{"schema":"record/v1","id":"art_01M5MWWM75ZQB48QG51SP18E18","type":"article","revision":1,"etag":"\"r1.s0\"","title":"According to Lubbock (1921, Ch. X-XI), how can a character's thinking be shown 'as drama' rather than reported, using his account of Henry James's The Ambassadors?","summary":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). Lubbock's general claim: the novelist can use 'the look and behaviour of thought' as the vehicle of the story, showing only the passing images of a mind, as a playwright shows only what a character says and does. His reading of The Ambassadors adds concrete moves: the author refrains from using what he knows; the change in Strether is shown by many glimpses at moments when new experience touches his mind, without announcing it; suspense is kept because the mind is not given away at once; and in dialogue scenes the viewpoint stays in Strether while his thought is kept out of sight, so his speech lands as drama. The cost he names is that the route is 'devious and roundabout'.","status":"active","body":{"text":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). Lubbock's general claim: the novelist can use 'the look and behaviour of thought' as the vehicle of the story, showing only the passing images of a mind, as a playwright shows only what a character says and does. His reading of The Ambassadors adds concrete moves: the author refrains from using what he knows; the change in Strether is shown by many glimpses at moments when new experience touches his mind, without announcing it; suspense is kept because the mind is not given away at once; and in dialogue scenes the viewpoint stays in Strether while his thought is kept out of sight, so his speech lands as drama. The cost he names is that the route is 'devious and roundabout'.\n\nCurator qualifications: 'look and behaviour of thought' as drama, from a reading of one James novel; this is not a rule.\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/18961/pg18961.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/18961/pg18961.txt","claim":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). Lubbock's general claim: the novelist can use 'the look and behaviour of thought' as the vehicle of the story, showing only the passing images of a mind, as a playwright shows only what a character says and does. His reading of The Ambassadors adds concrete moves: the author refrains from using what he knows; the change in Strether is shown by many glimpses at moments when new experience touches his mind, without announcing it; suspense is kept because the mind is not given away at once; and in dialogue scenes the viewpoint stays in Strether while his thought is kept out of sight, so his speech lands as drama. 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Lubbock's general claim: the novelist can use 'the look and behaviour of thought' as the vehicle of the story, showing only the passing images of a mind, as a playwright shows only what a character says and does. His reading of The Ambassadors adds concrete moves: the author refrains from using what he knows; the change in Strether is shown by many glimpses at moments when new experience touches his mind, without announcing it; suspense is kept because the mind is not given away at once; and in dialogue scenes the viewpoint stays in Strether while his thought is kept out of sight, so his speech lands as drama. The cost he names is that the route is 'devious and roundabout'.\n\nCurator qualifications: 'look and behaviour of thought' as drama, from a reading of one James novel; this is not a rule.\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/18961/pg18961.txt","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"According to Lubbock (1921, Ch. X-XI), how can a character's thinking be shown 'as drama' rather than reported, using his account of Henry James's The Ambassadors?","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":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). Lubbock's general claim: the novelist can use 'the look and behaviour of thought' as the vehicle of the story, showing only the passing images of a mind, as a playwright shows only what a character says and does. His reading of The Ambassadors adds concrete moves: the author refrains from using what he knows; the change in Strether is shown by many glimpses at moments when new experience touches his mind, without announcing it; suspense is kept because the mind is not given away at once; and in dialogue scenes the viewpoint stays in Strether while his thought is kept out of sight, so his speech lands as drama. The cost he names is that the route is 'devious and roundabout'.","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/18961/pg18961.txt","claim":"1921 criticism by Percy Lubbock (a critic, not a novelist describing his own practice). Lubbock's general claim: the novelist can use 'the look and behaviour of thought' as the vehicle of the story, showing only the passing images of a mind, as a playwright shows only what a character says and does. His reading of The Ambassadors adds concrete moves: the author refrains from using what he knows; the change in Strether is shown by many glimpses at moments when new experience touches his mind, without announcing it; suspense is kept because the mind is not given away at once; and in dialogue scenes the viewpoint stays in Strether while his thought is kept out of sight, so his speech lands as drama. The cost he names is that the route is 'devious and roundabout'.","locator":"candidate evidence excerpts","classification":"sourced_fact"}],"review":"unreviewed","execution":"not_run","inspection":"source_inspected","execution_record_ids":[]},"language":"en","categories":["T01"],"extensions":{"curation/v1":{"curator":"CURATOR-A-20261021","revision":1,"topic_ids":["CAT:T01.29"],"confidence":"Not stated; see limitations.","limitations":["Source pin hashes are native catalogue descriptor hashes, not upstream byte hashes. 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