Group 7

Submitted by: Areesha, Saba, Ayesha,

Aleeha, Asim, Dilawer, Saqib, Aleeha

7 ASPECTS OF NOVEL
EM Forster
EM Forster

E
dward Morgan Forster was an English author, best known for his novels,
particularly A Room with a View, Howards End and A Passage to India. He also
wrote numerous short stories, essays, speeches and broadcasts, as well as a limited
number of biographies and some pageant plays. He also co-authored the opera Billy
Budd. Today, he is considered one of the most successful of the Edwardian era English
novelists. After attending Tonbridge School he studied history and classics at King's College,
Cambridge, where he met fellow future writers such as Lytton Strachey and Leonard Woolf. He
then travelled throughout Europe before publishing his first novel, Where Angels Fear to
Tread, in 1905.Many of his novels examine class difference and hypocrisy. He was nominated
for the Nobel Prize in Literature in 20 separate years.
He is known for his insightful and compassionate portrayals of English society and his
exploration of themes such as class, sexuality, and human connection. His works often examine
the clash between personal desires and societal expectations. His literary work possess several
distinctive characteristics and qualities that set them apart:

Insightful Social Commentary:

Forster's works often explore social dynamics, class distinctions, and cultural clashes.

Deep Psychological Portrayals:

Forster delves into the inner lives of his characters, providing profound psychological insights.
He explores the conflicts between personal desires and societal expectations, delving into the
complexities of human emotions, motives, and relationships.

Emphasis on Personal Relationships:

The exploration of personal relationships is a recurring theme in Forster's works. He depicts
connections between individuals from different social classes, cultures, and backgrounds,
highlighting the transformative power of these relationships.

Symbolism and Metaphor:

Forster employs symbolism and metaphor to enhance the thematic depth of his works. He often
uses physical landscapes and settings to reflect psychological or emotional states, creating a
richly layered narrative experience.
Subtle Irony and Satire:
Forster's writing exhibits a skilful use of irony and satire. He employs humour and wit to expose
societal absurdities, hypocritical attitudes, and the limitations of human behaviour.

Clear and Accessible Prose:

Forster's writing style is characterized by its clarity and accessibility. His prose is straightforward
and concise, allowing readers to engage with his ideas without sacrificing depth or complexity.
He combines elegance and simplicity in his language, creating a narrative that is both engaging
and thought-provoking.

Aspects of Novel
"Aspects of the Novel" is a critical work by E.M. Forster published in 1927. In this book, Forster
explores various aspects of the novel as a literary form, providing insightful analysis and
commentary on its structure, characters, plot, and other key elements. The book is divided into
several chapters, each focusing on a specific aspect of the novel.
The Clark Lectures, sponsored by Trinity College of the University of Cambridge, have had a
long and distinguished history and have featured remarks by some of England’s most important
literary minds. Leslie Stephen, T.S. Eliot, F.R. Leavis, William Empson and I.A. Richards
have all given celebrated and widely influential talks as the keynote speaker. He delivered eight
spirited and penetrating lectures on the novel. Which are now in the shape of book Aspects of the
Novel.
Forster begins by examining the distinction between "story" and "plot." He argues that while a
story simply recounts a series of events, a plot involves a deliberate arrangement of those events
to create meaning and impact. He emphasizes the importance of a well-constructed plot that
engages the reader's interest and offers insights into the characters and themes.
The book also delves into the concept of characters in novels. Forster suggests that characters
should be "round" rather than "flat," meaning they should possess depth, complexity, and
contradictions that reflect the complexities of real-life individuals. He highlights the significance
of character development and how characters' interactions shape the narrative and themes of the
novel.
Another aspect explored in the book is the role of the novel's setting. Forster emphasizes that
the setting should be more than a mere backdrop; it should contribute to the story and reflect the
characters' experiences and conflicts. He argues that a well-rendered setting can enhance the
atmosphere, mood, and thematic resonance of the novel.
Forster also discusses the narrative voice and perspective. He examines the advantages and
limitations of various narrative techniques, including the use of omniscient narrators, first-person
narrators, and multiple perspectives. He highlights the importance of selecting the appropriate
narrative voice to effectively convey the story and engage the reader.
Throughout the book, Forster references numerous examples from classic and contemporary
literature to support his arguments and illustrate his points. He analyses works by authors such as
Charles Dickens, Leo Tolstoy, and Marcel Proust, offering insightful interpretations and drawing
attention to specific narrative techniques and their impact on the reader's experience.
Let’s analyse each aspect separately.

