INTRODUCTIONIWHYDOWEHAVESUCHCOURSEENGLISHLITERATUREISONEOFTHECOMPULSORYANDMOSTIMPORTANTCOURSESHOWEVER,THEENGLISHLITERATURECOURSESOFFEREDAREMERELYTAUGHTATTHELEVELOFLEARNINGGENERALINFORMATIONANDDEVELOPINGLITERALUNDERSTANDINGADMITTEDLY,SUCHCOURSESHELPTHEM/YOUALOTINTHEIR/YOURACQUISITIONOFTHEENGLISHLANGUAGEBUTTHEFUNCTIONOFENGLISHLITERATUREREACHESFARBEYONDTHATINREADINGENGLISHLITERATURE,ASTUDENTSHOULDHAVETHEPOWERTODISCERNHOWHUMANBEINGSTRANSLATETHEIREXPERIENCEINTOARTISTICEXPRESSIONANDREPRESENTATIONHOWWRITERS,THROUGHTHEIRCREATIVEIMPULSES,CONVEYTOUSTHEIRINSIGHTSINTOHUMANDESTINYANDHUMANLIFEANDHOWSOCIALCONCERNISINVOLVEDINASPECIFICFORMOFHUMANIMAGINATIONINADDITION,STUDENTSSHOULDELEVATETOTHELEVELOFCULTIVATINGACURIOSITYFORTHEUNKNOWN,THINKINGCOGENTLYANDLOGICALLY,EXPRESSINGTHEMSELVESCLEARLYANDCONCISELY,ANDOBSERVINGTHEWORLDAROUNDTHEMCRITICALLYANDOBJECTIVELYBUTMOSTSTUDENTSARESTILLATALOSSASTOHOWTHEYCANEFFECTIVELYANALYZEALITERARYWORKBYTHEMSELVESINANYOFTHESERESPECTS,EVENTHOUGHTHEYHAVEREADPLENTYOFEXCERPTSFROMREPRESENTATIVEWORKSINTHEBRITISHANDAMERICANLITERARYCANONANDTHEYTENDTOHAVELITTLEIDEAWHATROLETHEBEGINNINGPARTPLAYSINTHEWHOLESTORY,HOWTHEPLOTDEVELOPSANDCOMESTORESOLUTION,INWHATWAYPOINTOFVIEWDETERMINESAREADERSUNDERSTANDINGOFTHESTORY,ANDHOWTHEIMAGESANDSYMBOLSARERELATEDTOTHETHEMEUPONCONSIDERATIONOFTHESEFACTORS,WEHAVESUCHCOURSEWITHTHEINTENTIONOFCULTIVATINGBOTHSTUDENTSLITERARYSENSIBILITIESANDTHEIR/YOURCRITICALPOWERWHENREADINGENGLISHSHORTSTORIESANDNOVELSIIINTRODUCTIONABOUTREADINGASTORY1WHATISSTORY“YESOH,DEAR,YESTHENOVELTELLSASTORY”THISISFORSTERSREMARK,WHICHISWORTHSPECIALATTENTION,FORHEISSOMEONEINTHETRADEANDWITHRICHEXPERIENCEINHISASPECTSOFTHENOVELHELISTS“STORY”ASTHEFIRSTASPECTPEOPLEREADINGNOVELSFORSTORIESUSUALLYASKQUESTIONSLIKE“WHATHAPPENEDNEXT”AND“AND”WHATWOULDHEDONEXT”THESEQUESTIONSATTESTTOTHETWOBASICELEMENTSOFASTORYTHEONEISTHEEVENTANDTHEOTHERTHETIMEASTORYISASERIESOFHAPPENINGSARRANGEDINTHENATURALTEMPORALORDERASTHEYOCCURSTORYISTHEBASISOFTHENOVEL,ANDINDEEDTHEBASISOFNARRATIVEWORKSOFALLKINDS2THESTRUCTUREANDFUNCTIONSOFASTORYPLOTCHARACTERPOINTOFVIEWTHEMESTYLE3WHATISFICTIONFICTION,THEGENERALTERMFORINVENTEDSTORIES,NOWUSUALLYAPPLIEDTONOVELS,SHORTSTORIES,NOVELLA,ROMANCES,FABLES,ANDOTHERNARRATIVEWORKSINPROSE,EVENTHOUGHMOSTPLAYSANDNARRATIVEPOEMSAREALSOFICTIONALP83CONCISEDICTIONARYOFLITERARYTERMS4THESTORYANDTHENOVELTOREADNOVELSFORSTORYISNOTHINGWRONG,BUTNOTHINGPROFESSIONALEITHER“ONEMARKOFASECONDRATEMINDISTOBEALWAYSTELLINGSTORIES”THEREMARKBYTHEFRENCHWRITERJEANDELABRUYERE16451696ISALSOTRUEOFTHEREADERIFTHEPURPOSEOFTHENOVELISONLYTOTELLSTORIES,ITCOULDASWELLREMAINUNBORN,FORNEWSPAPERSANDHISTORYBOOKSARESUFFICIENTTOSATISFYPEOPLESDESIREFORSTORIESABOUTBOTHPRESENTANDPAST,ANDEVENABOUTFUTUREINFACT,MANYNEWAPAPERMENHAVEBEENDISSATISFIEDWITHTHEIRJOBOFREPORTINGANDCOMEINTOTHEFIELDOFNOVELWRITINGDEFOE,DICKENS,JOYCE,HEMINGWAYANDCAMUSWEREAMONGTHEMOSTFAMOUSANDTHEMOSTSUCCESSFULCONVERTSEVENHISTORIANSMAYFEELOBLIGEDTODOMORETHANMERESTORIESORFACTSEDWARDGIBBORNSDECLINEANDFALLOFTHEROMANEMPIREISPRAISEDNOTONLYFORITSMULTITUDINOUSFACTSANDRATIONALISTICANALYSIS,BUTMOREFORITSBEAUTYOFNARRATIVESTYLEINTELLINGSTORIES,THENOVELISTAIMSATSOMETHINGHIGHERORHEINTENDSTOADDSOMETHINGTOTHEMERE“FACTS”ASINDICATEDINTHEDEFINITIONOFTHENOVEL,WHATMAKESANOVELISTHENOVELISTSSTYLEPERSONALIZEDPRESENTATIONOFTHESTORYANDINTERPRETATIONOFTHESTORYCHAPTERONEPLOTIWHATISPLOT1ACCORDINGTOARISTOTLEWHATARETHESIXELEMENTSOFTHESTRUCTUREOFTRAGEDYTRAGEDYASAWHOLEHASJUSTSIXCONSTITUENTELEMENTSANDTHEYAREPLOT,CHARACTERS,VERBALEXPRESSION,THOUGHT,VISUALADORNMENT,ANDSONGCOMPOSITIONFORTHEELEMENTSBYWHICHTHEYIMITATEARETWOVERBALEXPRESSIONANDSONGCOMPOSITION,THEMANNERINWHICHTHEYIMITATEISONEVISUALADORNMENT,THETHINGSTHEYIMITATEARETHREEPLOT,CHARACTERS,THOUGHT,ANDTHEREISNOTHINGMOREBEYONDTHESE2WHATISPLOTUNDERTHEPENSOFMODERNNOVELISTSANDSTORYTELLERSANDHOWTOUNDERSTAND“PLOT”INASTORY“”PPTTHEQUEENDIED,NOONEKNEWWHY,UNTILITWASDISCOVEREDTHATITWASTHROUGHGRIEFATTHEDEATHOFTHEKINGP6ITSUSPENDSTHETIMESEQUENCE,ITMOVESASFARAWAYFROMTHESTORYASITSLIMITATIONSWILLALLOWTHESTORYANDTHECHARACTERALONECANNOTMAKEANOVELYETOMAKEANOVEL,APLOTISPREREQUISITEALOOKATTHEEXAMPLESUGGESTEDBYEMFORSTERWILLHELPTODISTINGUISHBETWEENTHESTORYANDTHEPLOT“THEKINGDIEDANDTHENTHEQUEENDIED”ISNOTAPLOT,BUTASTORYIFWEMAKEIT“THEKINGDIEDANDTHENTHEQUEENDIEDOFGRIEF,WEHAVEAPLOTTHISCAUSALPHRASE“OFGRIEF”INDICATESOURINTERPRETATIONANDTHUSARRANGEMENTOFTHEHAPPENINGSINTHEWORLDOFREALITYEVENTSTAKEPLACEONEAFTERANOTHERINTHENATURALTEMPORALORDER,BUTINTHEWORLDOFFICTIONITISTHENOVELISTSDESIGNTHATONEPARTICULAREVENTOCCURAFTERANOTHERPARTICULAREVENTTHEVERYWORD“PLOT”IMPLIESTHENOVELISTSREBELLIONAGAINSTTHENATURALLAWANDHISENDEAVORTOMAKEMEANINGSOUTOFTHEHAPPENINGSTHATMAYOTHERWISEBEMEANINGLESS“THEHAPPENINGS”MAYORMAYNOTBEREALHAPPENINGSSOWHATPLOTISAPLOTISAPARTICULARARRANGEMENTOFHAPPENINGSINANOVELTHATISAIMEDATREVEALINGTHEIRCAUSALRELATIONSHIPSORATCONVEYINGTHENOVELISTSIDEASAPLOTISSOMETIMESCALLEDASTORYLINETHEMOSTIMPORTANTOFTHETRADITIONALPLOTISTHATITSHOULDBEACOMPLETEORUNIFIEDACTION,THATIS,SOMETHINGWITHABEGINNING,AMIDDLE,ANDANEND3THEDRAMATICSITUATIONINASTORY4THETHREEPARTSOFAPLOTABEGINNINGEXPOSITION,AMIDDLESUSPENSEORASERIESOFSUSPENSEFORESHADOWINGCRISISAMOMENTOFHIGHTENSION,ANDANENDACLIMAX,THEMOMENTOFGREATESTTENSIONTHECONCLUSIONFALLINGACTION,RESOLUTIONORDENOUEMENTPLOTABEGINNINGAMIDDLEANENDEXPOSITIONSOMEOTHEREVENTSCLIMAXTHEMOMENTSUSPENSE,ASERIESOFSUSPENSE,OFGREATESTTENSION,FORESHADOWING,CRISISTHECONCLUSIONFALLINGACTION,RESOLUTIONORDENOUEMENTIIREADTHESTORIESOFRIPVANWINKLEWASHINGTONIRVINGANDDAVIDSWANNATHANIELHAWTHORNEIIIQUESTIONSFINISHREADINGTHETWOSTORIESANDPOINTOUTTHEPLOTSOFTHETWOSTORIES,THEDESCRIPTIVEDETAILS,THEEXPOSITION,CHARACTERSRIPVANWINKLE1DESCRIPTIVEDETAILSTHEPLOTOFTHESTORY2WHATPARTOFTHESTORYSEEMSLIKETHEEXPOSITION3WHEREDOESTHEDRAMATICCONFLICT4WHATISTHECLIMAXOFTHESTORYDAVIDSWAN5THEPLOTOFTHESTORY6HOWFULLYDOESTHEAUTHORDRAWTHECHARACTERSINTHESTORYCHARACTERTRAITSARETHEQUALITIESOFACHARACTERSPERSONALITYTHEYAREREVEALEDTHROUGHACHARACTERSACTIONSANDWORDSANDTHROUGHDESCRIPTION7MOREWORKSTODOSOMETHINGABOUTTHEWRITERSOFTHETWOSTORIESCHAPTERTWOCHARACTERINTHEINTRODUCTIONWEHAVESAIDTHATFICTIONISANIMAGEOFPEOPLEINACTION,MOVINGTOWARDSANUNDECLAREDENDTHUSCHARACTERISALWAYSINVOLVEDINFICTION,EVENINTHESTORYOFTHESIMPLESTACTIONSOMETIMESCHARACTERISATTHECENTEROFOURINTERESTBECAUSEINCHARACTERWEMAYSEEMANYFACETSOFTHEPEOPLEWEMEETINOURDAILYLIFEANDEVENOFOURSELVESFICTIONALCHARACTERISALWAYSCHARACTERINACTIONANDTHECHARACTERGETSINTOACTIONBECAUSEITISCAUGHTINASITUATIONOFCONFLICTANDHE/SHEISALWAYSPROVIDEDWITHMOTIVATIONHE/SHEHASSUFFICIENTREASONSTOACTORBEHAVEASHE/SHEDOESTHECHARACTERISDOINGSOMETHINGANDTHEREADERWHILEREADINGFICTIONWANTSTOKNOWTHE“WHY”ASWELLASTHE“WHAT”O(jiān)FTHEAFFAIRSSOMETIMESACHARACTERSMOTIVEFORANACTIONISNOTEXPLAINEDONACCEPTABLEGROUNDS,FOREXAMPLE,THEVILLAININADGARALLANPOESTORY“THETELLTALEHEART,”ANDTHUSTHEREADERFEELSCHEATEDINTHISCASE,THEWRITEROFDETECTIVEFICTIONWHOMAKESTHECRIMINALAMERELUNATICHASCHEATEDTHEREADERBYAVOIDINGTHEPROBLEMOFMOTIVEANDGENERALLY,THEACTIONITSELFISHUMANLYSIGNIFICANTANDITENDSUSUALLYINASHIFTINORCLARIFICATIONOFHUMANVALUES,ASDISPLAYEDINJOHNUPDIKES“AHOWWRITERS,THROUGHTHEIRCREATIVEIMPULSES,CONVEYTOUSTHEIRINSIGHTSINTOHUMANDESTINYANDHUMANLIFEANDHOWSOCIALCONCERNISINVOLVEDINASPECIFICFORMOFHUMANIMAGINATIONINADDITION,STUDENTSSHOULDELEVATETOTHELEVELOFCULTIVATINGACURIOSITYFORTHEUNKNOWN,THINKINGCOGENTLYANDLOGICALLY,EXPRESSINGTHEMSELVESCLEARLYANDCONCISELY,ANDOBSERVINGTHEWORLDAROUNDTHEMCRITICALLYANDOBJECTIVELYBUTMOSTSTUDENTSARESTILLATALOSSASTOHOWTHEYCANEFFECTIVELYANALYZEALITERARYWORKBYTHEMSELVESINANYOFTHESERESPECTS,EVENTHOUGHTHEYHAVEREADPLENTYOFEXCERPTSFROMREPRESENTATIVEWORKSINTHEBRITISHANDAMERICANLITERARYCANONANDTHEYTENDTOHAVELITTLEIDEAWHATROLETHEBEGINNINGPARTPLAYSINTHEWHOLESTORY,HOWTHEPLOTDEVELOPSANDCOMESTORESOLUTION,INWHATWAYPOINTOFVIEWDETERMINESAREADERSUNDERSTANDINGOFTHESTORY,ANDHOWTHEIMAGESANDSYMBOLSARERELATEDTOTHETHEMEUPONCONSIDERATIONOFTHESEFACTORS,WEHAVESUCHCOURSEWITHTHEINTENTIONOFCULTIVATINGBOTHSTUDENTSLITERARYSENSIBILITIESANDTHEIR/YOURCRITICALPOWERWHENREADINGENGLISHSHORTSTORIESANDNOVELSIIINTRODUCTIONABOUTREADINGASTORY1WHATISSTORY“YESOH,DEAR,YESTHENOVELTELLSASTORY”THISISFORSTERSREMARK,WHICHISWORTHSPECIALATTENTION,FORHEISSOMEONEINTHETRADEANDWITHRICHEXPERIENCEINHISASPECTSOFTHENOVELHELISTS“STORY”ASTHEFIRSTASPECTPEOPLEREADINGNOVELSFORSTORIESUSUALLYASKQUESTIONSLIKE“WHATHAPPENEDNEXT”AND“AND”WHATWOULDHEDONEXT”THESEQUESTIONSATTESTTOTHETWOBASICELEMENTSOFASTORYTHEONEISTHEEVENTANDTHEOTHERTHETIMEASTORYISASERIESOFHAPPENINGSARRANGEDINTHENATURALTEMPORALORDERASTHEYOCCURSTORYISTHEBASISOFTHENOVEL,ANDINDEEDTHEBASISOFNARRATIVEWORKSOFALLKINDS2THESTRUCTUREANDFUNCTIONSOFASTORYPLOTCHARACTERPOINTOFVIEWTHEMESTYLE3WHATISFICTIONFICTION,THEGENERALTERMFORINVENTEDSTORIES,NOWUSUALLYAPPLIEDTONOVELS,SHORTSTORIES,NOVELLA,ROMANCES,FABLES,ANDOTHERNARRATIVEWORKSINPROSE,EVENTHOUGHMOSTPLAYSANDNARRATIVEPOEMSAREALSOFICTIONALP83CONCISEDICTIONARYOFLITERARYTERMS4THESTORYANDTHENOVELTOREADNOVELSFORSTORYISNOTHINGWRONG,BUTNOTHINGPROFESSIONALEITHER“ONEMARKOFASECONDRATEMINDISTOBEALWAYSTELLINGSTORIES”THEREMARKBYTHEFRENCHWRITERJEANDELABRUYERE16451696ISALSOTRUEOFTHEREADERIFTHEPURPOSEOFTHENOVELISONLYTOTELLSTORIES,ITCOULDASWELLREMAINUNBORN,FORNEWSPAPERSANDHISTORYBOOKSARESUFFICIENTTOSATISFYPEOPLESDESIREFORSTORIESABOUTBOTHPRESENTANDPAST,ANDEVENABOUTFUTUREINFACT,MANYNEWAPAPERMENHAVEBEENDISSATISFIEDWITHTHEIRJOBOFREPORTINGANDCOMEINTOTHEFIELDOFNOVELWRITINGDEFOE,DICKENS,JOYCE,HEMINGWAYANDCAMUSWEREAMONGTHEMOSTFAMOUSANDTHEMOSTSUCCESSFULCONVERTSEVENHISTORIANSMAYFEELOBLIGEDTODOMORETHANMERESTORIESORFACTSEDWARDGIBBORNSDECLINEANDFALLOFTHEROMANEMPIREISPRAISEDNOTONLYFORITSMULTITUDINOUSFACTSANDRATIONALISTICANALYSIS,BUTMOREFORITSBEAUTYOFNARRATIVESTYLEINTELLINGSTORIES,THENOVELISTAIMSATSOMETHINGHIGHERORHEINTENDSTOADDSOMETHINGTOTHEMERE“FACTS”ASINDICATEDINTHEDEFINITIONOFTHENOVEL,WHATMAKESANOVELISTHENOVELISTSSTYLEPERSONALIZEDPRESENTATIONOFTHESTORYANDINTERPRETATIONOFTHESTORYCHAPTERONEPLOTIWHATISPLOT1ACCORDINGTOARISTOTLEWHATARETHESIXELEMENTSOFTHESTRUCTUREOFTRAGEDYTRAGEDYASAWHOLEHASJUSTSIXCONSTITUENTELEMENTSANDTHEYAREPLOT,CHARACTERS,VERBALEXPRESSION,THOUGHT,VISUALADORNMENT,ANDSONGCOMPOSITIONFORTHEELEMENTSBYWHICHTHEYIMITATEARETWOVERBALEXPRESSIONANDSONGCOMPOSITION,THEMANNERINWHICHTHEYIMITATEISONEVISUALADORNMENT,THETHINGSTHEYIMITATEARETHREEPLOT,CHARACTERS,THOUGHT,ANDTHEREISNOTHINGMOREBEYONDTHESE2WHATISPLOTUNDERTHEPENSOFMODERNNOVELISTSANDSTORYTELLERSANDHOWTOUNDERSTAND“PLOT”INASTORY“”PPTTHEQUEENDIED,NOONEKNEWWHY,UNTILITWASDISCOVEREDTHATITWASTHROUGHGRIEFATTHEDEATHOFTHEKINGP6ITSUSPENDSTHETIMESEQUENCE,ITMOVESASFARAWAYFROMTHESTORYASITSLIMITATIONSWILLALLOWTHESTORYANDTHECHARACTERALONECANNOTMAKEANOVELYETOMAKEANOVEL,APLOTISPREREQUISITEALOOKATTHEEXAMPLESUGGESTEDBYEMFORSTERWILLHELPTODISTINGUISHBETWEENTHESTORYANDTHEPLOT“THEKINGDIEDANDTHENTHEQUEENDIED”ISNOTAPLOT,BUTASTORYIFWEMAKEIT“THEKINGDIEDANDTHENTHEQUEENDIEDOFGRIEF,WEHAVEAPLOTTHISCAUSALPHRASE“OFGRIEF”INDICATESOURINTERPRETATIONANDTHUSARRANGEMENTOFTHEHAPPENINGSINTHEWORLDOFREALITYEVENTSTAKEPLACEONEAFTERANOTHERINTHENATURALTEMPORALORDER,BUTINTHEWORLDOFFICTIONITISTHENOVELISTSDESIGNTHATONEPARTICULAREVENTOCCURAFTERANOTHERPARTICULAREVENTTHEVERYWORD“PLOT”IMPLIESTHENOVELISTSREBELLIONAGAINSTTHENATURALLAWANDHISENDEAVORTOMAKEMEANINGSOUTOFTHEHAPPENINGSTHATMAYOTHERWISEBEMEANINGLESS“THEHAPPENINGS”MAYORMAYNOTBEREALHAPPENINGSSOWHATPLOTISAPLOTISAPARTICULARARRANGEMENTOFHAPPENINGSINANOVELTHATISAIMEDATREVEALINGTHEIRCAUSALRELATIONSHIPSORATCONVEYINGTHENOVELISTSIDEASAPLOTISSOMETIMESCALLEDASTORYLINETHEMOSTIMPORTANTOFTHETRADITIONALPLOTISTHATITSHOULDBEACOMPLETEORUNIFIEDACTION,THATIS,SOMETHINGWITHABEGINNING,AMIDDLE,ANDANEND3THEDRAMATICSITUATIONINASTORY4THETHREEPARTSOFAPLOTABEGINNINGEXPOSITION,AMIDDLESUSPENSEORASERIESOFSUSPENSEFORESHADOWINGCRISISAMOMENTOFHIGHTENSION,ANDANENDACLIMAX,THEMOMENTOFGREATESTTENSIONTHECONCLUSIONFALLINGACTION,RESOLUTIONORDENOUEMENTPLOTABEGINNINGAMIDDLEANENDEXPOSITIONSOMEOTHEREVENTSCLIMAXTHEMOMENTSUSPENSE,ASERIESOFSUSPENSE,OFGREATESTTENSION,FORESHADOWING,CRISISTHECONCLUSIONFALLINGACTION,RESOLUTIONORDENOUEMENTIIREADTHESTORIESOFRIPVANWINKLEWASHINGTONIRVINGANDDAVIDSWANNATHANIELHAWTHORNEIIIQUESTIONSFINISHREADINGTHETWOSTORIESANDPOINTOUTTHEPLOTSOFTHETWOSTORIES,THEDESCRIPTIVEDETAILS,THEEXPOSITION,CHARACTERSRIPVANWINKLE1DESCRIPTIVEDETAILSTHEPLOTOFTHESTORY2WHATPARTOFTHESTORYSEEMSLIKETHEEXPOSITION3WHEREDOESTHEDRAMATICCONFLICT4WHATISTHECLIMAXOFTHESTORYDAVIDSWAN5THEPLOTOFTHESTORY6HOWFULLYDOESTHEAUTHORDRAWTHECHARACTERSINTHESTORYCHARACTERTRAITSARETHEQUALITIESOFACHARACTERSPERSONALITYTHEYAREREVEALEDTHROUGHACHARACTERSACTIONSANDWORDSANDTHROUGHDESCRIPTION7MOREWORKSTODOSOMETHINGABOUTTHEWRITERSOFTHETWOSTORIESCHAPTERTWOCHARACTERINTHEINTRODUCTIONWEHAVESAIDTHATFICTIONISANIMAGEOFPEOPLEINACTION,MOVINGTOWARDSANUNDECLAREDENDTHUSCHARACTERISALWAYSINVOLVEDINFICTION,EVENINTHESTORYOFTHESIMPLESTACTIONSOMETIMESCHARACTERISATTHECENTEROFOURINTERESTBECAUSEINCHARACTERWEMAYSEEMANYFACETSOFTHEPEOPLEWEMEETINOURDAILYLIFEANDEVENOFOURSELVESFICTIONALCHARACTERISALWAYSCHARACTERINACTIONANDTHECHARACTERGETSINTOACTIONBECAUSEITISCAUGHTINASITUATIONOFCONFLICTANDHE/SHEISALWAYSPROVIDEDWITHMOTIVATIONHE/SHEHASSUFFICIENTREASONSTOACTORBEHAVEASHE/SHEDOESTHECHARACTERISDOINGSOMETHINGANDTHEREADERWHILEREADINGFICTIONWANTSTOKNOWTHE“WHY”ASWELLASTHE“WHAT”O(jiān)FTHEAFFAIRSSOMETIMESACHARACTERSMOTIVEFORANACTIONISNOTEXPLAINEDONACCEPTABLEGROUNDS,FOREXAMPLE,THEVILLAININADGARALLANPOESTORY“THETELLTALEHEART,”ANDTHUSTHEREADERFEELSCHEATEDINTHISCASE,THEWRITEROFDETECTIVEFICTIONWHOMAKESTHECRIMINALAMERELUNATICHASCHEATEDTHEREADERBYAVOIDINGTHEPROBLEMOFMOTIVEANDGENERALLY,THEACTIONITSELFISHUMANLYSIGNIFICANTANDITENDSUSUALLYINASHIFTINORCLARIFICATIONOFHUMANVALUES,ASDISPLAYEDINJOHNUPDIKES“AHOWWRITERS,THROUGHTHEIRCREATIVEIMPULSES,CONVEYTOUSTHEIRINSIGHTSINTOHUMANDESTINYANDHUMANLIFEANDHOWSOCIALCONCERNISINVOLVEDINASPECIFICFORMOFHUMANIMAGINATIONINADDITION,STUDENTSSHOULDELEVATETOTHELEVELOFCULTIVATINGACURIOSITYFORTHEUNKNOWN,THINKINGCOGENTLYANDLOGICALLY,EXPRESSINGTHEMSELVESCLEARLYANDCONCISELY,ANDOBSERVINGTHEWORLDAROUNDTHEMCRITICALLYANDOBJECTIVELYBUTMOSTSTUDENTSARESTILLATALOSSASTOHOWTHEYCANEFFECTIVELYANALYZEALITERARYWORKBYTHEMSELVESINANYOFTHESERESPECTS,EVENTHOUGHTHEYHAVEREADPLENTYOFEXCERPTSFROMREPRESENTATIVEWORKSINTHEBRITISHANDAMERICANLITERARYCANONANDTHEYTENDTOHAVELITTLEIDEAWHATROLETHEBEGINNINGPARTPLAYSINTHEWHOLESTORY,HOWTHEPLOTDEVELOPSANDCOMESTORESOLUTION,INWHATWAYPOINTOFVIEWDETERMINESAREADERSUNDERSTANDINGOFTHESTORY,ANDHOWTHEIMAGESANDSYMBOLSARERELATEDTOTHETHEMEUPONCONSIDERATIONOFTHESEFACTORS,WEHAVESUCHCOURSEWITHTHEINTENTIONOFCULTIVATINGBOTHSTUDENTSLITERARYSENSIBILITIESANDTHEIR/YOURCRITICALPOWERWHENREADINGENGLISHSHORTSTORIESANDNOVELSIIINTRODUCTIONABOUTREADINGASTORY1WHATISSTORY“YESOH,DEAR,YESTHENOVELTELLSASTORY”THISISFORSTERSREMARK,WHICHISWORTHSPECIALATTENTION,FORHEISSOMEONEINTHETRADEANDWITHRICHEXPERIENCEINHISASPECTSOFTHENOVELHELISTS“STORY”ASTHEFIRSTASPECTPEOPLEREADINGNOVELSFORSTORIESUSUALLYASKQUESTIONSLIKE“WHATHAPPENEDNEXT”AND“AND”WHATWOULDHEDONEXT”THESEQUESTIONSATTESTTOTHETWOBASICELEMENTSOFASTORYTHEONEISTHEEVENTANDTHEOTHERTHETIMEASTORYISASERIESOFHAPPENINGSARRANGEDINTHENATURALTEMPORALORDERASTHEYOCCURSTORYISTHEBASISOFTHENOVEL,ANDINDEEDTHEBASISOFNARRATIVEWORKSOFALLKINDS2THESTRUCTUREANDFUNCTIONSOFASTORYPLOTCHARACTERPOINTOFVIEWTHEMESTYLE3WHATISFICTIONFICTION,THEGENERALTERMFORINVENTEDSTORIES,NOWUSUALLYAPPLIEDTONOVELS,SHORTSTORIES,NOVELLA,ROMANCES,FABLES,ANDOTHERNARRATIVEWORKSINPROSE,EVENTHOUGHMOSTPLAYSANDNARRATIVEPOEMSAREALSOFICTIONALP83CONCISEDICTIONARYOFLITERARYTERMS4THESTORYANDTHENOVELTOREADNOVELSFORSTORYISNOTHINGWRONG,BUTNOTHINGPROFESSIONALEITHER“ONEMARKOFASECONDRATEMINDISTOBEALWAYSTELLINGSTORIES”THEREMARKBYTHEFRENCHWRITERJEANDELABRUYERE16451696ISALSOTRUEOFTHEREADERIFTHEPURPOSEOFTHENOVELISONLYTOTELLSTORIES,ITCOULDASWELLREMAINUNBORN,FORNEWSPAPERSANDHISTORYBOOKSARESUFFICIENTTOSATISFYPEOPLESDESIREFORSTORIESABOUTBOTHPRESENTANDPAST,ANDEVENABOUTFUTUREINFACT,MANYNEWAPAPERMENHAVEBEENDISSATISFIEDWITHTHEIRJOBOFREPORTINGANDCOMEINTOTHEFIELDOFNOVELWRITINGDEFOE,DICKENS,JOYCE,HEMINGWAYANDCAMUSWEREAMONGTHEMOSTFAMOUSANDTHEMOSTSUCCESSFULCONVERTSEVENHISTORIANSMAYFEELOBLIGEDTODOMORETHANMERESTORIESORFACTSEDWARDGIBBORNSDECLINEANDFALLOFTHEROMANEMPIREISPRAISEDNOTONLYFORITSMULTITUDINOUSFACTSANDRATIONALISTICANALYSIS,BUTMOREFORITSBEAUTYOFNARRATIVESTYLEINTELLINGSTORIES,THENOVELISTAIMSATSOMETHINGHIGHERORHEINTENDSTOADDSOMETHINGTOTHEMERE“FACTS”ASINDICATEDINTHEDEFINITIONOFTHENOVEL,WHATMAKESANOVELISTHENOVELISTSSTYLEPERSONALIZEDPRESENTATIONOFTHESTORYANDINTERPRETATIONOFTHESTORYCHAPTERONEPLOTIWHATISPLOT1ACCORDINGTOARISTOTLEWHATARETHESIXELEMENTSOFTHESTRUCTUREOFTRAGEDYTRAGEDYASAWHOLEHASJUSTSIXCONSTITUENTELEMENTSANDTHEYAREPLOT,CHARACTERS,VERBALEXPRESSION,THOUGHT,VISUALADORNMENT,ANDSONGCOMPOSITIONFORTHEELEMENTSBYWHICHTHEYIMITATEARETWOVERBALEXPRESSIONANDSONGCOMPOSITION,THEMANNERINWHICHTHEYIMITATEISONEVISUALADORNMENT,THETHINGSTHEYIMITATEARETHREEPLOT,CHARACTERS,THOUGHT,ANDTHEREISNOTHINGMOREBEYONDTHESE2WHATISPLOTUNDERTHEPENSOFMODERNNOVELISTSANDSTORYTELLERSANDHOWTOUNDERSTAND“PLOT”INASTORY“”PPTTHEQUEENDIED,NOONEKNEWWHY,UNTILITWASDISCOVEREDTHATITWASTHROUGHGRIEFATTHEDEATHOFTHEKINGP6ITSUSPENDSTHETIMESEQUENCE,ITMOVESASFARAWAYFROMTHESTORYASITSLIMITATIONSWILLALLOWTHESTORYANDTHECHARACTERALONECANNOTMAKEANOVELYETOMAKEANOVEL,APLOTISPREREQUISITEALOOKATTHEEXAMPLESUGGESTEDBYEMFORSTERWILLHELPTODISTINGUISHBETWEENTHESTORYANDTHEPLOT“THEKINGDIEDANDTHENTHEQUEENDIED”ISNOTAPLOT,BUTASTORYIFWEMAKEIT“THEKINGDIEDANDTHENTHEQUEENDIEDOFGRIEF,WEHAVEAPLOTTHISCAUSALPHRASE“OFGRIEF”INDICATESOURINTERPRETATIONANDTHUSARRANGEMENTOFTHEHAPPENINGSINTHEWORLDOFREALITYEVENTSTAKEPLACEONEAFTERANOTHERINTHENATURALTEMPORALORDER,BUTINTHEWORLDOFFICTIONITISTHENOVELISTSDESIGNTHATONEPARTICULAREVENTOCCURAFTERANOTHERPARTICULAREVENTTHEVERYWORD“PLOT”IMPLIESTHENOVELISTSREBELLIONAGAINSTTHENATURALLAWANDHISENDEAVORTOMAKEMEANINGSOUTOFTHEHAPPENINGSTHATMAYOTHERWISEBEMEANINGLESS“THEHAPPENINGS”MAYORMAYNOTBEREALHAPPENINGSSOWHATPLOTISAPLOTISAPARTICULARARRANGEMENTOFHAPPENINGSINANOVELTHATISAIMEDATREVEALINGTHEIRCAUSALRELATIONSHIPSORATCONVEYINGTHENOVELISTSIDEASAPLOTISSOMETIMESCALLEDASTORYLINETHEMOSTIMPORTANTOFTHETRADITIONALPLOTISTHATITSHOU