Soru

The eighteenth-century epistolary novel—a narrative constructed entirely through a series of documents, typically letters—emerged as a prominent literary form across Europe. Its widespread appeal stemmed largely from its ability to cultivate an illusion of profound intimacy and immediacy. Because readers felt as though they were intercepting private confessions, the format encouraged a deep psychological investment in the characters' inner lives. Moreover, the epistolary structure enabled authors to depict multiple, often conflicting, vantage points regarding a single incident without depending on an omniscient narrator, effectively democratizing the text's narrative voice.

Despite its popularity, the epistolary genre faced significant pushback from contemporary detractors. Literary critics of the era frequently asserted that the structural boundaries of the format inherently fragmented the sequential progression of the narrative. These critics also maintained that the immense quantity of correspondence characters purportedly produced during moments of acute crisis severely tested the bounds of plausibility. Furthermore, detractors bemoaned the lack of a centralized authorial presence to steer the reader's ethical interpretations, and they regularly condemned the fervent emotionality of the letters as excessively theatrical and devoid of intellectual substance.

Based on the passage, which of the following is NOT mentioned as a criticism articulated by contemporary detractors of the epistolary novel?