1. Story
According to Forster the fundamental aspect of the novel is its story-telling aspect, but we shall
voice our assent in different tones, and it is on the precise tone of voice we employ now that our
subsequent conclusions will depend. He says if we ask someone this question that what does a
novel do? He would say “Yes—oh, dear, yes—the novel tells a story”.
The basis of a novel is a story, and a story is a narrative of events arranged in time sequence. In
daily life, whatever it may be really, is practically composed of two lives—the life in time and
the life by values—and our conduct reveals a double allegiance. “I only saw her for five
minutes, but it was worth it.” There you have both allegiances in a single sentence what the
story does is to narrate the life in time. And what the entire novel does—if it is a good novel—is
to include the life by values.
In daily life the allegiance may not be necessary: we do not know, and the experience of certain
mystics suggests, indeed, that it is not necessary, and that we are quite mistaken in supposing
that Monday is followed by Tuesday, or death by decay. It is always possible for you or me in
daily life to deny that time exists and act accordingly even if we become unintelligible and are
sent by our fellow citizens to what they choose to call a lunatic asylum. But it is never possible
for a novelist to deny time inside the fabric of his novel: he must cling however lightly to the
thread of his story, he must touch the interminable tapeworm, otherwise he becomes
unintelligible, which, in his case, is a blunder.
In a novel there is always a clock. The author may dislike his clock. Emily Brontë in
Wuthering Heights tried to hide hers. Sterne, in Tristram Shandy, turned his upside down.
Marcel Proust, still more ingenious, kept altering the hands
What the story does do, all it can do, is to transform us from readers into listeners, to whom
“a” voice speaks, the voice of the tribal narrator, squatting in the middle of the cave, and saying
one thing after another until the audience falls asleep among their offal and bones. The story is
primitive, it reaches back to the origins of literature, before reading was discovered, and it
appeals to what is primitive in us. That is why we are so unreasonable over the stories we like,
and so ready to bully those who like something else. Intolerance is the atmosphere stories
generate. The story is neither moral nor is it favourable to the understanding of the novel in its
other aspects. If we want to do that we must come out of the cave. The novel that would express
values only becomes unintelligible and therefore valueless.
Through the artistry of storytelling, the novel creates a rich and immersive experience for the
reader, allowing them to engage with the lives and experiences of the characters. The novel has
the ability to reveal the depth and complexity of human emotions, relationships, and social
dynamics. It explores the nuances of human nature, delving into the complexities of love, desire,
ambition, and the conflicts that arise from the clash of individual desires and societal
expectations.The story highlights its fundamental role in the narrative structure and its
significance as the raw material from which the novel is constructed.
Forster's analysis of the story provides valuable insights into the intricate workings of narrative
construction. It encourages authors to consider not only the events that comprise the story but
also the deliberate choices made in arranging and presenting those events. By understanding the
interplay between the story and the plot, authors can create compelling and meaningful novels
that leave a lasting impact on readers.

2. Plot
What is difference between story and plot?
According to Forster, the plot is the logical and causal framework that connects events, whereas
the story is the chronological order of those occurrences. A story is defined as the narrative of
events, arranged in their time sequence. A plot is also a narrative of events, the emphasis falling
on causality.

