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Q 4 P ' J .

1. Susanne K. Langer, Philosophical sketches, p.83

2. Encyclopedia Americana, vol.2, p. 382

3. Every work of art is thus a defimtion of art and being an artist now means to qwshon the nature of&- Kosldh, Qtdby B. R T m But is it Art ?, p.90.

4. Art is a lund of innate dnve that seizes a human being and makes him its instrument- C. G. Jung, The Poet, Modem Man in search of a soul, p. 169.

5 . The arts are our storehouse of recorded values - I. A. &chards, Principles of literary Criticism, p.22

Susanne K. Langer, Phllosophlcal sketches, p.84.

For one, art is a fl~ght, for another a means of conquering - Jean Paul Sartre, What is Literature ? , p.26.

Art grows out of life, it is fed by life, it reacts up on life- WH. Hudson, An Introdudon to the Study of literature, (9th d t ion) , p. 170.

D.H . Lawrence, Morality and the Novel, David Lodge (ed.), 20th Century Literary Criticism, p. 127

Literhue is creatwe, an art-Rene wellek and Austim Warren, Theo~y of Literature, Introduction.

bJSjI&SI&#r#a~rnOd, & ~ 3 Q C l l O ~ n o C ~ m y ) ~ 1 40.. X)6.

J. Middleton Murry, The Problem of Style, p.8.

Flaubert, Qtd, by Robert Liddell, Some Principles of Fiction, p.47.

An artist must be a craftsman, but a craftsman need not be an artist-David Daiches, A study oaterature ,p.85.

The author of the book was a craftsman- Percy Lubbock, The Craft of Fiction ( l 7th dt ion) , p.274.

David Daiches, A study of Literature, pp. 72-86

A great book grows drectly out of life. Literature is a vital record of what men b v e seen in life, what they hav experienced it - W.H. Hudson, An Introduction to the Study of Literature( 9th edition), p. 10.

Rene Wellek and Austin Warren, Theory of literature, p.95

A novel is, in its broadest defimtion, a personal direct impression of life - Henry James, The Art of Fiction, Qtd by Sylven Barnet, Mortan Berman and Willian Burto(ed), The Study ociterature, p. 100.

Carlyle, Qtd by Donald Adarns, The Writer's Resposibillty, p.20

Donald Adarns, I bid, p.23

A Pollcy of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life- Mathew Arnold, Qtd by W H. Hudsotl, An Introduction to the Study of Literature (9th dtion), pp. 92-93.

D.H. Lawrence, Why the Novel Matters, David Lodge(ed) 20th century Literary Criticism, p. 133.

W. H Hudson, An Introduction to the study of Literature(9th edition), p. l 1

Rene Wellek and Austin Warren, Theory of Literature, p.75.

Sigmund Freud, Freud's classical PsychoAnalytic Theory, Calvin S. Hall and Gardner I,indzey(ed), Theories of Personality (3rd edition), pp 36-5 1

C. G. Juny, lbid, pp 11 8-140

C G Jung, Modem Man In Search of a Soul, p 86

Psychic energy 1s displaceable. If the displacement is governed by the lndividuation process and the transcendent function it is called Sublimation - C.G. Jung. Jung's Analybc theory, Calvin S. Hall and Gardner Lindzey(ed), Theories of Personality, pp 138- 139.

Alfred Adler, l bid, pp 166- 168.

By Personality . . . . . . . . . I do not mean practical or everyday personality, I mean rather some mental pattern which makes Keats Keats and not Mr Smith or Mr. Jones- E.M. W- Tillyard, The Personal Heresy - a controversy, p.35.

T S Eliot, Tradition and the Individual Talent, David Lodge(ed), 20th century Literary Criticism, pp. 71-76.

For Ezra Pound, the poet is like a sculptor shaping and panng down a verbal structure - E u a Pound, Qtd by Raman Selden(ed3, The Theory of Cntlclsm fiom Plato to the Present, p. 304

47. 1. A. Rlchards, Qtd by John Paul Russo, I. A. &chards : His life and work, pp 203-206.

48 The Personal Heresy- a Controversy, oxford University Press.

49. C. S Lewis, I bid, pp 11-27.

50 C. G. Jung, The Poet, Modem Man in Search of a Soul, pp 168- 172

51. Roland Barthes, The Death of the Author, Qtd by Raman Selden (ed), ' Impersonality and the Death of the ~utho;, The Theory of Criticism from

Plato to the Present, p. 318.

52. Susanne K. Langer, Feehg and Form, Qtd by Raman Selden(ed.hlbid, p.305

53. The Personal feelings of the imaginative individual form the basis of art was, unanimously accepted by the Romantics - Lilan R. Furst, Romanticism in Perspective, p. 228.

54. The fundamental individualism of every Romantic, however disparate its origin, determines in a decisive manner both the form of his art and his attittude towards the world around him - Lilian R. Turst, l bid, p.78.

