{"schema":"record/v1","id":"art_01M5MDDTV8S2RA3GCZK0WVMJHM","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What does the prophetic tone demand of the writer and the reader according to Forster (1927, ch. VII), and what failure modes does he name for novels, critics and readers?","summary":"1927 criticism. Forster says the prophetic aspect demands two qualities of the reader: humility and the suspension of the sense of humour (E1); without humility the reader sees only 'a figure of fun' (E3) and laughter has no critical value (E4). For the critic and writer he asks attention to the novelist's state of mind and actual words, down to the minutiae of style (E6), while neglecting common sense (E7). Prophetic fiction has a recognisable shape: spasmodic realism and the sensation of song (E14), intermittent realism in the ordinary objects (E12), no reflection and no hammering (E15). The costs and failures he names: the furniture of the novel gets broken (E9, E10); philosophising writers such as Hardy give surveys, not sound (E20); Joyce is too workmanlike (E18, E19); Lawrence also preaches and bullies (E21, E22); readers who mock or obey lose the treasure (E23); turning images into symbols or harmonising the incidents kills the work (E24, E25). He ends with a reservation abou...","status":"active","body":{"text":"1927 criticism. Forster says the prophetic aspect demands two qualities of the reader: humility and the suspension of the sense of humour (E1); without humility the reader sees only 'a figure of fun' (E3) and laughter has no critical value (E4). For the critic and writer he asks attention to the novelist's state of mind and actual words, down to the minutiae of style (E6), while neglecting common sense (E7). Prophetic fiction has a recognisable shape: spasmodic realism and the sensation of song (E14), intermittent realism in the ordinary objects (E12), no reflection and no hammering (E15). The costs and failures he names: the furniture of the novel gets broken (E9, E10); philosophising writers such as Hardy give surveys, not sound (E20); Joyce is too workmanlike (E18, E19); Lawrence also preaches and bullies (E21, E22); readers who mock or obey lose the treasure (E23); turning images into symbols or harmonising the incidents kills the work (E24, E25). He ends with a reservation about the whole idea (E26).\n\nCurator qualifications: Reader/writer demands and named failure modes; Joyce placed under both chapters (kept). Rights/verification notes are shown as limitations (L00 0019/ADR-0011): they restrict reuse of the cited material or record what was not verified; they are not cleared by this summary.\n\nLimitations: [component_reuse_restriction] Non-US rights hold.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/70492/pg70492.txt","note":"candidate evidence excerpts"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/70492/pg70492.txt","claim":"1927 criticism. 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Forster says the prophetic aspect demands two qualities of the reader: humility and the suspension of the sense of humour (E1); without humility the reader sees only 'a figure of fun' (E3) and laughter has no critical value (E4). For the critic and writer he asks attention to the novelist's state of mind and actual words, down to the minutiae of style (E6), while neglecting common sense (E7). Prophetic fiction has a recognisable shape: spasmodic realism and the sensation of song (E14), intermittent realism in the ordinary objects (E12), no reflection and no hammering (E15). The costs and failures he names: the furniture of the novel gets broken (E9, E10); philosophising writers such as Hardy give surveys, not sound (E20); Joyce is too workmanlike (E18, E19); Lawrence also preaches and bullies (E21, E22); readers who mock or obey lose the treasure (E23); turning images into symbols or harmonising the incidents kills the work (E24, E25). He ends with a reservation about the whole idea (E26).\n\nCurator qualifications: Reader/writer demands and named failure modes; Joyce placed under both chapters (kept). Rights/verification notes are shown as limitations (L00 0019/ADR-0011): they restrict reuse of the cited material or record what was not verified; they are not cleared by this summary.\n\nLimitations: [component_reuse_restriction] Non-US rights hold.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/70492/pg70492.txt","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"What does the prophetic tone demand of the writer and the reader according to Forster (1927, ch. VII), and what failure modes does he name for novels, critics and readers?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"1927 criticism. Forster says the prophetic aspect demands two qualities of the reader: humility and the suspension of the sense of humour (E1); without humility the reader sees only 'a figure of fun' (E3) and laughter has no critical value (E4). For the critic and writer he asks attention to the novelist's state of mind and actual words, down to the minutiae of style (E6), while neglecting common sense (E7). Prophetic fiction has a recognisable shape: spasmodic realism and the sensation of song (E14), intermittent realism in the ordinary objects (E12), no reflection and no hammering (E15). The costs and failures he names: the furniture of the novel gets broken (E9, E10); philosophising writers such as Hardy give surveys, not sound (E20); Joyce is too workmanlike (E18, E19); Lawrence also preaches and bullies (E21, E22); readers who mock or obey lose the treasure (E23); turning images into symbols or harmonising the incidents kills the work (E24, E25). He ends with a reservation abou...","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/70492/pg70492.txt","claim":"1927 criticism. Forster says the prophetic aspect demands two qualities of the reader: humility and the suspension of the sense of humour (E1); without humility the reader sees only 'a figure of fun' (E3) and laughter has no critical value (E4). For the critic and writer he asks attention to the novelist's state of mind and actual words, down to the minutiae of style (E6), while neglecting common sense (E7). 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