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A History of Story-telling: Studies in the development of narrative cover

A History of Story-telling: Studies in the development of narrative

Chapter 30: FOOTNOTES:
By Arthur Ransome
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About This Book

The author offers a personal, essayistic survey of narrative art that selects notable stories and writers to illustrate how technique, material, and form evolved. Rather than a comprehensive chronicle, the work traces shifts from early oral and medieval modes through Renaissance adaptations of classical models to later novelistic experiments, examining narrative devices, thematic preoccupations, and genre shaping. Chapters read as loosely linked studies focused on masterpieces admired by the editor, combining critical commentary with representative selections to show how storytellers repeatedly reinvent form and subject across time.

Printed by T. and A. Constable, Printers to His Majesty at the Edinburgh University Press

FOOTNOTES:

[1] Translation by Lady Charlotte Guest, 1838.

[2] The quotations in this chapter are from the translation by Mr. F. S. Ellis.

[3] It would be possible to trace an interesting history of narrative in verse from Chaucer to our own day. But although the names of Spenser, Milton, Lafontaine, Gay, Goldsmith, Keats, Coleridge, Wordsworth, Tennyson, Rossetti, which with many others come instantly to mind, show how various and suggestive such an essay might be, yet the purpose of this book would hardly be served by its inclusion. It would be more nearly concerned with the history of poetry than with that of story-telling.

[4] By H. de Luna, 1620. The earliest known edition of Lazarillo was published in 1553.

[5] From a poem by John Masefield.

[6] There is another picture of the same name and subject in the Duke of Devonshire's collection.

[7] It is worth noticing as an additional proof of the close connection between the story in letters and the feminine novel that Sense and Sensibility was built out of an older tale that she actually wrote in epistolary form.

[8] From a poem by Lascelles Abercrombie.

[9] This is repeated with a new purpose from the chapter on Origins.

[10] The distinction between novel and romance made in the chapter on Hawthorne is one of material rather than of form. It is possible to use the material of romance in the form of either novel, nouvelle, or short story.

[11] The novelette is not the same as the nouvelle, but simply a short novel as its name implies.