EDWARD MORGAN FORSTER AND HIS

Oleh: Ribut Surjowati Universitas Wijaya Kusuma Surabaya ([email protected])

Abstract: Aspects of the Novel is the publication of a series of lectures on the English Language novel delivered by E.M. Forster. These lectures presents the seven aspects, Forster believes, should include in the novel. Those seven aspects are story, people, plot, fantasy and prophecy, pattern and rhythm. This article is elaborating those seven aspects along with the explanation. It is expected that after reading Forster’s lectures, people will get a better insight towards the form of a good novel.

Key words: E.M.Forster, Aspects of the Novels

Introduction when he spent the time at Rooksnest, Edward Morgan Forster (1 Stevenage, a house he evokes in January 1879 – 7 June 1970), was an . 1 English novelist, short story writer, With the money that was essayist and librettist. He is known best inherited from his parental great-aunt for his ironic and well-plotted novels Marianne, he became a writer. Thus he examining class difference and spent most of his life writing many books hypocrisy in early 20th-century British such as novels, short stories, plays, film society. Forster's humanistic impulse scripts, literary criticism, biography etc. toward understanding and sympathy One of his works which is going to be may be aptly summed up in the discussed in this paper is Aspects of the epigraph to his 1910 novel Howards Novel which is as a literary criticism. End: "Only connect". Aspects of the Novel is the Forster was the only child of publication of a series of lectures on the Edward Morgan Forster, architect, who English language novel, delivered by E. died in 1880, and of Alice ‘Lily’ Whichelo M. Forster at Trinity College, (1855-1945). His boyhood was Cambridge, in 1927 after he wrote A dominated by women, among them is passage to India. Forster dismisses the his influential great aunt and benefactress . She 1 ______E.M. Forster. Download left 8000-pound sterling for Forster. He on 1 December 2010 in has a happy childhood years (1883- 93) http://emforster.de/hypertext/template.php3?t=life .

EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati method of examining the novel as a historical development, in preference to The Life of E.M. Forster an image of all novelists throughout Edward Morgan Foster was born history writing simultaneously, side by on 1 January 1879 in London and spent side. He first establishes that a novel is his childhood in Rooksnest with his a story that takes place over a period of mother, aunts and governesses. He time. He stresses the importance of often did travelling to Italy, Greece. On character, maintaining that both ‘‘flat’’ his return to Greece, he began to write and ‘‘round’’ characters may be included for the New Independent Review which in the successful novel. He regards the was launched in 1903. necessity of plot, which creates the In 1905 he completed Where effect of suspense, as a problem by Angels Fear to Tread , which was which character is frequently sacrificed published the same year, and spent in the service of providing an ending to some months in Germany as tutor to the the novel. Fantasy and prophecy, which children of the Conntess von Arnim In provide a sense of the ‘‘universal,’’ or 1906, now established with his mother in spiritual, Forster regards as central Weybridge, he became tutor to Syed aspects of the great novel. Ross Masood, a striking and colonial Finally, he dismisses the value of Indian Muslim patriot, for whom Forster ‘‘pattern,’’ by which a narrative may be developed an intense affection. The structured, as another aspect that Longest Journey appeared in 1907, A frequently sacrifices the vitality of Room with a View in 1908, character. Drawing on the metaphor of and Howards End , which established music, Forster concludes that rhythm, Forster as a writer of importance, in which he defines as ‘‘repetition plus 1910. In 1911 he published a collection variation,’’ allows for an aesthetically of short stories, mostly pastoral and pleasing structure to emerge from the whimsical in tone and subject- novel, while maintaining the integrity of matter, . character and the open-ended quality In 1912-13 he visited India for that gives novels a feeling of some months, meeting Masood in expansiveness. Aligarh and traveling with him. In 1913 This article is examining the another significant visit to the home of E. seven aspects Edward believes Carpenter near Chesterfield resulted in universal to the novel: story, characters, his writing , a novel with a plot, fantasy, prophecy, pattern, and homosexual theme which he circulated rhythm. 2 privately; it was published posthumously in 1971. It did not as he had hoped open

2 ______Aspects of the Novel a new vein of creativity and the outbreak summary. Download on 1 December 2010 in of war further impeded his career. He http://www.enotes.com/aspects-novel.

