{"schema":"record/v1","id":"art_01M5MX25J04NVHGS0SKH0GV7GA","type":"article","revision":1,"etag":"\"r1.s0\"","title":"When a long book has an extravagant or romantic main action, how does Lubbock (1921, Ch. XIV) say a long preceding picture of ordinary life can make it credible, and what does he say goes wrong when the picture and the action do not match?","summary":"[1921 criticism] Lubbock says that where an action is likely to seem harsh or incredible, a writer can make it less so by leading into it through a picture of life: Dickens does this successfully in the later books (Bleak House), where the world of comic characters and the romantic heroine are 'at the same angle to literal fact'. Balzac tries the same in Splendeurs et Miseres des Courtisanes and Illusions Perdues but, Lubbock says, his romance stays staringly false against his true-to-life picture, so an open gap remains. Dickens' method fails when mystification runs away with him. Lubbock also notes the same device (first-person narration) can push a book towards picture or towards drama depending on the subject, and flags that as possibly too fine a point.","status":"active","body":{"text":"[1921 criticism] Lubbock says that where an action is likely to seem harsh or incredible, a writer can make it less so by leading into it through a picture of life: Dickens does this successfully in the later books (Bleak House), where the world of comic characters and the romantic heroine are 'at the same angle to literal fact'. Balzac tries the same in Splendeurs et Miseres des Courtisanes and Illusions Perdues but, Lubbock says, his romance stays staringly false against his true-to-life picture, so an open gap remains. Dickens' method fails when mystification runs away with him. Lubbock also notes the same device (first-person narration) can push a book towards picture or towards drama depending on the subject, and flags that as possibly too fine a point.\n\nCurator qualifications: Credibility via a matching picture (register match); readings.\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] Lubbock says that where an action is likely to seem harsh or incredible, a writer can make it less so by leading into it through a picture of life: Dickens does this successfully in the later books (Bleak House), where the world of comic characters and the romantic heroine are 'at the same angle to literal fact'. Balzac tries the same in Splendeurs et Miseres des Courtisanes and Illusions Perdues but, Lubbock says, his romance stays staringly false against his true-to-life picture, so an open gap remains. Dickens' method fails when mystification runs away with him. 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Balzac tries the same in Splendeurs et Miseres des Courtisanes and Illusions Perdues but, Lubbock says, his romance stays staringly false against his true-to-life picture, so an open gap remains. Dickens' method fails when mystification runs away with him. Lubbock also notes the same device (first-person narration) can push a book towards picture or towards drama depending on the subject, and flags that as possibly too fine a point.\n\nCurator qualifications: Credibility via a matching picture (register match); readings.\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":"When a long book has an extravagant or romantic main action, how does Lubbock (1921, Ch. XIV) say a long preceding picture of ordinary life can make it credible, and what does he say goes wrong when the picture and the action do not match?","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] Lubbock says that where an action is likely to seem harsh or incredible, a writer can make it less so by leading into it through a picture of life: Dickens does this successfully in the later books (Bleak House), where the world of comic characters and the romantic heroine are 'at the same angle to literal fact'. Balzac tries the same in Splendeurs et Miseres des Courtisanes and Illusions Perdues but, Lubbock says, his romance stays staringly false against his true-to-life picture, so an open gap remains. 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