Complete William Dean Howells Literature Essays Part 60

This question came up in my mind lately with regard to English fiction and its form, or rather its formlessness. How, for instance, could people who had once known the simple verity, the refined perfection of Miss Austere, enjoy, anything less refined and less perfect?

With her example before them, why should not English novelists have gone on writing simply, honestly, artistically, ever after? One would think it must have been impossible for them to do otherwise, if one did not remember, say, the lamentable behavior of the actors who support Mr.

Jefferson, and their theatricality in the very presence of his beautiful naturalness. It is very difficult, that simplicity, and nothing is so hard as to be honest, as the reader, if he has ever happened to try it, must know. "The big bow-wow I can do myself, like anyone going," said Scott, but he owned that the exquisite touch of Miss Austere was denied him; and it seems certainly to have been denied in greater or less measure to all her successors. But though reading and writing come by nature, as Dogberry justly said, a taste in them may be cultivated, or once cultivated, it may be preserved; and why was it not so among those poor islanders? One does not ask such things in order to be at the pains of answering them one's self, but with the hope that some one else will take the trouble to do so, and I propose to be rather a silent partner in the enterprise, which I shall leave mainly to Senor Armando Palacio Valdes. This delightful author will, however, only be able to answer my question indirectly from the essay on fiction with which he prefaces one of his novels, the charming story of 'The Sister of San Sulpizio,' and I shall have some little labor in fitting his saws to my instances. It is an essay which I wish every one intending to read, or even to write, a novel, might acquaint himself with; for it contains some of the best and clearest things which have been said of the art of fiction in a time when nearly all who practise it have turned to talk about it.

Senor Valdes is a realist, but a realist according to his own conception of realism; and he has some words of just censure for the French naturalists, whom he finds unnecessarily, and suspects of being sometimes even mercenarily, nasty. He sees the wide difference that pa.s.ses between this naturalism and the realism of the English and Spanish; and he goes somewhat further than I should go in condemning it. "The French naturalism represents only a moment, and an insignificant part of life."

. . . It is characterized by sadness and narrowness. The prototype of this literature is the 'Madame Bovary' of Flaubert. I am an admirer of this novelist, and especially of this novel; but often in thinking of it I have said, How dreary would literature be if it were no more than this!

There is something antipathetic and gloomy and limited in it, as there is in modern French life; but this seems to me exactly the best possible reason for its being. I believe with Senor Valdes that "no literature can live long without joy," not because of its mistaken aesthetics, however, but because no civilization can live long without joy. The expression of French life will change when French life changes; and French naturalism is better at its worst than French unnaturalism at its best. "No one," as Senor Valdes truly says, "can rise from the perusal of a naturalistic book . . . without a vivid desire to escape" from the wretched world depicted in it, "and a purpose, more or less vague, of helping to better the lot and morally elevate the abject beings who figure in it. Naturalistic art, then, is not immoral in itself, for then it would not merit the name of art; for though it is not the business of art to preach morality, still I think that, resting on a divine and spiritual principle, like the idea of the beautiful, it is perforce moral. I hold much more immoral other books which, under a glamour of something spiritual and beautiful and sublime, portray the vices in which we are allied to the beasts. Such, for example, are the works of Octave Feuillet, a.r.s.ene Houssaye, Georges Ohnet, and other contemporary novelists much in vogue among the higher cla.s.ses of society."

But what is this idea of the beautiful which art rests upon, and so becomes moral? "The man of our time," says Senor Valdes, "wishes to know everything and enjoy everything: he turns the objective of a powerful equatorial towards the heavenly s.p.a.ces where gravitates the infinitude of the stars, just as he applies the microscope to the infinitude of the smallest insects; for their laws are identical. His experience, united with intuition, has convinced him that in nature there is neither great nor small; all is equal. All is equally grand, all is equally just, all is equally beautiful, because all is equally divine." But beauty, Senor Valdes explains, exists in the human spirit, and is the beautiful effect which it receives from the true meaning of things; it does not matter what the things are, and it is the function of the artist who feels this effect to impart it to others. I may add that there is no joy in art except this perception of the meaning of things and its communication; when you have felt it, and portrayed it in a poem, a symphony, a novel, a statue, a picture, an edifice, you have fulfilled the purpose for which you were born an artist.