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati worked for a while at the National celebrated comment, 'yes-oh dear yes- Gallery then went to Alexandria in 1915 the novel tells a story.' for the Red Cross; his Alexandria: A In the 1930s and 1940s Forster History and a Guide was published became a successful broadcaster somewhat abortively in 1922 (almost the on BBC Radio and a public figure entire stock was burned) and reprinted associated with the British Humanist in revised form in 1938. In Alexandria he Association. He was awarded a Benson met Cavafy whose works, on his return Medal in 1937. Forster developed a to England in 1919, he helped to long-term loving relationship with Bob introduce; an essay on Cavafy appears Buckingham, a married policeman (his in Pharos and Pharillon (1923). wife's name was May), and included the In 1921-22 he revisited India, couple in his circle, which also included working as personal secretary for the the writer and arts editor of The maharajah of the native state of Dewas Listener, J.R. Ackerley, the psychologist Senior for several months. The W.J.H. Sprott, and, for a time, the completion of (1922- composer Benjamin Britten. Other 4) which he had begun before the war, writers with whom Forster associated was overshadowed by the death of his included the poet Siegfried Sassoon and closest Egyptian friend Mohammed, but the Belfast-based novelist Forrest Reid. when the novel appeared in June 1924 it Forster was elected an was highly acclaimed. Forster's fears honorary fellow of King's College, that this would be his last novel proved Cambridge in January 1946, and lived correct, and the remainder of his life was for the most part in the college, doing devoted to a wide range of literary relatively little. He declined activities; over many years he took a a knighthood in 1949 and was made a firm stand against censorship, involving Companion of Honour in 1953. In 1969 himself in the work of PEN and the he was made a member of the Order of NCCL, of which he became the first Merit. Forster died of a stroke in president, campaigning in 1928 against Coventry on 7 June 1970 at the age of the suppression of R. Hall's The Well of 91, at the home of the Buckingham. Loneliness, and appearing in 1960 as a Forster was a humanist, homosexual, witness for the defence in th e trial of the lifelong bachelor. publishers of Lady Chatterley's Lover. In 1927 he delivered the Clark Forster’s Novels lectures at Cambridge printed the same Forster had five novels published year as Aspects of the Novel; his tone in in his lifetime. Although Maurice these was in his own words 'informal, appeared shortly after his death, it had indeed talkative', and they contain the been written nearly sixty years earlier. A

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati seventh novel, Arctic Summer, was between the free-thinking George never finished. Emerson and the repressed aesthete His first novel is Where Angels Cecil Vyse. George's father Mr Emerson Fear to Tread (1905). It is the story of quotes thinkers who influenced Forster, Lilia, a young English widow who falls in including Samuel Butler. A Room with a love with an Italian man, and of the View was filmed by Merchant-Ivory in efforts of her bourgeois relatives to get 1985. her back from Monteriano (based His other novels, Where Angels on San Gimignano). The mission of Fear to Tread and A Room with a Philip Herriton to retrieve her from Italy View can be seen collectively as has features in common with that Forster's Italian novels. Both include of Lambert Strether in Henry references to the James's The Ambassadors, a work famous Baedeker guidebooks and Forster discussed ironically and concern narrow-minded middle-class somewhat disapprovingly in his English tourists abroad. The books book Aspects of the Novel (1927), share many themes with short stories where Angels Fear to Tread was collected in The Celestial adapted into a film by Charles Omnibus and . Sturridge in 1991. Howards End (1910) is an Next, Forster published The ambitious "condition-of-England" novel Longest Journey (1907), an concerned with different groups within inverted buildings roman following the the Edwardian middle classes lame Rickie Elliott from Cambridge to a represented by the Schlegels (bohemian career as a struggling writer and then to intellectuals), the Wilcoxes (thoughtless a post as a schoolmaster, married to the plutocrats) and the Basts (struggling unappetizing Agnes Pembroke. In a lower-middle-class aspirants). It is series of scenes on the hills of Wiltshire frequently observed that characters in which introduce Rickie's wild half-brother Forster's novels die suddenly. This is Stephen Wonham, Forster attempts a true of Where Angels Fear to kind of sublime related to those of Tread, Howards End and, most Thomas Hardy and D. H. Lawrence. particularly, The Longest Journey. Forster's third novel, A Room Forster achieved his greatest with a View (1908), is his lightest and success with A Passage to India (1924). most optimistic. It was started before The novel takes as its subject the any of his others, as early as 1901, and relationship between East and West, exists in earlier forms referred to as seen through the lens of India in the "Lucy". The book is the story of young later days of the British Raj. Forster Lucy Honey church's trip to Italy with her connects personal relationships with the cousin, and the choice she must make politics of colonialism through the story