For example,
The king died and then the queen died is a story.
The king died, and then the queen died of grief is a plot.
Or again: “The queen died, no one knew why, until it was discovered that it was through grief at
the death of the king”.
If it is in a story we say, “And then?” If it is in a plot we say, “Why?”
Perplexion by Aristotle
He does, however, leave us a little perplexed as to what will happen to the storyline as a result of
the expansion of human nature? Most literary works contain two components: the element
obliquely referred to as art and human beings. We have now reached a far higher level: the
plot, and the plot finds people to be huge, murky, and intractable, and three-quarters concealed
like an iceberg, as opposed to finding them roughly cut to its specifications, as they are in the
drama. It attempts in vain to convey to these awkward beings the benefits of the three-step
process of intricacy, crisis, and resolution that Aristotle so persuasively outlined. A couple of
them rise up and agree, and the outcome is a novel that really should have been a play. But there
isn't a widespread reaction. They want to withdraw and do something introspective, and the
protagonist (who I picture in this instance as a higher government figure) is worried about their
lack of civic zeal. How many people are familiar with the phrase "a contribution to the plot"?
People in a theatre accord it and consider it necessary; how important is it in a novel?

What is plot?
A plot cannot be explained to a group of gaping cavemen, a despotic sultan, or their
contemporary descendant, the movie-going public. They are only capable of supplying "and then
—and then---" to keep them awake. However, a plot also calls for intelligence and memory. One
of the lowest human faculties is curiosity. You've probably observed in daily life that people
who are curious almost always have poor recollections and are, in general, unintelligent. We can
only go as far into the novel out of pure curiosity; it doesn't take us very far at all. We need to
add intelligence and memory if we want to understand the plot.

Intelligence
Unlike the curious person who simply runs his eye over a new fact, the intelligent novel reader
mentally retains it. He views it from two angles: separately and in relation to the other facts that
he has read about on earlier pages. A plot cannot be understood without mystery, which requires
intelligence. For those who are wondering, it is simply another "and then——" One must leave
some of the mind behind to contemplate a riddle while the other portion continues to move
forward.

Memory
Intelligence and memory are strongly related since understanding requires memory. We
anticipate that the plotter will tie up all the loose ends, therefore we expect us to remember.
Every action or phrase should be meaningful; it should be sparing and economical; even when
complex, it should be alive and devoid of dead substance. It may be challenging or simple, it
may or should contain mysteries, but it shouldn't deceive. The reader's memory, which is that
dull glow of the mind whose bright expanding edge is intelligence, will hover over it as it
develops and will continuously rearrange and reassess, seeing new hints, new chains of cause
and effect, and the final sense (assuming the narrative has been well-written), will consist of
something aesthetically pleasing rather than hints or chains.

Plot in terms of George Meredith

But let's return to the story, and we'll accomplish it through George Meredith. The plots in
Meredith are not interconnected. In contrast to Great Expectations, we are unable to sum up
Harry Richmond's action in a single sentence, despite the fact that both works center on a young
man who misunderstands the sources of his money. Instead of being a temple to the tragic or
even the comedic Muse, a Meredithian story is more like a collection of kiosks that have been
expertly positioned among forested slopes, which his people must ascend on their own initiative
and from which they emerge with a new appearance.

Suffering in plot
First, everything that goes through Laetitia's head is shown to us. After being dumped again by
Sir Willoughby, she resigned in sadness. Then, for dramatic effect, her thoughts are concealed
from us; they arise naturally enough, but they do not reappear until the famous midnight moment
in which he asks her to marry him since he is unsure about Clara and this time, a changed
Laetitia replies, "No." Meredith has kept the alteration a secret. If we had been kept updated the
entire time, it would have undermined his high comedy. Sir Willoughby must experience a string
of mishaps, fail at various tasks, and discover that everything is flimsy. Laetitia's complacency
has been concealed from us because revealing the author's preparation of the booby traps
beforehand would be impolite and prevent us from enjoying the fun. This is one of the
innumerable instances where the story or the character must suffer, and Meredith, with his
unwavering excellent judgment, allows the plot to win out in this instance.
A plot can sometimes succeed too completely. The characters must always suspend their natural
tendencies or risk being so overtaken by Fate that our perception of their actuality is diminished.
We shall discover examples of this in Thomas Hardy, a writer who is significantly more
accomplished than Meredith but less successful as a novelist.