The reflection of exterior nature in the individual spirit, Senor Valdes believes to be the fundamental of art. "To say, then, that the artist must not copy but create is nonsense, because he can in no wise copy, and in no wise create. He who sets deliberately about modifying nature, shows that he has not felt her beauty, and therefore cannot make others feel it. The puerile desire which some artists without genius manifest to go about selecting in nature, not what seems to them beautiful, but what they think will seem beautiful to others, and rejecting what may displease them, ordinarily produces cold and insipid works. For, instead of exploring the illimitable fields of reality, they cling to the forms invented by other artists who have succeeded, and they make statues of statues, poems of poems, novels of novels. It is entirely false that the great romantic, symbolic, or cla.s.sic poets modified nature; such as they have expressed her they felt her; and in this view they are as much realists as ourselves. In like manner if in the realistic tide that now bears us on there are some spirits who feel nature in another way, in the romantic way, or the cla.s.sic way, they would not falsify her in expressing her so. Only those falsify her who, without feeling cla.s.sic wise or romantic wise, set about being cla.s.sic or romantic, wearisomely reproducing the models of former ages; and equally those who, without sharing the sentiment of realism, which now prevails, force themselves to be realists merely to follow the fashion."

The pseudo-realists, in fact, are the worse offenders, to my thinking, for they sin against the living; whereas those who continue to celebrate the heroic adventures of "Puss-in-Boots" and the hair-breadth escapes of "Tom Thumb," under various aliases, only cast disrespect upon the immortals who have pa.s.sed beyond these noises.

XIV.

"The princ.i.p.al cause," our Spaniard says, "of the decadence of contemporary literature is found, to my thinking, in the vice which has been very graphically called effectism, or the itch of awaking at all cost in the reader vivid and violent emotions, which shall do credit to the invention and originality of the writer. This vice has its roots in human nature itself, and more particularly in that of the artist; he has always some thing feminine in him, which tempts him to coquet with the reader, and display qualities that he thinks will astonish him, as women laugh for no reason, to show their teeth when they have them white and small and even, or lift their dresses to show their feet when there is no mud in the street . . . . What many writers nowadays wish, is to produce an effect, grand and immediate, to play the part of geniuses.

For this they have learned that it is only necessary to write exaggerated works in any sort, since the vulgar do not ask that they shall be quietly made to think and feel, but that they shall be startled; and among the vulgar, of course, I include the great part of those who write literary criticism, and who const.i.tute the worst vulgar, since they teach what they do not know .. . . There are many persons who suppose that the highest proof an artist can give of his fantasy is the invention of a complicated plot, spiced with perils, surprises, and suspenses; and that anything else is the sign of a poor and tepid imagination. And not only people who seem cultivated, but are not so, suppose this, but there are sensible persons, and even sagacious and intelligent critics, who sometimes allow themselves to be hoodwinked by the dramatic mystery and the surprising and fantastic scenes of a novel. They own it is all false; but they admire the imagination, what they call the 'power' of the author. Very well; all I have to say is that the 'power' to dazzle with strange incidents, to entertain with complicated plots and impossible characters, now belongs to some hundreds of writers in Europe; while there are not much above a dozen who know how to interest with the ordinary events of life, and by the portrayal of characters truly human.

If the former is a talent, it must be owned that it is much commoner than the latter . . . . If we are to rate novelists according to their fecundity, or the riches of their invention, we must put Alexander Dumas above Cervantes. Cervantes wrote a novel with the simplest plot, without belying much or little the natural and logical course of events. This novel which was called 'Don Quixote,' is perhaps the greatest work of human wit. Very well; the same Cervantes, mischievously influenced afterwards by the ideas of the vulgar, who were then what they are now and always will be, attempted to please them by a work giving a lively proof of his inventive talent, and wrote the 'Persiles and Sigismunda,'

where the strange incidents, the vivid complications, the surprises, the pathetic scenes, succeed one another so rapidly and constantly that it really fatigues you . . . . But in spite of this flood of invention, imagine," says Seflor Valdes, "the place that Cervantes would now occupy in the heaven of art, if he had never written 'Don Quixote,'" but only 'Persiles and Sigismund!'