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati of the Englishwoman Adela Quested, which often depicts the pursuit of the Indian Dr. Aziz, and the question of personal connections in spite of the what did or did not happen between restrictions of contemporary society. them in the Marabar Caves. Forster Edward was President of the Cambridge makes special mention of Ahmed Humanists from 1959 until his death and Ali and his Twilight in Delhi in his a member of the Advisory Council of the Preface to its Everyman's Library British Humanist Association from 1963 Edition. until his death. Maurice (1971) was published The next second key theme of posthumously. It is a homosexual love Forster’s is the irreconcilability. Forster's story which also returns to matters two best-known works, A Passage to familiar from Forster's first three novels, India and Howards End, explore the such as the suburbs of London in the irreconcilability of class differences. A English home counties, the experience Room with a View also shows how of attending Cambridge, and the wild questions of propriety and class can landscape of Wiltshire. The novel was make connection difficult. The novel is controversial, given that Forster's his most widely read and accessible sexuality had not been previously known work, remaining popular long after its or widely acknowledged. Today's critics original publication. His posthumous continue to argue over the extent to novel Maurice explores the possibility of which Forster's sexuality, even his class reconciliation as one facet of a personal activities influenced his writing. homosexual relationship. Sexuality is another key theme in Key Themes of Forster’s Novels Forster's works, and it has been argued Five novels were written by that a general shift from heterosexual Forster during his life. They have special love to homosexual love can be characteristics which dominated all his detected over the course of his writing novels; humanist, irreconcilability of career. The foreword class difference, sexuality and to Maurice describes his struggle with symbolisym. 3 his own homosexuality, while similar The first key theme of Forster’s issues are explored in several volumes work is humanist. His humanist attitude of homosexually charged short stories. is expressed in the non-fictional Forster's explicitly homosexual writings, essay . His views as the novel Maurice and the short-story a humanist are at the heart of his work, collection , were published shortly after his death. Forster is noted for his use 3 ______E.M.Forster. Download on 6 december 2010 in of symbolism as a technique in his http://www.kirjastro.sci.fi/forster.htm. novels, and he has been criticised (as

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati by his friend Roger Fry) for his primitive feature and it can have only attachment to mysticism. One example one merit: that of making the audience of his symbolism is the wych elm tree in want to know what happens next. The Howards End; the characters of Mrs only skill of a storyteller is their ability to Wilcox in that novel and Mrs Moore in A use the weapon of suspense, making Passage to India have a mystical link the audience eager to discover the next with the past and a striking ability to event in the sequence. A novel is said connect with people from beyond their and considered successful audience is own circles. brought to the point of high suspense (to the desperation of wanting to know what Forster’s Aspects of the Novel happens next) and fails when it does not Aspects of the Novel is the create that suspense – when an publication of a series of lectures on the audience does not want to know, and English language novel, delivered by E. does not care. M. Forster at Trinity College, This emphasis on chronological Cambridge, in 1927. Using examples of sequence is a difference from real life. classic works by many of the world's Our real lives also unfold through time greatest writers, he discusses seven but have the added feature that some aspects he believes universal to the experiences have greater value and novel: story, characters, plot, fantasy meaning than others. Value has no role and propechy, pattern and rhythm. 4 in a story, which is concerned with the life in time rather than the life by values. Story In addition, because human lives Forster begins with the measured by time consist of nothing statement that the novel tells a story. A more than the business of getting old, a story must be build around the story cannot sincerely lead to any suspense-the question of “what happens conclusion but the grave. next?” Thus, a story is a narrative of The basis of a novel is a story — events arranged in their time the narration of events in the order they sequence — it simply tells us what happened — but storytelling alone can happened and in what order. It is the never produce a great novel. The simple time sequence, which turns a random chronological narrative of War and collection of episodes into a story. It is Peace only manages to achieve some the backbone of the novel. However, kind of greatness because it has chronological sequence is a very extended over space as well as time, and the sense of space until it terrifies us is exhilarating, and leaves behind it 4 ______Aspects of the Novel summary. Download on 1 December 2010 in an effect like music. After one has read http://www.enotes.com/aspects-novel. War and Peace for a bit, great chords

