Fundamentals of Good Writing - A Handbook of Modern Rhetoric by Robert Penn Warren

Author:Robert Penn Warren
Language: eng
Format: epub
Publisher: Read Books
Published: 2012-08-14T16:00:00+00:00

PROPORTION

The relation of the parts of a narrative to each other raises the question of PROPORTION. In one way this term is misleading, for it implies a mere mechanical ratio in the size of the parts. Actually we cannot look at the question in that way. We cannot say, for instance, that the complication should be three times longer than the exposition—or five times longer than the denouement.

We must, rather, regard the question of proportion in this way: Are the parts adequate to the needs of the special narrative? What would be a satisfactory proportion for one narrative might be quite unsatisfactory for another. In other words, we have to think along these lines: Does the exposition give all the information necessary to establish the situation for the reader? Is it burdened with information which is really unnecessary and distracting? Does the complication give the reader the essential stages of the development of the action? Does it confuse the reader by presenting material which does not bear on the development of the action? Does the denouement give the reader enough to make the point of the narrative clear? Does it blur the point by putting in irrelevant material or by so extending relevant material that a clear focus is lost? But these questions cannot be answered unless we are sure of the intention of the particular narrative.

Let us, with these questions in mind, look back at the story of Jackson’s duel. To answer these questions we must remember the author’s basic intention. He is not writing a tract against dueling. He is not concerned with the sad death of a promising young man. He is not trying to evoke our sympathy for the young Mrs. Dickinson. All of these considerations may be present in his mind (and a little after the point at which our excerpt concludes he tells how Mrs. Jackson exclaimed, “Oh, God have pity on the poor wife—pity on the babe in her womb”), but none of them is the main intention of the narrative. That is to show an aspect of Jackson’s character—his iron will.

The exposition, therefore, tells merely what we need to know to establish this point, how Jackson took a natural, casual farewell from his wife; how Dickinson was confident in his mere skill, in contrast to Jackson’s deadly inner certainty. The exposition also tells us, of course, something about the procedure agreed on for the duel, but this is primarily a mechanical matter. The complication builds the suspense by details of Jackson’s journey to the Kentucky line, how he discussed political questions, enjoyed his meals and his julep, talked with the guests at the inn, and slept well. These things do not bear directly on the business of the duel, and might be considered by some critics not properly part of the complication but an aside, a digression from the main line of action. But they do help to build the suspense and do indicate the quality of self-control and certainty in Jackson.

Then

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