In Aspects of the Novel, Forster says that the novel should be an aesthetic whole combining form and value and having a story as its backbone. In this self-contained structure there must be an internal harmony which needs the adjustment of characters to one another and adapting them to the story, the plot, the atmosphere of the nove) and so on. The novelist in trying to give a sense of inevitability, resorts to plot. it is a narrative of events in which the emphasis falls upon causality and which is the novel in its logical intellectual aspects. Meanwhile, the writer wishes to have everything in the novel founded on human nature, in other words, founded on the character's will. The difficulty facing the novelist here is the way of achieving both the sense of inevitability and the human nature. This according to Forster, can be done successfully when an incident springs out of the character, and having occurred, alters character to connect people and events closely. It has been rightly noted by Lord David Cecil that not character or probability, but the thesis Forster wishes to expound determines the main lines of his plot's structure. (1) This is to an extent true since most of the characters, especially his heroes, cannot be categorized as round or flat, Ansell in The Longest Journey, Ruth Wilcox in Howards End, and Mrs. Moor in A Passage to India serve as examples. They are memorable for a grouping of qualities not for a dimension, or, as Mr. James McConkey says they have been constructed to represent a portion of Forster's own insight, to suggest a portion of that vision which the novel as a whofe represents.(2)