Plot in terms of Thomas Hardy

Hardy appears to be primarily a poet who approaches the creation of his novels from a colossal
height. In other words, Hardy arranges events with emphasis on causality, the ground plan is a
plot, and the characters are ordered to acquiesce in its needs. They are to be tragedies or tragic-
comedies, and they are to emit the sound of hammer-strokes as they go.

Flaw in Hardy’s novels

However, despite the fact that the same amazing and terrifying mechanism operates in the
novels, Jude the Obscure's fortunes, there is some fundamental issue that has never been
addressed or even raised. In other words, the characters have been asked to contribute to the plot
too much, which has diminished their energy and caused them to become dry and thin, with the
exception of their country humor. According to what I can tell, this is the fault in all of Hardy's
novels: he has emphasized causality more so than his medium will allow.

Why is there not a convention which allows a novelist to stop as

soon as he feels muddled or bored?
It frequently seeks cowardly retribution in the lost battle that the plot fights with the characters.
The final chapters of almost all novels are weak. This is due to the need to wrap up the plot. Why
is this required? Why is there not a rule that permits a novelist to stop writing whenever he
becomes confused or bored? Unfortunately, he needs to wrap things up, and most of the time the
characters pass away while he is at work, giving us our last glimpse of them.

Plot- Logical intellectual aspect

The reader may be wandering around in unrealized realms, but the novelist has no reservations.
The plot is the novel in its logical intellectual aspect. It demands mystery, but the mysteries are
solved later on. He is capable, standing over his work, casting light behind him here and there,
donning an invisibility cloak there, and (as a plotter) constantly debating with himself about how
to best create characters for the desired effect. He has a predetermined plan for his book, or he
appears to be in control of it due to his interest in cause and effect.
 3. People
Having discussed the story and plot—that simple and fundamental aspect of the novel—we can
turn to a more interesting topic: the actors. We need not ask what happened next, but to whom
did it happen; the novelist will be appealing to our intelligence and imagination, not merely to
our curiosity. A new emphasis enters his voice: emphasis upon value.
Since the actors in a story are usually human, it seemed convenient to entitle this aspect People.
Other animals have been introduced, but with limited success, for we know too little so far about
their psychology. There may be, probably will be, an alteration here in the future, comparable to
the alteration in the novelist’s rendering of savages in the past. The gulf that separates Man
Friday from Batouala may be paralleled by the gulf that will separate Kipling’s wolves from
their literary descendants two hundred years hence, and we shall have animals who are neither
symbolic, nor little men disguised, nor as four-legged tables moving, nor as painted scraps of
paper that fly.
It is one of the ways where science may enlarge the novel, by giving it fresh subject matter. But
the help has not been given yet, and until it comes we may say that the actors in a story are, or
pretend to be, human beings. Since the novelist is himself a human being, there is an affinity
between him and his subject matter which is absent in many other forms of art. The historian is
also linked, though, as we shall see, less intimately. The painter and sculptor need not be linked:
that is to say they need not represent human beings unless they wish, no more need the poet,
while the musician cannot represent them even if he wishes, without the help of a program.
This last point—the relation of characters to the other aspects of the novel—will form the subject
of a future enquiry. At present we are occupied with their relation to actual life. The main facts in
human life are five: birth, food, sleep, love and death. One could increase the number—add
breathing for instance—but these five are the most obvious. Let us briefly ask ourselves what
part they play in our lives, and what in novels. Does the novelist tend to reproduce them
accurately or does he tend to exaggerate, minimize, ignore, and to exhibit his characters going
through processes which are not the same through which you and I go, though they bear the same
names? To consider the two strangest first: birth and death; strange because they are at the same
time experiences and not experiences. We only know of them by report. We were all born, but
we cannot remember what it was like. And death is coming even as birth has come, but,
similarly, we do not know what it is like. Our final experience, like our first, is conjectural. We
move between two darkness. Certain people pretend to tell us what birth and death are like: a
mother, for instance, has her point of view about birth, a doctor and religious have their points of
view about both.
Moreover, he also told about the Depth of Character: Forster's characters are often multi-
dimensional and complex, reflecting the complexities of human nature. They have inner
conflicts, uncertainties, and contradictions, making them relatable and realistic.