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati begin to sound, and we cannot exactly other, except in a rough and ready way; say what struck them. They come from we cannot reveal ourselves, even when the immense area of Russia, over which we want to; what we call intimacy is only episodes and characters have been makeshift; perfect knowledge is an scattered, from the sum-total of bridges illusion. However, in the novel we can and frozen rivers, forests, roads, know people perfectly. gardens, fields, which accumulate It is this completeness that grandeur and sonority after we have allows characters to take on the air of passed them. being real, and gives us a definition as to when a character in a book is real: it People is real when the novelist knows In two chapters entitled “People,” everything about it. He may not tell us all Forster discusses characterization in the he knows, but he will give us the feeling novel. A novelist can only begin to that though the character has not been explore the value of human experiences explained, it is explicable. by developing the characters of the Forster distinguishes between story. He describes five “main facts of flat characters and round human life,” which includes birth, food, characters. The really flat character can sleep, love and death and then be expressed in one sentence such as ‘I compares these five activities as will never desert Mr Micawber.’ There is experienced by real people (homo Mrs Micawber — she says she won’t sapiens) to these activities as enacted desert Mr Micawber; she doesn’t, and by characters in novels (home fictus). there she is. These characters are easily Characters’ lives are different recognised when first introduced and from real lives, and common activities easily remembered afterwards, and their such as sleeping and eating occupy little memorability appeals to our yearning for space in novels, whereas love is greatly permanence. They are best when they over-represented. Sometimes are comic. A serious or tragic flat characters can seem to be more real character is apt to be a bore. Flat than the people around us are, and this characters do not grow (Robert and is because a novelist is able to reveal Henry, 2003: 140). the same because the character’s hidden life. In daily life, they lack knowledge or insight, or we never understand each other, neither because they are stupid or insensitive. complete clairvoyance nor complete They end where they begin and thus confessional exists. People in a novel they are static, not dynamic. Usually flat can be understood completely by the characters are minor but not all minor reader, if the novelist wishes; their inner characters are necessarily flat. as well as their outer life can be Sometimes flat characters are exposed. We cannot understand each prominent in certain type of literature

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati such as detective stories, police where us with these unsuspected aspects of the focus is less on character than on their nature; and the test of a round performance. Such characters might be character is whether it is capable of lively and engaging though they do not surprising in a convincing way. Round develop or change. They must be characters are dynamics.5 That is they strong, clever enough to perform recognize, change with, or adjust to recurring task such as solving a crime, circumstances. Such change may be overcoming a villain. The term stock shown in (1) an action or actions, (2) the character refers to characters in these realization of new strength, (3) the repeating situations. To the degree that acceptance of new condition and the stock characters have many common need for making changes. Even if traits, they representative of their class events never require these characters to or group. Some regular stock characters extend themselves, they nevertheless are the sassy younger sister or brother, have the capacity. All the Jane Austen the greedy politician, the submissive or characters are ready for an extended nagging wife. Stock character stays flat life, for a life which the scheme of her as long as they do more than perform books seldom requires them to lead, their roles and exhibit conventional and and that is why they lead their actual unindividual traits. lives so satisfactorily. Dickens wrote flat characters Looking back to a fictional excellently that nearly every one can be technique common in eighteenth and summed up in a sentence, and yet there nineteenth century novels — that of is this wonderful feeling of human depth. telling different sections of the story Probably the immense vitality of Dickens through different characters — Forster causes his characters to vibrate a little, believes the effect of changing viewpoint so that they borrow his life and appear is less important than the power of the to lead one of their own. It is a conjuring writer to bounce the reader into trick. Part of the genius of Dickens is accepting what he says and having a that he does use types and caricatures, proper mixture of characters. people whom we recognize the instant they re-enter, and yet achieves effects Plot that are not mechanical and a vision of A story has been defined as a humanity that is not shallow. narrative of events arranged in their A round character by contrast time-sequence. A plot is also a narrative has further dimensions to their of events, the emphasis falling on personality, which are revealed as events demand them. A flat character 5 Roberts, Edgar V and Henry E.Jacobs. never surprises us with their behaviour, 2003. Literature: an Introduction to Reading and but a round character may well surprise Writing. USA: Pearson Education Inc.

