By Oddvar Holmesland
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Additional resources for A Critical Introduction to Henry Green’s Novels: The Living Vision
2 Green deals with more than one level ofreality. It seems that her acceptance of the monotony which most of the characters want to escape has to do with her recognition ofthe material necessity represented by the factory. 'Yes,' she says, 'and so long as 'is lathe goes round he'll be there, earning 'is money like 'is dad .... 222). The thought of her son becoming a factory worker like all the others is burdensome to Mrs Eames: 'She sighed. She fed hirn. ' And Mr Eames, listening to his wife's monologue, then remarks that 'it always did rain in this town though garden would benefit' .
Discussing how a synthesis may arise from the interaction of two contradictory elements, Eisenstein claims that a dynamic comprehension of things is ... basic ... for a correct understanding of art and of all art-forms. In the realm of art this dialectic principle of dynamics is embodied in CONFLICT as the fundamental principle for the existence of every artwork and every art-form. 59 Applied to the relationship between the visual arts and literature, one may ask why artistic creation need necessarily be based on conflict.
All these low-toned impressions are given dynamic force through contrast with the 'lighted screen' and the 'intent' audience in a poetic visual moment, the experience ofwhich Green finds highly cathartic. The preceding examination ofGreen's term 'non-representational' reveals crucial aspects of his artistic vision and technique. It suggests that assessment of the manner of his commitment to the characters and events he portrays is best approached through analysis of'tone'. Green himselfmakes a statement to this effect: 'The fascination in words is that by themselves they can mean almost anything; dictionaries get longer every day.
A Critical Introduction to Henry Green’s Novels: The Living Vision by Oddvar Holmesland