But the great majority of novels and plays represent human life in nothing more faithfully than in their insistence upon deeds. It is through action—tangible, visible action upon the stage, or, in the novel, action suggested by the medium of words—that the characters of the play and the novel are ordinarily revealed. In proportion as high art is attained in either medium of expression this action is marked by adequacy of motive, by conformity to the character, by progression and unity.—Bliss Perry,A Study of Prose Fiction.
Studying The Short-Story
STORIES OF ACTION AND ADVENTURE
Few words are needed to set forth the meaning of this caption, for the designation is sufficiently explicit. One point, however, it will be well to emphasize: In fiction all action worthy of the name is the outward manifestation of an inward condition. There is a sense, therefore, in which all stories that are not mere pictures of internal states are stories of action; just as it may be said that all stories are stories of thought, feeling, and resolve. The point of distinction lies here: in which direction does the story tend?
In one class, outward action is seen to work profoundly upon the inward life, and the story shows us the workings of this influence in its final effect upon the inward man and his character. In another, an inward state is the basis, the premise, the initial force, in the story, and from that beginning the story goes on to show by a series of outward movements just how this great inward force operates in and upon conduct. In a third class, outward and inward action balance.
Now when the outward or visible action, prominently displaying physical movement, becomes paramount, whether shown as cause or as effect, we have the action-story, and sometimes the adventure-story. And in proportion as the interest of the reader centers in what the charactersdoinstead of in what theyare, the story departs from the subtler forms, such as the character-study and the psychological-study, and action or adventure becomes the type. Reverse these conditions, and another sort is the result.
Naturally, many variations are possible with these two chief ingredients ready for use. One story may begin with soul action, then proceed to show us bodily action with great vividness, and end by taking us back into the man’s in