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati causality. When recounted by itself, it connecting threads between them. A bears about the same relationship to a reader who wants to know will try to find story that a map does to a journey. Just new fact with his eyes but an intelligent a map may be drawn on a finer or reader will find it with his smart ways. grosser scale, so may a plot be First in a separate way and by relating it recounted with lesser or greater details. with some related facts that he has read It may include what a character says or before from the previous pages. This thinks, as well as what he does, but it allows the novelist to delay explanations leaves out description and analysis that and introduce human mystery to the concentrates ordinarily on major narrative. Mystery is essential to a plot, happenings. For example; ‘The king and cannot be appreciated without died and then the queen died,’ is a story. intelligence; part of the mind must be left ‘The king died, and then the queen died behind, brooding, while the other part of grief,’ is a plot. The time sequence is goes marching on. The second aspect preserved, but the sense of causality of needed in understanding plot is the overshadows it. Consider the death of memory. The memory and intelligence the queen. If it is in a story we say ‘and are related deeply because we cannot then?’ If it is in a plot, we ask ‘why?’ In comprehend something without our this case the readers will analyze deeply memory. For example, if we cannot the events causing the death of the memorize the existence of the king who queen. was in the previous pages, we cannot Talking about a plot Forster understand why he passed away. begins by suggesting Aristotle, who In Novels, a novelist can talk maintained that all human happiness about his characters and can also and mystery takes the form of actions, is express his ideas or thought through his wrong. Forster continued that Aristotle characters that he creates. knew nothing about novels and based This relationship between cause his theory on the nature and function of and effect also connects the characters drama, in which everything unseen, with the plot. Incident springs out of unknown and unknowable must be character, and having occurred it alters understood from action. The novelist that character. People and events are has access to the unknowable, and can closely connected. The balance therefore devote time and energy to its between them is sometimes difficult to unexpressed, inner existence, achieve though, because characters, to communicating it without resource to be real, ought to run smoothly, but a plot action. ought to cause surprise. Sometimes a A plot demands intelligence and plot triumphs too completely. The memory on the part of the reader, to characters have to suspend their remember incidents and create natures at every turn, or else are so

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati swept away by the course of Fate that may do this by no more than simply our sense of their reality is weakened. hinting through a magical quality in Perrine adds that suspense is the quality events. The stuff of daily life will be in a story that makes readers ask tugged and strained in various ‘what’s going to happen next?’ or ‘How directions; the earth will be given little will this turn out?’ and impels them to tilts mischievous or pensive. Forster read on to find the answers to these includes parodies and adaptations of questions. Suspense is greatest when earlier works as forms of fantasy, which the readers’ curiosity is combined with allow another writer’s imagination to anxiety about the fate of some take flight. Parody or adaptation have sympathetic character. enormous advantages to certain novelists, particularly to those who may Fantasy and Prophecy have a great deal to say and abundant In a chapter on fantasy, Forster literary genius, but who do not see the asserts that two important aspects of the world in terms of individual men and novel are fantasy and prophecy, both of women — who do not, in other words, which include an element of mythology. take easily to creating characters. He Using the novel Tristram Shandy, by points to Joseph Andrews, by Henry Sterne, as an example, Forster claims Fielding, which began as a parody even novels that do not include literal of Pamela, by Richardson. He goes on elements of the supernatural may to the example of Ulysses, by James include an implication that supernatural Joyce, which is an adaptation from the forces are at work. He lists some of the ancient text the Odyssey, based on common devices of fantasy used by Greek myth. novelists, "such as the introduction of a Forster describes the aspect of god, ghost, angel, or monkey, monster, prophecy in a novel as "a tone of voice" midget, witch into ordinary life." He adds of the author, a "song" by which "his to this list "the introduction of ordinary theme is the universe," although his men into no-man's land, the future, the subject matter may be anything but past, the interior of the earth, the fourth universal. He notes that the aspect of dimension; or divings into and diviings of prophecy demands of the reader both personality. 6 "humility" and "the suspension of a He further says that fantasy sense of humor. Furthermore, produces a special effect. Prophecy is an accent in the novelist’s Fantasy implies the supernatural, but it voice. . The characters and events still have a specific meaning within the story, 6 ______Aspects of the Novel. but they also have greater Download on 7 December 2010 in http://www.highbean.com/doc/1G2- resonances. In Dostoyevsky the 3424200013.htm#Criticsm characters and situations always stand

