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887
be anything concise and compact. It may cover the entire
life of the principal character or even the rise and fall
of a family through several generations; it may be a whole
historical epoch or a short period of contemporary history,
a love-affair, a crime, an adventure or a natural phenome鉂�
15 non.
S
Nor is fiction always dramatic; that is to say, it
may not deal with clash or conflict of codes or of code
and desire, but simply with a contrast of codes which never
16.
issue into conflict. In less sophisticated fiction confli-
cts are in the main between individuals; the interest lar-
gely depends upon the fact that the rival protagonists both
17 represent a code. The author's concern is mainly with
what is passing in his characters' mind which inevitably
concerns their codes as these conflict with their immedia-
18 te desires. A large part of the interest of fiction may
19 be found in the actual expression or comparision of codes.
And in the case of many novels, plays and short-stories,
the significance is something that flashes upon the reader
or the audience suddenly as the thing finishes%;B most nove-
lists are content to leave the significance implicit in
the ending, the "upshot" of the affair. 20 But, such as it
is, the significance is clear and definite enough; the
clash of codes is resolved; the best code wins. 21 Only the
1+
15.11F,p.66. / 16. ibid., p.72. / 17.ibid., p.76."/
18.ibid., p.80./19.ibid., p.83./20.ibid., p.84./21.ibid.,85.
85.