confidence in him. And, even if he eavesdrops,
he cannot penetrate into his characters' minds,
and so his account must be confined to the more or
less superficial aspects of what happened. But
these drawbacks are not looked upon as draw-
backs by the amateur writer \vho may not be
quite sure how to tackle the behind-the-scenes
part of the business. He sees in the method a way
of avoiding difficulties which he is not yet expert
enough to overcome, and further, not being any
less excited by his subject than the experienced
writer, indeed being probably more excited than
an old hand just because he does not know exactly
how he is going to convey wrhat he very intensely
feels, he seizes on one sure way of convincing his
readers of the reality of his story. He provides a
narrator who saw, as it were, the story with his
own eyes and whose direct evidence will be
Who saw him die ?
"I," said the fly,
" With my little eye.
I saw him die"
" I saw him die.55 That is enough. The scene
immediately becomes vivid. Once reality is
established by direct evidence, the imaginations
of readers get to work. Cock Robin's death scene
lives and how many words are saved !
Emily Bronte was not content with one fictional
narrator. She took it into her head to try to
double-stage her scenario, to build a foreground
for the narrator to live in, as substantial as the