CodalSearch this book — or all of Codal…⌘K
nydus/Aspects of the NovelPublic

E. M. Forster offers an analysis of aspects of the novel.

Page 100 of 157
Table of Contents

VI

imagination, only a disinclination to meet certain demands that are made on it. Mr. Asquith (if gossip is correct) could not meet the demands made on him by Lady Into Fox . He should not have objected, he said, if the fox had become a lady again, but as it was he was left with an uncomfortable dissatisfied feeling. This feeling reflects no discredit either upon an eminent politician or a charming book. It merely means that Mr. Asquith, though a genuine lover of literature, could not pay the additional sixpence⁠—or rather he was willing to pay it but hoped to get it back again at the end.

So fantasy asks us to pay something extra.

Let us now distinguish between fantasy and prophecy.

They are alike in having gods, and unlike in the gods they have. There is in both the sense of mythology which differentiates them from other aspects of our subject. An invocation is again possible, therefore on behalf of fantasy let us now invoke all beings who inhabit the lower air, the shallow water, and the smaller hills, all Fauns and Dryads and slips of the memory, all verbal coincidences, Pans and puns, all that is medieval this side of the grave. When we come to prophecy, we shall utter no invocation, but it will have been to whatever transcends our abilities, even when it is human passion that transcends them, to the deities of India, Greece, Scandinavia and Judaea, to all that is medieval beyond the grave and to Lucifer son of the morning. By their mythologies we shall distinguish these two sorts of novels.

A number of rather small gods then should haunt us today⁠—I would call them fairies if the word were not consecrated to imbecility. (Do you believe in fairies? No, not under any circumstances.) The stuff of daily life will be tugged and strained in various directions, the earth will be given little tilts mischievous or pensive, spot lights will fall on objects that have no reason to anticipate or welcome them, and tragedy herself,

100