From the point of view of modern English criticism, which likes to be melted, and horrified, and astonished, and blood-curdled, and goose- fleshed, no less than to be "chippered up" in fiction, Senor Valdes were indeed incorrigible. Not only does he despise the novel of complicated plot, and everywhere prefer 'Don Quixote' to 'Persiles and Sigismunda,'

but he has a lively contempt for another cla.s.s of novels much in favor with the gentilities of all countries. He calls their writers "novelists of the world," and he says that more than any others they have the rage of effectism. "They do not seek to produce effect by novelty and invention in plot . . . they seek it in character. For this end they begin by deliberately falsifying human feelings, giving them a paradoxical appearance completely inadmissible . . . . Love that disguises itself as hate, incomparable energy under the cloak of weakness, virginal innocence under the aspect of malice and impudence, wit masquerading as folly, etc., etc. By this means they hope to make an effect of which they are incapable through the direct, frank, and conscientious study of character." He mentions Octave Feuillet as the greatest offender in this sort among the French, and Bulwer among the English; but d.i.c.kens is full of it (Boffin in 'Our Mutual Friend' will suffice for all example), and most drama is witness of the result of this effectism when allowed full play.

But what, then, if he is not pleased with Dumas, or with the effectists who delight genteel people at all the theatres, and in most of the romances, what, I ask, will satisfy this extremely difficult Spanish gentleman? He would pretend, very little. Give him simple, lifelike character; that is all he wants. "For me, the only condition of character is that it be human, and that is enough. If I wished to know what was human, I should study humanity."

But, Senor Valdes, Senor Valdes! Do not you know that this small condition of yours implies in its fulfilment hardly less than the gift of the whole earth? You merely ask that the character portrayed in fiction be human; and you suggest that the novelist should study humanity if he would know whether his personages are human. This appears to me the cruelest irony, the most sarcastic affectation of humility. If you had asked that character in fiction be superhuman, or subterhuman, or preterhuman, or intrahuman, and had bidden the novelist go, not to humanity, but the humanities, for the proof of his excellence, it would have been all very easy. The books are full of those "creations," of every pattern, of all ages, of both s.e.xes; and it is so much handier to get at books than to get at Men; and when you have portrayed "pa.s.sion"

instead of feeling, and used "power" instead of common-sense, and shown yourself a "genius" instead of an artist, the applause is so prompt and the glory so cheap, that really anything else seems wickedly wasteful of one's time. One may not make one's reader enjoy or suffer n.o.bly, but one may give him the kind of pleasure that arises from conjuring, or from a puppet-show, or a modern stage-play, and leave him, if he is an old fool, in the sort of stupor that comes from hitting the pipe; or if he is a young fool, half crazed with the spectacle of qualities and impulses like his own in an apotheosis of achievement and fruition far beyond any earthly experience.

But apparently Senor Valdes would not think this any great artistic result. "Things that appear ugliest in reality to the spectator who is not an artist, are transformed into beauty and poetry when the spirit of the artist possesses itself of them. We all take part every day in a thousand domestic scenes, every day we see a thousand pictures in life, that do not make any impression upon us, or if they make any it is one of repugnance; but let the novelist come, and without betraying the truth, but painting them as they appear to his vision, he produces a most interesting work, whose perusal enchants us. That which in life left us indifferent, or repelled us, in art delights us. Why? Simply because the artist has made us see the idea that resides in it. Let not the novelists, then, endeavor to add anything to reality, to turn it and twist it, to restrict it. Since nature has endowed them with this precious gift of discovering ideas in things, their work will be beautiful if they paint these as they appear. But if the reality does not impress them, in vain will they strive to make their work impress others."

XV.

