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?v^-
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No.
2-
Author
Title
This
book
should
be
returned
on
or
before
the
datr
lastnarked
below.
e's
ho
such
the
but
rily,
and
sh!"
hi
can't
"If
Alice
thing!"
the
and
Hatter
March
civil,
Hare
sulkily
Dormouse
the
be
beginning
was
re-
you'd
better
finish
you
for
LEWIS
Wonderland
yourself."
CAROLL:
Alice's
Adventures
in
CONTENTS
PART
PRELIMINARIES
ONE:
PAGE
CHAPTER
PROGRAM
II
EXIT
AUTHOR
14
III
PSYCHOLOGY:
FIELDING,
IV
PSYCHOLOGY:
MEREDITH
35
PSYCHOLOGY:
PROUST
48
VI
PHILOSOPHY:
HUGO
55
VII
PHILOSOPHY:
WELLS
65
VIII
HORS-D'CEUVRES:
IX
XII
94
MANN
ZOLA,
TWO:
TOWARD
85
DOSTOEVSKI
PHILOSOPHY:
PART
103
IDEAL
DRAMATIC
THE
NOVEL
WELL-MADE
THE
.121
.
XIII
DRAMATIC
PRESENT
XIV
DRAMATIC
PRESENT:
XVI
DRAMATIC
DOSTOEVSKI
XVII
POINT
OF
XVIII
POINT
OF
XIX
PART
/POINT
OF
THREE:
DRAMA:
VIEW:
VIEW:
VIEW:
.155
TOLSTOY
THACKERAY,
PRESENT:
SUBJECTIVE
145
.
XV
75
....
CABELL
PHILOSOPHY:
XI
25
FRANCE
BARRES,
HORS-D'(KUVRES:
ELIOT
JAMES
177
JAMES
JAMES
JAMES,
193
AND
OTHERS
.
204
.218
STENDHAL
WELL-MADE
THE
164
NOVEL
XX
VARIATIONS:
BENNETT
231
XXI
VARIATIONS:
GALSWORTHY
246
vii
CONTENTS
Vlll
CHAPTER
XXII
SIGRID
VARIATIONS:
XXIII
THE
XXIV
POINT
UNDSET
263
UNITIES
273
VIEW:
OF
HERGESHEIMER
280
....
XXV
THE
WELL-MADE
PART
XXVI
XXVII
THE
XXVIII
FOUR:
CRITIQUE
THE
NOVEL:
OF
THE
REALIST
WHARTON
287
TRANSITION
WELL-MADE
NOVEL
REACTION:
-Du"j"t"
MODERNISTS
IMPRESSIONISM:
CONRAD
XXX
IMPRESSIONISM:
LAWRENCE
IMAGISM:
DOROTHY
XXXII
FIVE:
Y'
385
EXPRESSIONISM
XXXIV
DISCONTINUITY:
LOGIC
XXXV
JOYCE
BREADTHWISE
THE
LIFE:
COUNTERPOINT:
XXXVI
403
CUTTING
Dos
AND
425
PASSOS
437
GIDE
AJLDOUS
449
HUXLEY
458
....
COMPOSITE
XXXVII
XXXVIII
VIEWS
470
WOOLF,
EXPRESSIONISM:
FRANK
485
....
ABSTRACT
XXXIX
XL
COMPOSITION:
ABSTRACT
COMPOSITION:
Dos
PASSOS
XLII
XLIII
STREAM-OF-CPNSCIOUSNESS
THE
CULT
OF
THE
SIMPLE
RECAPITULATION
.501
.512
'
516
530
544
BIBLIOGRAPHICAL
NOTE
INDEX
.
DOBLIN
.
XLI
.321
36(5
RICHARDSON
POST-IMPRESSIONISM:
XXXIII
307
337
....
PART
332
XXIX
XXXI
SEDGWICK,
555
559
PART
ONE:
PRELIMINARIES
commis
Je
ce
toujours
que
considdrai
je
comme
inconvenance:
d"s
le
une
je
potage,
m'exprimai
abstraits.
termes
en
"MAURICE
discovered
Wagner
Jardin
"Le
BARRES:
that
be
melody
from
end
following
school
that
novel
had
and
end,
to
an
"GEORGE
MOORE:
uninterrupted
"Confessions
the
tic
realis-
footsteps
much
better
narrative"
much
opera
Wagner's
on
B"r"nice"
had
an
better
de
flow
of
of
a
covered
dis-
be
narrative.
