By Oddvar Holmesland
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Extra resources for A Critical Introduction to Henry Green’s Novels: The Living Vision
Significantly, the values of the previous scenes are communica ted by the series of montage conBicts just referred to; montage aecents vital aspects of the context. Green intensifies the tone of the preceding passage by a eonBict of planes, through which 'Living' impressions from the Eameses' household impressions from the Craigan household. 49 collide with Water dripped from tap on wall into basin and into water there. Sun. Water drops made rings in clear coloured water. Sun in there shook on the walls and ceiling.
By juxtaposition, however, Green's emphasis is on his life-denying attitude which makes hirn unresponsive to the serenity of the present moment, and an outsider. These two passages from Living give some indication of the manner in which Green reveals his attitude to various characters, even though he attaches no moral labels. His stated intention to create art which can 'live in people who are alive' - involves not only his non-representational technique whereby the reader must participate actively to recreate the meaning of the work.
The elements that the written tongue endeavours 32 Henry Green's Novels to combine into a coherent whole seem to be divided up and disjointed in the spoken tongue: even the order is entirely different. It is no longer the logicalorder of present-day grammar. It has its logic, but this logic is primarily affective, and the ideas are arranged in aeeordance with the subjeetive importance the speaker gives to them or wishes to suggest to his listener, rather than with the objeetive rules of an orthodox process of reasoning.