in any event a radical prior to plot in narrative. And the principles of that
continuousness are beginnings and endings (in addition to the beginning
and ending) that are separated-joined by continuances (as opposed to the
continuousness). Further principles include progression, recurrence, and
varying relation between the units of a collection (or plotted narration).
The principles are cognitive in being knowable and mentally usable, determining the relatable continuity of elements cognitively apprehensible for
their what-ness: specific versions of people, times, places, and causalities.
The difference between plotted and nonplotted versions of narrative are
illustrated by collections, in which the individual constitutive elements
may also stand alone as integral lyrics, narratives, or dramatic entities.
These theses will need testing by a wider variety of evidence than that used
here, even if the variety has been greater than usual in discussions of integrated collections or even of narrative. At a minimum, it should be clear
what fruitful evidence is supplied for narrative and other kinds of literary
theory by the evidence available from integrated collections in different periods and cultures.
Those interested in integrated collections should consult the classic article by Jin'ichi Konishi, "Association and Progression: Principles of Integration in Anthologies
and Sequences of Japanese Court Poetry, A.D. 900-1350," Harvard Journal of Asiatic
Studies 21 ( 1958): 67-127.
Louis L. Martz, The Poetry of Meditation ( New Haven: Yale University Press, 1954),
Earl Miner, The Metaphysical Mode from Donne to Cowley ( Princeton: Princeton
University Press, 1969), pp. 232-45.
At almost the same time, the late Judith Sloman and I individually discovered the
integration of Fables. My first version appeared in Chapter 8 of Dryden's Poetry ( Bloomington: Indiana University Press, 1967) and hers as "The Structure of Dryden's Fables,"
Ph.D. diss., University of Minnesota, 1968. See also her "Interpretation of Dryden's
Fables," Eighteenth-Century Studies 4 ( 1971): 199-211. I added a few things in Writers
and Their Background: John Dryden ( London: G. Bell & Sons Ltd, 1972), pp. 259-66;
and more particularly in The Restoration Mode from Milton to Dryden ( Princeton: Princeton University Press, 1974), pp. 541-57. For other studies, see David J. Latt and
Samuel Holt Monk
, John Dryden: A Survey and Bibliography of Critical Studies, 1895-1974 ( Minneapolis: University of Minnesota Press, 1976). Judy Sloman posthumous Dryden: The
Poetics of Translation ( Toronto: University of Toronto Press, 1985), edited by