by C. P. Sanger in 1926, the struc-ture of
has been further illumined by a hostof laudatory critics, notably Paul
Fulcher (1g2g), Lord DavidCecil (1934), Boris Ford (1939), G.
Klingopulos (1947), Mel-vin R. Watson (1949), Mark Schorer (1g49), Royal
Gettman(1g50), Bruce McCullough (1g50), Dorothy Van Ghent (1g52),B.
Lehman (1g55), and V. S. Pritchett (1956). Reprintings ofthe Oxford World's Classics edition preserve an older view in
W. Garrod's resolute assertions, dated 1930, that the story, sufferingfrom "inferior technique," is in parts "uncertainly conceived" and"in general ill constructed." Although most laudatory critics havenoticed the debt owed by the structure of the novel to its use of twopresumed narrators, more remains to be said about the utility ofLockwood and Nelly Dean.The earlier scholar, learned in Gothic romances and tales from
found in Nelly's narrative within narrative the mis-fortune of inherited inconvenience; the later critic, familiar withselected masterworks, hails the use of contrasting narrators as awonder of creative intuition. Let us accept the method as bor-rowed from inferior tales, but chosen rather than inherited. What
Woodring, assistant professor of English, University of Wisconsin, has beenGuggenheim Fellow and Ford Fellow,