Which brings us again, after this long way about, to Jane Austen and her novels, and that troublesome question about them. She was great and they were beautiful, because she and they were honest, and dealt with nature nearly a hundred years ago as realism deals with it to-day. Realism is nothing more and nothing less than the truthful treatment of material, and Jane Austen was the first and the last of the English novelists to treat material with entire truthfulness. Because she did this, she remains the most artistic of the English novelists, and alone worthy to be matched with the great Scandinavian and Slavic and Latin artists. It is not a question of intellect, or not wholly that. The English have mind enough; but they have not taste enough; or, rather, their taste has been perverted by their false criticism, which is based upon personal preference, and not upon, principle; which instructs a man to think that what he likes is good, instead of teaching him first to distinguish what is good before he likes it. The art of fiction, as Jane Austen knew it, declined from her through Scott, and Bulwer, and d.i.c.kens, and Charlotte Bronte, and Thackeray, and even George Eliot, because the mania of romanticism had seized upon all Europe, and these great writers could not escape the taint of their time; but it has shown few signs of recovery in England, because English criticism, in the presence of the Continental masterpieces, has continued provincial and special and personal, and has expressed a love and a hate which had to do with the quality of the artist rather than the character of his work. It was inevitable that in their time the English romanticists should treat, as Senor Valdes says, "the barbarous customs of the Middle Ages, softening and distorting them, as Walter Scott and his kind did;" that they should "devote themselves to falsifying nature, refining and subtilizing sentiment, and modifying psychology after their own fancy," like Bulwer and d.i.c.kens, as well as like Rousseau and Madame de Stael, not to mention Balzac, the worst of all that sort at his worst. This was the natural course of the disease; but it really seems as if it were their criticism that was to blame for the rest: not, indeed, for the performance of this writer or that, for criticism can never affect the actual doing of a thing; but for the esteem in which this writer or that is held through the perpetuation of false ideals. The only observer of English middle-cla.s.s life since Jane Austen worthy to be named with her was not George Eliot, who was first ethical and then artistic, who transcended her in everything but the form and method most essential to art, and there fell hopelessly below her.

It was Anthony Trollope who was most like her in simple honesty and instinctive truth, as unphilosophized as the light of common day; but he was so warped from a wholesome ideal as to wish at times to be like Thackeray, and to stand about in his scene, talking it over with his hands in his pockets, interrupting the action, and spoiling the illusion in which alone the truth of art resides. Mainly, his instinct was too much for his ideal, and with a low view of life in its civic relations and a thoroughly bourgeois soul, he yet produced works whose beauty is surpa.s.sed only by the effect of a more poetic writer in the novels of Thomas Hardy. Yet if a vote of English criticism even at this late day, when all Continental Europe has the light of aesthetic truth, could be taken, the majority against these artists would be overwhelmingly in favor of a writer who had so little artistic sensibility, that he never hesitated on any occasion, great or small, to make a foray among his characters, and catch them up to show them to the reader and tell him how beautiful or ugly they were; and cry out over their amazing properties.

"How few materials," says Emerson, "are yet used by our arts! The ma.s.s of creatures and of qualities are still hid and expectant," and to break new ground is still one of the uncommonest and most heroic of the virtues.

The artists are not alone to blame for the timidity that keeps them in the old furrows of the worn-out fields; most of those whom they live to please, or live by pleasing, prefer to have them remain there; it wants rare virtue to appreciate what is new, as well as to invent it; and the "easy things to understand" are the conventional things. This is why the ordinary English novel, with its hackneyed plot, scenes, and figures, is more comfortable to the ordinary American than an American novel, which deals, at its worst, with comparatively new interests and motives. To adjust one's self to the enjoyment of these costs an intellectual effort, and an intellectual effort is what no ordinary person likes to make. It is only the extraordinary person who can say, with Emerson: "I ask not for the great, the remote, the romantic . . . . I embrace the common; I sit at the feet of the familiar and the low . . . . Man is surprised to find that things near are not less beautiful and wondrous than things remote . . . . The perception of the worth of the vulgar is fruitful in discoveries . . . . The foolish man wonders at the unusual, but the wise man at the usual . . . . To-day always looks mean to the thoughtless; but to-day is a king in disguise . . . .

Banks and tariffs, the newspaper and caucus, Methodism and Unitarianism, are flat and dull to dull people, but rest on the same foundations of wonder as the town of Troy and the temple of Delphos."

Perhaps we ought not to deny their town of Troy and their temple of Delphos to the dull people; but if we ought, and if we did, they would still insist upon having them. An English novel, full of t.i.tles and rank, is apparently essential to the happiness of such people; their weak and childish imagination is at home in its familiar environment; they know what they are reading; the fact that it is hash many times warmed over rea.s.sures them; whereas a story of our own life, honestly studied and faithfully represented, troubles them with varied misgiving. They are not sure that it is literature; they do not feel that it is good society; its characters, so like their own, strike them as commonplace; they say they do not wish to know such people.

