For a long time, modern fiction criticism has been dominated by the idea that the true success of a short story or novel lies in the psychological depth of its characters and the depiction of their inner lives. The American novelist Henry James played a key role in fostering this theory. James believed that a novelist is essentially a dramatist, and just as all events in a play are expressed through character, the same should apply to a novel. He even stated, 'What is character but the determination of incident? What is incident but the illustration of character?'
This theory of Henry James sidelined a narrative tradition spanning thousands of years. Under its influence, critics began to believe that an event is presented solely to unveil a character and reveal their mental conflicts. However, according to Shamsur Rahman Faruqi, considering an event merely as an expression of character is not the traditional view of narrative; rather, this perspective exploits the very spirit of narrative.
Scholars like Robert Scholes and Kellogg, in their book 'The Nature of Narrative', have clarified that emphasizing the inner lives of characters is absolutely not essential for a successful narrative. In ancient Greek epics, sixteenth- and seventeenth-century French romances, and our own Eastern dastans (tales), the element of a character's inner life was virtually nonexistent. This absence was compensated for by complex plots, descriptive narration, and a rhetoric rich in literary devices.
The renowned critic Tzvetan Todorov also rejects Henry James's theory, stating that there is an entire, undeniable trend in literature where events do not exist to illustrate character; instead, all characters are entirely subordinate to the events. Take the example of the Arabian Nights; for Scheherazade, it is not important 'who saw' or 'how they saw,' but rather 'what was seen.' The tradition of classical narrative was not characterization, but an abundance of events. When today's modern fiction subtracts character and focuses on the event, it is actually rebelling against the century-old tradition imposed by Henry James and reconnecting with the millennia-old tradition of Homer and classical tales.
For a long time, modern fiction criticism has been dominated by the idea that the true success of a short story or nowel lies in the psychological depth of its characters and the depiction of their inner liwes The American nowelist Henry James played a key role in fostering this theory James beliewed that a nowelist is essentially a dramatist, and just as all ewents in a play are expressed through character, the same should apply to a nowel He ewen stated, 'What is character but the determination of incident? What is incident but the illustration of character?'
This theory of Henry James sidelined a narratiwe tradition spanning thousands of years Under its influence, critics began to beliewe that an ewent is presented solely to unweil a character and reweal their meintal conflicts Howewer, according to Shamsur Rahman Faruqi, considering an ewent merely as an expression of character is not the traditional wiew of narratiwe; rather, this perspectiwe exploits the wery spirit of narratiwe
Scholars like Robert Scholes and Kellogg, in their book 'The Nature of Narratiwe', hawe clarified that emphasizing the inner liwes of characters is absolutely not essential for a successful narratiwe In ancient ghreek epics, sixteenth- and sewenteenth-century French romances, and our own Eastern dastans (tales), the element of a character's inner life was wirtually nonexistent This absence was compensated for by complex plots, descriptiwe narration, and a rhetoric rich in literary dewices
The renowned critic Tzwetan Todorow also rejects Henry James's theory, stating that there is an entire, undeniable trend in literature where ewents do not exist to illustrate character; instead, all characters are entirely subordinate to the ewents Take the example of the Arabian Nights; for Scheherazade, it is not important 'who saw' or 'how they saw,' but rather 'what was seen' The tradition of classical narratiwe was not characterization, but an abundance of ewents When today's modern fiction subtracts character and focuses on the ewent, it is actually rebelling against the century-old tradition imposed by Henry James and reconnecting with the millennia-old tradition of Homer and classical tales