56. Newman, Qtd by M.H. Abrams, The Mirror and the Lamp, p.244.

57. A good book is the precious life blood of a masterspint - John Milton, Qtd by W.H. Hudson, An Introduction to the study of Literature(9t.h edition), p. 15.

58. EM. Forster, Qtd. by Lyndall Gordq Vuguua woolf - A Writer's Life, p. 176

59. W H Hudsq An Introduction to the study of Litemtwe(9th Ation), pp. 17-18.

60 Henry James, The Art of Fiction, Qtd by sylvan Barnet, Mortan Berman and William Burto (ed.). The Study of Literature, p. 103.

6 1 . E. M. W. Tillyard, The Personal Heresy- a controversy, pp. 3 5-40.

62. It is impossible to be an impersonal artist in literature, if you an artist at all - J. Middleton Mumy, The Problem of style, p.42.

63. Rev. John Keble, Qtd by M.H. Abrams(ed.) Literature as a Revelation of personality,The Mirror and the Lamp, pp. 259-260.

64. . . only those who have pemmahty and d o n knav what it means to want to escape from these things - T. S. Eliot, Tradition and the

hdwidual Talent Qtd by David Lodge(ed), 20th century Liteny Criticisnk p. 76

Knstian Srnidt, Poetry and Belief is the Work of T.S. Eliot, pp. 42-46.

T. S. Eliot, Ben Jonson, Selected Essays, p. 148.

George T Wnght, The Poet in the poem, pp. 158-1 59

J. Middleton Muny, The Problem of Style, P. 136,

To be unpersonal is the best way of acheving personality- J Middleton Murry, The Problem of Style, p. 143

The Author In his work ought to be like god in the universe, present everywhere and visible nowhere- Flaubert, Qtd by M. H. Abrarns (ed.), The Mirror and the Lamp, p.262.

Percy Lubbock, The Craft of Fiction, p. 67

Frank o 'Connor, Qtd. by Gamini salgo do (ed.), Song and Lovers - A casebook, p 144.

Harry T Moore-The Life and Works of D. H. Lawrence; Pub-George Allen and Unwin Ltd; D. H. Lawrence- the Man and This Work By Emile Delavency, Pub-Heinemany Conflicts in the novels of D. H. Lawrence By Yudhlstar, Pub:- Oliver and Boyd.

E. T. (Jessie Chamber), D. H. Lawrence- A Personal Record (2nd edtion), Frank Cass Co. Ltd, London, 1965.

D. H. Lawrence, Qtd by E. T, I bid, p.82

D.H. Lawrence, The Spirit of place, Qtd by David Lodge (ed.), 20th Century Literary Criticism. p. 123.

E. T. . D H. Lawrence- A Personal Record, pp 130-1 36

Yudh~star, Confl~ct m the Novels of D. H. Lawrence, p. 288

Vugina woolf, Qtd by LyndallGordon, Virginia woolf -A Writer's life, p. 7.

Lyndall Gordon, lbid, p.282.

Lyndall Gordon, l bid, p 3

Life and Work are two things indivisible. It is only being true to life, that I can be true to art. All that I Write-all that 1 am- Katherine Mansfield, Qtd by Judy Simons, Diaries and Joumals of Literary Women from Fanny Bumey to Virginia woolf, p. 152.

Antony Alpers, Kathenne Mansfield, pp 64-69

Atul Chandra chatterjee- The Art of Katherine Mansfield. S. Chand and Company Ltd. 1980; Andrew Gurr and clare ~arison-'Katherine ~ansfield: Macmillan press, 198 1

Elizabeth Bowen, Qtd by H. E. Bates, The Modem Short story- A Critical Survey p 14.

Valerie Shaw, The Short Story- A Critical Introduction, p. 20.

H. E. Bates, The Modem Short .story- A critical survey, pp. 18,206.

I an Reid, The Short story, pp. 27-28

Short story is a lonely art, short story writers too are lonely - Frank o 'Connor, Lonely Voice, p. 170

Short story differs from the novel in terms of structure and conception, not merely in length- Valerie Shaw, The Short story-A Critical Introduction, p.36.

Laurence Pemne, Story And Structure(7th edition), pp 41 -282.

Alan Casty, The Shape of Fiction (2nd edition), p. 18.

103. Sherwood Anderson, Qtd by Virgil Scott and David Madden, Studies in the Short story(5th ehtion), p. 5.

104. Virgil Scott and David Madden, Ibid, p.6.

105. Alan Casty, The Shape of Fiction (2nd edition), p. 15.

106. Virgil scott and David Madden, Stuhes in the Short story,p.9.

107 F. A. Rockwell : Modem Fiction Techniques., p. 70.

108 Laurence Pernne, Story And Structure(7th edition), pp, 136- 140

109. Katherlne Mansfield, Qtd by Valerie shaw, The Short Story- A Critical Introductior~, p.22.