Everything in England is appreciable to the literary sense, while the sense of the literary worth of things in America is still faint and weak with most people, with the vast majority who "ask for the great, the remote, the romantic," who cannot "embrace the common," cannot "sit at the feet of the familiar and the low," in the good company of Emerson.

We are all, or nearly all, struggling to be distinguished from the ma.s.s, and to be set apart in select circles and upper cla.s.ses like the fine people we have read about. We are really a mixture of the plebeian ingredients of the whole world; but that is not bad; our vulgarity consists in trying to ignore "the worth of the vulgar," in believing that the superfine is better.

XVII.

Another Spanish novelist of our day, whose books have given me great pleasure, is so far from being of the same mind of Senor Valdes about fiction that he boldly declares himself, in the preface to his 'Pepita Ximenez,' "an advocate of art for art's sake." I heartily agree with him that it is "in very bad taste, always impertinent and often pedantic, to attempt to prove theses by writing stories," and yet if it is true that "the object of a novel should be to charm through a faithful representation of human actions and human pa.s.sions, and to create by this fidelity to nature a beautiful work," and if "the creation of the beautiful" is solely "the object of art," it never was and never can be solely its effect as long as men are men and women are women. If ever the race is resolved into abstract qualities, perhaps this may happen; but till then the finest effect of the "beautiful" will be ethical and not aesthetic merely. Morality penetrates all things, it is the soul of all things. Beauty may clothe it on, whether it is false morality and an evil soul, or whether it is true and a good soul. In the one case the beauty will corrupt, and in the other it will edify, and in either case it will infallibly and inevitably have an ethical effect, now light, now grave, according as the thing is light or grave. We cannot escape from this; we are shut up to it by the very conditions of our being. For the moment, it is charming to have a story end happily, but after one has lived a certain number of years, and read a certain number of novels, it is not the prosperous or adverse fortune of the characters that affects one, but the good or bad faith of the novelist in dealing with them.

Will he play us false or will he be true in the operation of this or that principle involved? I cannot hold him to less account than this: he must be true to what life has taught me is the truth, and after that he may let any fate betide his people; the novel ends well that ends faithfully.

The greater his power, the greater his responsibility before the human conscience, which is G.o.d in us. But men come and go, and what they do in their limited physical lives is of comparatively little moment; it is what they say that really survives to bless or to ban; and it is the evil which Wordsworth felt in Goethe, that must long sur vive him. There is a kind of thing--a kind of metaphysical lie against righteousness and common-sense which is called the Unmoral; and is supposed to be different from the Immoral; and it is this which is supposed to cover many of the faults of Goethe. His 'Wilhelm Meister,' for example, is so far removed within the region of the "ideal" that its unprincipled, its evil principled, tenor in regard to women is p.r.o.nounced "unmorality," and is therefore inferably harmless. But no study of Goethe is complete without some recognition of the qualities which caused Wordsworth to hurl the book across the room with an indignant perception of its sensuality.

For the sins of his life Goethe was perhaps sufficiently punished in his life by his final marriage with Christiane; for the sins of his literature many others must suffer. I do not despair, however, of the day when the poor honest herd of man kind shall give universal utterance to the universal instinct, and shall hold selfish power in politics, in art, in religion, for the devil that it is; when neither its crazy pride nor its amusing vanity shall be flattered by the puissance of the "geniuses" who have forgotten their duty to the common weakness, and have abused it to their own glory. In that day we shall shudder at many monsters of pa.s.sion, of self-indulgence, of heartlessness, whom we still more or less openly adore for their "genius," and shall account no man worshipful whom we do not feel and know to be good. The spectacle of strenuous achievement will then not dazzle or mislead; it will not sanctify or palliate iniquity; it will only render it the more hideous and pitiable.

In fact, the whole belief in "genius" seems to me rather a mischievous superst.i.tion, and if not mischievous always, still always a superst.i.tion.

From the account of those who talk about it, "genius" appears to be the attribute of a sort of very potent and admirable prodigy which G.o.d has created out of the common for the astonishment and confusion of the rest of us poor human beings. But do they really believe it? Do they mean anything more or less than the Mastery which comes to any man according to his powers and diligence in any direction? If not, why not have an end of the superst.i.tion which has caused our race to go on so long writing and reading of the difference between talent and genius? It is within the memory of middle-aged men that the Maelstrom existed in the belief of the geographers, but we now get on perfectly well without it; and why should we still suffer under the notion of "genius" which keeps so many poor little authorlings trembling in question whether they have it, or have only "talent"?