4. Fantasy
According to Forster, fantasy is what is commonly recognised as an act of the imagination. It
can be anything that is improbable or out of the norm, not only monsters and ghosts. This
component should make sense in the narrative and keep the narration interesting. When fantasy
is incorporated in the narrative, there is a sense of extraordinary effect. Forster counts
adaptations and parodies among his selection of fantasy books. He asserts that it takes a lot of
imagination to alter an already written story. These books can be categorised as fantasy novels
since they showcase creativity at its finest.

What does fantasy ask from us??

It asks us to pay something extra. It compels us to an adjustment that is different to an
adjustment required by a work of art, to an additional adjustment. The other novelists say “Here
is something that might occur in your lives,” the fantasist says “Here’s something that could
not occur. Fantastic book asks us to accept the supernatural. It is treated with a mixture of
realism, wittiness, charm and mythology, and the mythology is most important.

5. Prophesy
Prophecy, as an aspect of novels, adds an element of mystery, anticipation, and foreshadowing to
the narrative. It involves the prediction or foretelling of future events by a character or a
supernatural force within the story. Prophecy serves various functions, including driving the plot,
creating suspense, and exploring themes of destiny, fate, and free will. Let's explore this further
and provide examples to illustrate its significance in novels.

Prophecy as a Plot Device

In many novels, prophecy serves as a central plot device, guiding the actions of the characters
and shaping the course of events. It introduces an element of uncertainty and sets the characters
on a quest to either fulfil or defy the foretold prophecy. For instance, J.K. Rowling's Harry
Potter series features the prophecy made by Sybil Trelawney regarding Harry and Lord
Voldemort, which propels the characters into their destinies and drives the overarching conflict.
Creating Suspense and Tension
Prophecy creates a sense of suspense and tension as readers anticipate the fulfilment or
prevention of the predicted events. It leaves room for interpretation and speculation, keeping
readers engaged and invested in the story. An example of this can be found in George R.R.
Martin's A Song of Ice and Fire series, where the prophecy of "Azor Ahai" and "The Prince
That Was Promised" adds intrigue and uncertainty, impacting the decisions and actions of
various characters.

Themes of Destiny, Fate, and Free Will

Prophecy in novels often explores the themes of destiny, fate, and free will. It raises questions
about whether events are predestined and unavoidable or if characters have the power to shape
their own paths. The prophecies can challenge the characters' agency and confront them with
moral dilemmas. In J.R.R. Tolkien's The Lord of the Rings, the prophecy of the One Ring and
the destiny of Frodo and the Fellowship prompts reflection on the balance between fate and
personal choices.

Subversion and Misinterpretation:

Prophecies in novels may also be subverted or misinterpreted, adding complexity and
unpredictability to the narrative. Characters may misinterpret the meaning of prophecies or take
actions to prevent their fulfilment, leading to unforeseen consequences. A notable example is
found in William Shakespeare's Macbeth, where the prophecy of the witches is initially
interpreted as a positive omen by the titular character but ultimately leads to his downfall.

In short prophecy as an aspect of novels enhances the narrative by introducing mystery,

anticipation, and themes of destiny and free will. It drives the plot, creates suspense, and
challenges the characters' agency. Through prophecies, novels delve into the complexities of
human existence and the consequences of choices made in the face of a foretold future.