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati for more than themselves; infinity point. Pattern is an aesthetic aspect of attends them. the novel, and though it may be This is different from symbolism, nourished by anything in the novel — in which characters and events any character, scene, word — it draws represent concrete meanings. Rather most of its nourishment from the prophecy is about mysterious, imprecise plot. Whereas the story appeals to our meanings, which connect us with the curiosity and the plot to our intelligence, history of humankind. It is not a veil, it is the pattern appeals to our aesthetic not an allegory. It is the ordinary world of sense, it causes us to see the book as a fiction, but it reaches back. Melville — whole. after the initial roughness of his realism However, forcing the characters — reaches straight back into the to fit an external pattern, instead of universal, to a blackness and sadness allowing the plot to grow organically, so transcending our own that they are causes a novel to lose the immense undistinguishable from glory. richness of material which life provides. To most readers of fiction the Pattern and Rhythm sensation from a pattern is not intense In his book; Aspects of the novel, enough to justify the sacrifices that Forster has dealt with two important made it, and their verdict is ‘Beautifully aspects namely pattern and rhythm.7 He done, but not worth doing.’ defines the term pattern is as a literacy Rhythm on the other hand is like term, a model, design, plan, or a musical motif which reappears with precedent – with the implication of being slight variations and helps to unify the worthy of imitation. Forster in his novel. Such a motif has a life of its own, aspects of the novel has employed the unconnected with the lives of its term pattern only in the specific sense of auditors. It is almost an actor, but not design or geometrical shape of plot of a quite, and that ‘not quite’ means that its novel. As he said that a novel has a power has gone towards stitching [the] pattern when it has a geometric shape, book together from the inside. such as the hour-glass shape of one The appearance of a motif is not character’s social fall crossing over with an artificial pattern, and there are times another’s social climb, or the circular when it means nothing and is forgotten, shape of a character moving from one and this seems to me the function of new acquaintance to the next until they rhythm in fiction; not to be there all the finally return to their starting time like a pattern, but by its lovely waxing and waning to fill us with surprise and freshness and hope. I 7Cuddon, J.A. Pattern and Rhythm. Download on 6 December 2010 in doubt that it can be achieved by the http://books.google.co.id/books?id=VIE0rb35- writers who plan their books beforehand,

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EDWARD MORGAN FOSTER AND HIS ASPECT OF THE NOVEL Ribut Surjowati it has to depend on a local impulse References when the right interval is reached. But Cuddon, J.A. Pattern and Rhythm. the effect can be exquisite, it can be Download on 6 December 2010 obtained without mutilating the in http://books.google.co.id/books?i characters, and it lessens our need of d=VIE0rb35- an external form. 8 Forster, E.M. 1979. Aspek-aspek Novel. Kuala Lumpur: Dewan Bahasa Closing dan Pustaka Kementrian Forster’s speech delivered at Pelajaran Malaysia. Trinity College, Cambridge (1927) about Roberts, Edgar V and Henry E.Jacobs. the seven aspects of the novel; story, 2003.Literature: an Introduction character, plot, fantasy and prophecy, to reading and writing. USA: pattern and rhythm, which were Pearson Education Inc. published as Aspects of the novel, give ______E.M. Forster. Download on us a better insight to the form a good 1 December 2010 in novel. Furthermore, this Forster’s views http://emforster.de/hypertext/tem plate.php3?t=life. today form an important part of literary analysis. ______Aspects of the Novel summary. Download on 1 December 2010 in http://www.enotes.com/aspects- novel.

______Aspects of the Novel. Download on 5 December 2010 in http://www.storyinsight.com/tech niques/media/forster.html

______E.M.Forster. Download on 6 december 2010 in http://www.kirjastro.sci.fi/forster.h tm.

______Aspects of the Novel. Download on 7 December 2010 in http://www.highbean.com/doc/1G 2-3424200013.htm#Criticsm

8 ______Aspects of the Novel. Download on 5 December 2010 in http://www.storyinsight.com/techniques/media/for ster.html

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