One of the greatest captains who ever lived [General U. S. Grant D.W.]

--a plain, taciturn, unaffected soul--has told the story of his wonderful life as unconsciously as if it were all an every-day affair, not different from other lives, except as a great exigency of the human race gave it importance. So far as he knew, he had no natural apt.i.tude for arms, and certainly no love for the calling. But he went to West Point because, as he quaintly tells us, his father "rather thought he would go"; and he fought through one war with credit, but without glory. The other war, which was to claim his powers and his science, found him engaged in the most prosaic of peaceful occupations; be obeyed its call because he loved his country, and not because he loved war. All the world knows the rest, and all the world knows that greater military mastery has not been shown than his campaigns ill.u.s.trated. He does not say this in his book, or hint it in any way; he gives you the facts, and leaves them with you. But the Personal Memoirs of U. S. Grant, written as simply and straightforwardly as his battles were fought, couched in the most unpretentious phrase, with never a touch of grandiosity or att.i.tudinizing, familiar, homely in style, form a great piece of literature, because great literature is nothing more nor less than the clear expression of minds that have some thing great in them, whether religion, or beauty, or deep experience. Probably Grant would have said that he had no more vocation to literature than he had to war. He owns, with something like contrition, that he used to read a great many novels; but we think he would have denied the soft impeachment of literary power.

Nevertheless, he shows it, as he showed military power, unexpectedly, almost miraculously. All the conditions here, then, are favorable to supposing a case of "genius." Yet who would trifle with that great heir of fame, that plain, grand, manly soul, by speaking of "genius" and him together? Who calls Washington a genius? or Franklin, or Bismarck, or Cavour, or Columbus, or Luther, or Darwin, or Lincoln? Were these men second-rate in their way? Or is "genius" that indefinable, preternatural quality, sacred to the musicians, the painters, the sculptors, the actors, the poets, and above all, the poets? Or is it that the poets, having most of the say in this world, abuse it to shameless self- flattery, and would persuade the inarticulate cla.s.ses that they are on peculiar terms of confidence with the deity?

XVIII.

In General Grant's confession of novel-reading there is a sort of inference that he had wasted his time, or else the guilty conscience of the novelist in me imagines such an inference. But however this may be, there is certainly no question concerning the intention of a correspondent who once wrote to me after reading some rather bragging claims I had made for fiction as a mental and moral means. "I have very grave doubts," he said, "as to the whole list of magnificent things that you seem to think novels have done for the race, and can witness in myself many evil things which they have done for me. Whatever in my mental make-up is wild and visionary, whatever is untrue, whatever is injurious, I can trace to the perusal of some work of fiction. Worse than that, they beget such high-strung and supersensitive ideas of life that plain industry and plodding perseverance are despised, and matter- of-fact poverty, or every-day, commonplace distress, meets with no sympathy, if indeed noticed at all, by one who has wept over the impossibly acc.u.mulated sufferings of some gaudy hero or heroine."

I am not sure that I had the controversy with this correspondent that he seemed to suppose; but novels are now so fully accepted by every one pretending to cultivated taste and they really form the whole intellectual life of such immense numbers of people, without question of their influence, good or bad, upon the mind that it is refreshing to have them frankly denounced, and to be invited to revise one's ideas and feelings in regard to them. A little honesty, or a great deal of honesty, in this quest will do the novel, as we hope yet to have it, and as we have already begun to have it, no harm; and for my own part I will confess that I believe fiction in the past to have been largely injurious, as I believe the stage-play to be still almost wholly injurious, through its falsehood, its folly, its wantonness, and its aimlessness. It may be safely a.s.sumed that most of the novel-reading which people fancy an intellectual pastime is the emptiest dissipation, hardly more related to thought or the wholesome exercise of the mental faculties than opium-eating; in either case the brain is drugged, and left weaker and crazier for the debauch. If this may be called the negative result of the fiction habit, the positive injury that most novels work is by no means so easily to be measured in the case of young men whose character they help so much to form or deform, and the women of all ages whom they keep so much in ignorance of the world they misrepresent. Grown men have little harm from them, but in the other cases, which are the vast majority, they hurt because they are not true-- not because they are malevolent, but because they are idle lies about human nature and the social fabric, which it behooves us to know and to understand, that we may deal justly with ourselves and with one another.