6. Pattern
Patterns are the underlying structures or recurring elements that can be observed within a novel.
They encompass various aspects of the narrative, such as plot, themes, motifs, character
development, and literary techniques. Recognizing and understanding patterns in a novel allows
readers to uncover deeper meanings and appreciate the author's artistry. Here, I will explore
different aspects of patterns in novels with examples.
Plot patterns refer to the recurring structures or sequences of events within a story. For instance,
the hero's journey is a common plot pattern found in many novels, where the protagonist
embarks on a transformative adventure and faces challenges to achieve personal growth. J.R.R.
Tolkien's "The Lord of the Rings" follows this pattern as Frodo Baggins undertakes a perilous
quest to destroy the One Ring.
Themes can also exhibit patterns. A theme is a central idea or message conveyed throughout a
novel. In George Orwell's "1984," the theme of government oppression and surveillance is
prominent. This theme is explored through various patterns, such as the constant monitoring of
citizens, the manipulation of information, and the suppression of individuality.
Motifs are recurring symbols or images that contribute to the overall meaning of a novel. In F.
Scott Fitzgerald's "The Great Gatsby," the motif of the green light symbolizes hope and the
unattainable American Dream. The green light is mentioned multiple times throughout the novel,
creating a pattern that underscores the characters' desires and aspirations.
Character development patterns involve the growth and transformation of characters over the
course of a novel. In Charles Dickens' "A Christmas Carol," Ebenezer Scrooge undergoes a
profound change from a cold-hearted miser to a compassionate and generous individual. This
pattern of personal redemption and transformation is essential to the narrative's overall message.
Literary techniques can also exhibit patterns within a novel. For example, the use of
foreshadowing, where the author hints at future events, creates a pattern that builds suspense and
anticipation. In William Shakespeare's "Romeo and Juliet," Romeo's premonitions and dreams
foreshadow the tragic fate of the young lovers.
Patterns in novels are the recurring aspects that contribute to the overall structure, themes,
motifs, character development, and literary techniques employed by the author. By recognizing
and analyzing these patterns, readers can gain a deeper understanding of the novel's meaning and
appreciate the author's skill in crafting a cohesive and engaging narrative.

7. Rhythm
Rhythm is an essential aspect of a novel that refers to the pattern and flow of words, phrases, and
sentences within the text. It encompasses the musicality and cadence created by the arrangement
of these elements, enhancing the overall reading experience. Rhythm can be achieved through
various literary techniques such as sentence structure, repetition, pacing, and the use of poetic
devices.
For instance, consider the following example: "The waves crashed against the shore, rising and
falling in a steady rhythm, as if nature itself danced to the melody of the ocean."
In this sentence, the repetition of the words "crashed," "rising," and "falling" creates a rhythmic
pattern that mimics the movement of the waves. The flow and pacing of the sentence contribute
to the overall sense of harmony and musicality.
Rhythm in a novel can also be observed in dialogue, where the author may employ specific
speech patterns or employ specific sentence structures to reflect a character's personality or
cultural background. This adds depth and authenticity to the characters and their interactions.
Overall, rhythm in a novel plays a crucial role in engaging readers, setting the mood, and
conveying emotions by harnessing the power of language and its inherent musical qualities.

Conclusion
Story, plot, people, fantasy, prophesy, pattern and rhythm are the main aspects according to
Forster. He concluded his lecture by addressing the importance of novel for the humans and said
“I see these two movements of the human mind: the great tedious onrush known as history, and a
shy crablike sideways movement. Both movements have been neglected in these lectures: history
because it only carries people on, it is just a train full of passengers; and the crablike movement
because it is too slow and cautious to be visible over our tiny period of two hundred years. So we
laid it down as an axiom when we started that human nature is unchangeable, and that it
produces in rapid succession prose fictions, which fictions, when they contain 50,000 words or
more, are called novels. If we
had the power or license to take a wider view, and survey human and pre-human activity, we
might not conclude like this; the crablike movement, the shifting of the passengers, might be
visible, and the phrase “the development of the novel” might cease to be a pseudo-scholarly tag
or a technical triviality, and become important, because it implied the development of
humanity”.

References
 Forster, EM (1927), Aspects of Novel.