and imagination, fantasy provides novelists with creative freedom to craft compelling and innovative narratives. This genre often uses mythological references, coincidences, and playful language to create a unique atmosphere.
5. Prophecy
Prophecy imbues a novel with universal truths and profound themes, transcending individual characters and events. Forster uses Dostoyevsky as an example, where characters embody larger philosophical or spiritual ideas. The prophetic element requires humility from both the author and the reader. Authors must deliver their vision with sincerity, while readers must suppress their humor and approach the text with openness to engage fully with its deeper meanings.
6. Pattern
Pattern refers to the structural framework of a novel, shaping its overall narrative arc. Forster describes patterns as either circular—where characters end where they began—or resembling an hourglass, where character trajectories intersect and diverge. A well-executed pattern provides cohesion and clarity to the novel, allowing readers to appreciate the story’s design. However, Forster warns against imposing rigid patterns that compromise the narrative’s authenticity.
7. Rhythm
Rhythm is a subtler aspect, achieved through the repetition of motifs, phrases, or images with slight variations. This creates a sense of continuity and harmony, akin to a musical composition. Forster distinguishes between "easy" and "difficult" rhythms, emphasizing that rhythm emerges organically from the narrative’s elements. When executed well, rhythm enhances the novel’s aesthetic appeal, leaving a lasting impression on the reader.
Overall Aesthetic Appeal
Forster concludes that Aspects of the Novel is intended as a flexible guide for understanding and appreciating the novel’s artistry. The interplay of story, character, plot, fantasy, prophecy, pattern, and rhythm creates a multi-layered narrative that resonates with readers. By focusing on these elements, Forster highlights the novel’s unique ability to merge entertainment with intellectual and emotional engagement.
5. The Novel as a Reflection of Society
Literary narratives serve as mirrors to the cultural, social, and political values of the society they emerge from. Novels, like other forms of literature, reflect societal norms, challenges, and aspirations. However, this comparison to a mirror can be problematic because novels often critique existing societal conditions or present an idealized vision of the world. Fiction uses factual details as raw material but goes beyond mere representation to delve into abstract ideas, critiques, and imaginative possibilities.
From the earliest forms of creative expression, such as cave paintings, to modern literary works, recording and interpreting societal conditions has been a central human endeavor. Literature, through its varied forms—poetry, drama, and the novel—has always captured socio-political, historical, and cultural concerns. Writers reflect their time, either overtly or subtly, embedding the values and struggles of their age in their narratives. For instance, Bankim Chandra Chatterji’s Anandamath illustrates the societal hardships during the Bengal Famine of the 1770s and the rebellion of the Sanyasis, blending historical truths with fictional storytelling to depict the anguish and resistance of the era. Fiction may not be a historical record, but it offers invaluable insights into the ethos and culture of its time.
Realism vs. Fantasy in Novels
During E. M. Forster’s time, the debate about realism and fantasy in literature highlighted contrasting approaches to representing society. Henry James, in The Art of Fiction, emphasized detachment, objectivity, and seriousness as key elements of a novel. He argued that a novel should mirror history, providing an illusion of reality and authenticity. In contrast, proponents of fantasy, like Romantic poet P. B. Shelley, viewed literature as a medium for envisioning a better world. Shelley referred to poets as “the unacknowledged legislators of the world,” underscoring the transformative potential of literary imagination.
Realist writers focus on the darker aspects of society, critiquing and exposing its flaws with a commitment to inspire change. On the other hand, fantastical writers create imaginary worlds to showcase aspirational ideals. Both approaches reflect and critique societal realities, either by holding a mirror to the world as it is or by presenting a vision of how it could be.
The Dual Nature of Literature
Novels encapsulate both the bright and shadowy aspects of reality, blending social critique with cultural aspirations. Realist writers strive to purge society of undesirable elements by portraying its harsh truths, while fantastical writers inspire hope by envisioning better worlds. Together, these narratives act as products of their cultural contexts, offering a multifaceted view of society.
Literature serves as both an individual and collective voice, shaping and reflecting societies. To claim that literature accurately represents communities, it must encompass diverse cultural practices, philosophical ideas, and personal experiences. With its evocative language, literature captures the customs, emotions, and aspirations of human communities. It acts as a portal—either transporting readers to a specific historical moment or offering a vision of an aspirational future. Through its narrative power, the novel bridges the past, present, and potential future, enriching our understanding of society and ourselves.
6. Conclusion
E.M. Forster's Aspects of the Novel is a pioneering work in understanding the novel as a literary genre. By categorizing novels into seven essential aspects—story, character, plot, fantasy, prophecy, pattern, and rhythm—Forster provides a comprehensive framework for critical analysis. He highlights how the novel blends the narrative’s simplicity with the complex interplay of themes, creating a unique form of storytelling. His distinction between flat and round characters and his insights into the structural elements of a novel, such as plot and rhythm, remain invaluable for literary scholars. Forster’s conversational style makes the book both accessible and insightful, ensuring its relevance across generations.
Furthermore, Forster places novels within a broader socio-cultural context, reflecting their capacity to mirror or critique society. By combining realism and fantasy, novels serve as both a documentation and reinterpretation of the human experience. They offer readers a lens to understand societal norms, critique existing structures, and envision better realities. Forster’s work encourages readers to engage with novels not just as stories but as intricate art forms that resonate with universal truths and cultural values, making Aspects of the Novel a cornerstone in literary criticism.