One need not go so far as our correspondent, and trace to the fiction habit "whatever is wild and visionary, whatever is untrue, whatever is injurious," in one's life; bad as the fiction habit is it is probably not responsible for the whole sum of evil in its victims, and I believe that if the reader will use care in choosing from this fungus-growth with which the fields of literature teem every day, he may nourish himself as with the true mushroom, at no risk from the poisonous species.

The tests are very plain and simple, and they are perfectly infallible.

If a novel flatters the pa.s.sions, and exalts them above the principles, it is poisonous; it may not kill, but it will certainly injure; and this test will alone exclude an entire cla.s.s of fiction, of which eminent examples will occur to all. Then the whole sp.a.w.n of so-called unmoral romances, which imagine a world where the sins of sense are unvisited by the penalties following, swift or slow, but inexorably sure, in the real world, are deadly poison: these do kill. The, novels that merely tickle our prejudices and lull our judgment, or that coddle our sensibilities or pamper our gross appet.i.te for the marvellous, are not so fatal, but they are innutritious, and clog the soul with unwholesome vapors of all kinds.

No doubt they too help to weaken the moral fibre, and make their readers indifferent to "plodding perseverance and plain industry," and to "matter-of-fact poverty and commonplace distress."

Without taking them too seriously, it still must be owned that the "gaudy hero and heroine" are to blame for a great deal of harm in the world.

That heroine long taught by example, if not precept, that Love, or the pa.s.sion or fancy she mistook for it, was the chief interest of a life, which is really concerned with a great many other things; that it was lasting in the way she knew it; that it was worthy of every sacrifice, and was altogether a finer thing than prudence, obedience, reason; that love alone was glorious and beautiful, and these were mean and ugly in comparison with it. More lately she has begun to idolize and ill.u.s.trate Duty, and she is hardly less mischievous in this new role, opposing duty, as she did love, to prudence, obedience, and reason. The stock hero, whom, if we met him, we could not fail to see was a most deplorable person, has undoubtedly imposed himself upon the victims of the fiction habit as admirable. With him, too, love was and is the great affair, whether in its old romantic phase of chivalrous achievement or manifold suffering for love's sake, or its more recent development of the "virile," the bullying, and the brutal, or its still more recent agonies of self-sacrifice, as idle and useless as the moral experiences of the insane asylums. With his vain posturings and his ridiculous splendor he is really a painted barbarian, the prey of his pa.s.sions and his delusions, full of obsolete ideals, and the motives and ethics of a savage, which the guilty author of his being does his best--or his worst --in spite of his own light and knowledge, to foist upon the reader as something generous and n.o.ble. I am not merely bringing this charge against that sort of fiction which is beneath literature and outside of it, "the sh.o.r.eless lakes of ditch-water," whose miasms fill the air below the empyrean where the great ones sit; but I am accusing the work of some of the most famous, who have, in this instance or in that, sinned against the truth, which can alone exalt and purify men. I do not say that they have constantly done so, or even commonly done so; but that they have done so at all marks them as of the past, to be read with the due historical allowance for their epoch and their conditions. For I believe that, while inferior writers will and must continue to imitate them in their foibles and their errors, no one here after will be able to achieve greatness who is false to humanity, either in its facts or its duties.

The light of civilization has already broken even upon the novel, and no conscientious man can now set about painting an image of life without perpetual question of the verity of his work, and without feeling bound to distinguish so clearly that no reader of his may be misled, between what is right and what is wrong, what is n.o.ble and what is base, what is health and what is perdition, in the actions and the characters he portrays.

The fiction that aims merely to entertain--the fiction that is to serious fiction as the opera-bouffe, the ballet, and the pantomime are to the true drama--need not feel the burden of this obligation so deeply; but even such fiction will not be gay or trivial to any reader's hurt, and criticism should hold it to account if it pa.s.ses from painting to teaching folly.

