A rhetoric of the short story: A study of the realistic narratives of Flaubert, Maupassant, Joyce, and Hyo˘n Chin'go˘n. - Page 84 |
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77
| unity of impression mostly comes from poetic atmosphere,
tone, and style. In Maupassant, the simultaneous existence
of the two kinds of stories— stories of invention
and stories of imagination (according to Ramuz1s definition)—
reflects Maupassant's conflicts as craftsman
between his strong attachment to the conventions of the
short story and his perception of the future development
of this genre. Maupassant seems to be keenly aware of
the importance of tradition and the necessity of artistic
innovation: he is a "Romancier d'aujourd'hui" greatly
indebted to the "Romancier d'hier."25
i
From Recognition to Epiphany: the Impact of Flaubert and
Maupassant on Joyce
Joyce's stories subtly employ the two different
methods of arranging the events: one is Maupassantian,
i
I pyramidal, and dramatic plot construction and the other
is Flaubertian, repetitive, cumulative arrangement of
events. At first sight, his stories seem to be closer to
Flaubert1s composition in "Un coeur simple" rather than
to Maupassant's. For, thematically, Joyce's stories
never present such extraordinary dramatic actions as
parricide, brutal murder, execution, revenge, and betrayal
as we can often find in Maupassant' stories. Instead,
like "Un coeur simple," Joyce's stories are composed of
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| Title | A rhetoric of the short story: A study of the realistic narratives of Flaubert, Maupassant, Joyce, and Hyo˘n Chin'go˘n. - Page 84 |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 77 | unity of impression mostly comes from poetic atmosphere, tone, and style. In Maupassant, the simultaneous existence of the two kinds of stories— stories of invention and stories of imagination (according to Ramuz1s definition)— reflects Maupassant's conflicts as craftsman between his strong attachment to the conventions of the short story and his perception of the future development of this genre. Maupassant seems to be keenly aware of the importance of tradition and the necessity of artistic innovation: he is a "Romancier d'aujourd'hui" greatly indebted to the "Romancier d'hier."25 i From Recognition to Epiphany: the Impact of Flaubert and Maupassant on Joyce Joyce's stories subtly employ the two different methods of arranging the events: one is Maupassantian, i I pyramidal, and dramatic plot construction and the other is Flaubertian, repetitive, cumulative arrangement of events. At first sight, his stories seem to be closer to Flaubert1s composition in "Un coeur simple" rather than to Maupassant's. For, thematically, Joyce's stories never present such extraordinary dramatic actions as parricide, brutal murder, execution, revenge, and betrayal as we can often find in Maupassant' stories. Instead, like "Un coeur simple," Joyce's stories are composed of |
