casethenovelistintendstopointouttheprofoundcauseofGatsby’stragedy.Dr.WatsoninthestoriesofSherlockHolmesservesasafoiltothehero,renderingthedetectivesmarterthanhewouldotherwiseappeartothereader.Bythedegreeoftheirdevelopment,characterscanbegroupedasroundcharactersandflatcharacters.ThisdivisionisproposedbyE.MForster.Roundcharactersarefullydevelopedwhileflatcharactersarenot.Orwecansaythatroundcharactersgrowwhileflatcharactersdonot.Usuallythereaderisallowedaccesstotheinnerlifeoftheroundcharacterandpermittedtolearnaboutmanysidesoftheroundcharacter.Theflatcharacterisa“closed”charactertowhoseinnerthoughtsthereaderisdeniedaccess.Usuallyonesideoftheflatcharacterisshowninthenovel.Mostheroesareroundcharacterswhogrowemotionallyorspiritually.ChapterThreeThemeAristotleinPoeticslistssixbasicelementsoftragedy.Melody(song)anddiction(language)fallinthegeneralcategoryofstyle,andspectacleisrelevanttosettinginourdiscussionoffiction.Theotherthreeaspectsaremythosorplot,ethosorcharacter,anddianoia,whichwegenerallytranslateinto“thought”inEnglish.AccordingtoAristotle,plotisthe“soul”orshapingprincipleorfiction,andcharactersexistprimarilyasfunctionsoftheplot.Inmostofthestories,plotplaystheroleofprincipalstructureofthestory.But,asNorthropFryepointsout,besidestheinternalfictionofthecharacterandhis/hersociety,thereisanexternalfictionconsistingofarelationbetweenthewriterandthewriter’ssociety.WeindeedhaveliteraryworksbythelikesofShakespeareandHomerinwhichartistryiscompletelyabsorbedintheirinternalcharactersandwecanhardlyperceivetheexistenceoftheauthor.However,assoonastheauthor’spersonalityappearsonthehorizon,arelationwiththereaderisestablished,andsometimesthereseemsnostoryatallapartfromwhattheauthorisconveyingtohis/herreader.Inthiscase,theprimaryinterestindianoia,theideaorthoughtthatreadergetsfromthewriter,whichinmoderncriticismwegenerallycall“theme”.I.WhatIsTheme?Oneofthesafestcommentstomakeaboutnovelsisonthetheme.Everyoneisentitledtoextractathemebasparticulartoitsnovel,thoughtherearemanysimilarthem