I confess that I do not care to judge any work of the imagination without first of all applying this test to it. We must ask ourselves before we ask anything else, Is it true?--true to the motives, the impulses, the principles that shape the life of actual men and women? This truth, which necessarily includes the highest morality and the highest artistry- this truth given, the book cannot be wicked and cannot be weak; and without it all graces of style and feats of invention and cunning of construction are so many superfluities of naughtiness. It is well for the truth to have all these, and shine in them, but for falsehood they are merely meretricious, the bedizenment of the wanton; they atone for nothing, they count for nothing. But in fact they come naturally of truth, and grace it without solicitation; they are added unto it. In the whole range of fiction I know of no true picture of life--that is, of human nature--which is not also a masterpiece of literature, full of divine and natural beauty. It may have no touch or tint of this special civilization or of that; it had better have this local color well ascertained; but the truth is deeper and finer than aspects, and if the book is true to what men and women know of one another's souls it will be true enough, and it will be great and beautiful. It is the conception of literature as something apart from life, superfinely aloof, which makes it really unimportant to the great ma.s.s of mankind, without a message or a meaning for them; and it is the notion that a novel may be false in its portrayal of causes and effects that makes literary art contemptible even to those whom it amuses, that forbids them to regard the novelist as a serious or right-minded person. If they do not in some moment of indignation cry out against all novels, as my correspondent does, they remain besotted in the fume of the delusions purveyed to them, with no higher feeling for the author than such maudlin affection as the frequenter of an opium-joint perhaps knows for the attendant who fills his pipe with the drug.

Or, as in the case of another correspondent who writes that in his youth he "read a great many novels, but always regarded it as an amus.e.m.e.nt, like horse racing and card-playing," for which he had no time when he entered upon the serious business of life, it renders them merely contemptuous. His view of the matter may be commended to the brotherhood and sisterhood of novelists as full of wholesome if bitter suggestion; and I urge them not to dismiss it with high literary scorn as that of some Boeotian dull to the beauty of art. Refuse it as we may, it is still the feeling of the vast majority of people for whom life is earnest, and who find only a distorted and misleading likeness of it in our books. We may fold ourselves in our scholars' gowns, and close the doors of our studies, and affect to despise this rude voice; but we cannot shut it out. It comes to us from wherever men are at work, from wherever they are truly living, and accuses us of unfaithfulness, of triviality, of mere stage-play; and none of us can escape conviction except he prove himself worthy of his time--a time in which the great masters have brought literature back to life, and filled its ebbing veins with the red tides of reality. We cannot all equal them; we need not copy them; but we can all go to the sources of their inspiration and their power; and to draw from these no one need go far--no one need really go out of himself.

Fifty years ago, Carlyle, in whom the truth was always alive, but in whom it was then unperverted by suffering, by celebrity, and by despair, wrote in his study of Diderot: "Were it not reasonable to prophesy that this exceeding great mult.i.tude of novel-writers and such like must, in a new generation, gradually do one of two things: either retire into the nurseries, and work for children, minors, and semi-fatuous persons of both s.e.xes, or else, what were far better, sweep their novel-fabric into the dust-cart, and betake themselves with such faculty as they have to understand and record what is true, of which surely there is, and will forever be, a whole infinitude unknown to us of infinite importance to us? Poetry, it will more and more come to be understood, is nothing but higher knowledge; and the only genuine Romance (for grown persons), Reality."

If, after half a century, fiction still mainly works for "children, minors, and semi-fatuous persons of both s.e.xes," it is nevertheless one of the hopefulest signs of the world's progress that it has begun to work for "grown persons," and if not exactly in the way that Carlyle might have solely intended in urging its writers to compile memoirs instead of building the "novel-fabric," still it has, in the highest and widest sense, already made Reality its Romance. I cannot judge it, I do not even care for it, except as it has done this; and I can hardly conceive of a literary self-respect in these days compatible with the old trade of make-believe, with the production of the kind of fiction which is too much honored by cla.s.sification with card-playing and horse-racing. But let fiction cease to lie about life; let it portray men and women as they are, actuated by the motives and the pa.s.sions in the measure we all know; let it leave off painting dolls and working them by springs and wires; let it show the different interests in their true proportions; let it forbear to preach pride and revenge, folly and insanity, egotism and prejudice, but frankly own these for what they are, in whatever figures and occasions they appear; let it not put on fine literary airs; let it speak the dialect, the language, that most Americans know--the language of unaffected people everywhere--and there can be no doubt of an unlimited future, not only of delightfulness but of usefulness, for it.