We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
CLOSE UP
out the deep changes in character that occur imperceptibly as the tale moves on.
The problem as it presents itself on the screen is a subtle and baffling one, but at least the enquirer has a clearer view of his subject than is possible in the case of the novel. He can see the thing as a whole, swiftly or slowly moving past him, he can hold it from end to end in imagination.
To present the matter clearly, let me take two illustrations from film hterature which will be familiar to everyone — "Warning Shadows", an example of extreme comipression of the time factor, and an ordinary nameless Western melodrama, where the action is loose and sca^ttered. It is not a comparison of quality I want to present — that would be ridiculous — but an opposition of miovement "for the clearer illustrating this matter".
In the melodrama, the cowboy hero arrives at a lonely ranch to find that the owner's daughter is tr^dng to pay off a mortgage to save her crippled father's home. The holder of the m.ortgage, however, is the usual monster of inhumanity, and insists on paymicnt of his dues without delay. Alternatively he insists on marriage to the girl without delay. But the delay is the story and nice girls refuse to marry monsters of inhumanity. There is a battledore of action in which the mortgager finally corners the girl, while the hero, owing to one of those film misunderstandings which nobody has ever understood, is enjoying himself at the local dance hall. Learning of what is toward, however, he jumps on a horse, attacks and pursues the villain, is captured by the villain's gang,
57