Young
Man"
all
PROGRAM
i
is
my
features
The
a
of
form
is
for
meant
is of
It
without
of
shall
writers
the
by
is
such
such
and
for
criticism
is
determine
that
his
thing
which
that
criticism
has
not
of
in
itself.
much
merely
does
which
It
of
is
them,
is
more
"
or
less
and
ness
busi-
fact
he
is
well
as
for
as
with
normal
mains
re-
does
useful
teresting
in-
an
their
prevail
the
it
while
the
by critics,
confusion
for
intentions
technique
preparation
the
artistic
such
which
by
criticism,
all
ultimate
reali/cd
neglected
great
in
intentions
the
means
we
sought
And
author's
of
and
preference
the
the
of
object
effect
and
fine
while
study
business
been
novels
has
is
the
that
the
for
preparation
and
nique.
tech-
consciously
such
have
to
he
the
accordingly.
appreciate
to
technique
and
them,
realize
methods
far
how
share
to
adequately,
show
to
It
intentions,
the
tendency
not
technique
specific
is
period
novelist
novelistic
methods
there
given
the
is
novel.
intention,
technical
But
their
choose
them
reali/e
how
subject-matter,
all-important
of
and
to
of
English.
this
novelistic
artistic
the
the
chosen.
of
obviously
For
determines
that
start
subject-matter,
again
over
craftsmen
and
aims,
to
artist
for
arts
is
and
the
discuss
to
the
in
novel
evolution
reali/e
help
to
unconsciously
or
for
outstanding
twentieth-century
the
considered.
over
see
the
of
impossible
regard
certain
trace
from
in
study
course
technique
to
twentieth-century
study
some
the
book
understand
critical
gcneial
the
in
will
reader
this
in
purpose
ness
busithe
in
sult
re-
the
con-
NOVEL
TWENTIETH-CENTURY
THE
arts
but
"
do
we
not
have
even
for the
criticism.
of the
at
as
that
than
matters
to
present
be
will
they
when
novel
the
and
detailed
much
of
technique,and
better
time
attention
so
much
been
never
has
the
understood
in
in the
tory
his-
paid
been
prospect is
the
future
the past. We
might almost say that
in the past who
has given extended
questions of technique is
often
most
Henry James. What
occupied
Fielding was
with in the critical essays prefixedto each book
of "Tom
truth to nature,
and
that was
the virtually
Jones*'was
exclusive
of Thackeray, of GeQrge Eliot, of
concern
Meredith, in the frequent critical apologies thrust into
the
consideration
of their novels.
to
Strange
to
"
"
and
to
Collins, novelists
Wilkie
nature
were
concerned
their very
of realism
for
truth
nique.
tech-
I shall try
on,
of fact,as
matter
want
"
regard
they
so
was
As
whose
was
of
for truth
concern
one
reason
for
to
to
show
nature
their
"
farther
their want
taking technique
seriously.
As
naturalists,whose
influence
began to
be so stronglyfelt in England in the eighteen-nineties,
while they were
doubt
no
nifica
great technicians, and had sigthings to say here and there on the subject of
structural technique (see Chapter XII
below), what they
either the "human
ment*'
documost
frequentlydiscussed was
(Zola,the Goncourt
brothers),or the precise,the
unique word
(Flaubert,Maupassant) the one a matter
of "scientific" truth and
the other, as I should
it,
classify
of style.
And
the great
matter
a
these, I imagine, were
"
CRAFT
"THE
preoccupationsof George
Since
have
the
to
of
study
of
Craft
"The
bock's
"The
Technique
"The
Structure
in
his
novels
written
school.
radicallychanged. There
voted
remarkably fine books speciallydetechnique in the novel, 'PercyLub-
three
appeared
Moore
situation
the
1920,
FICTION"
of the French
the influence
under
OF
has
H.
(ig2i),^Carl
(igsS^and Edwin
Fiction"
of the Novel"
Novel"
of the
Grabo's
Muir's
besides
(1929).And
these
technique in
tion,"
studies of a broader
Writing of Ficscope, such as "The
(1925),"Aspects of the Novel/'
by Edith Wharton
History of the Novel in
by E. M. Forster (1927), "The
England," by Robert Morss Lovett and Helen Sard Hughes
(1932),and, naturally,in nearlyeverythingthat has been
about
of
written
James Joyce since the appearance
"Ulysses" (1922). Many other important books on the
incidental
is considerable
there
novel,
the technical
both
on
reference
and
to
of this study.
note
at the end
bibliographical
It is impossibleto discuss the subjectof techniqueat the
making acknowledgments in particular
present day without
listed in
Mr.
to
this
on
so
well-balanced,
work
of what
outline
nor
placeslets
outlined, but
myself
minutely
And
"
to
into what
then, Mr.
and
no
falls within
us
know,
has
he
subjectwhich
has written
one
fill in
has
as
not
Mr.
nor
so
Lubbock
undertaken
he has
many
that is one
given
so
to
fully
master-
pects
important asthing I propose
some
may
Lubbock's
is
we
one
fully
beauti-
so
its scope,
sober. But,
critically
so
out
No
specialsubjectas he,
complete an
in several
Lubbock.
Percy
NOVEL
TWENTIETH-CENTURY
THE
Lubbock's
of Mr.
whole
Mr.
by
Lubbock.
book
is concerned,
in the
and
interplayof what he
cursive)
dis(roughly,the expository,
descriptive,
pictorial
of the novel.
elements
and the dramatic
(scenical)
analysis,with
calls the
balance
the
here
that
he
concludes
of
somebody's experience
indeed
however,
he
for it
limit
by touching the
touches
.
various
he
men
once
than
might
the guess
novel
the
he
have
to
suspectedbefore."
larger resources
And
he
ventures
that
now
may
tremendous
degree
been
the
evolution.
says, "is
for all, that the craft of fiction has
method,"
is
to
in this
of technical
possibilities
the
dramatizingthe picture
further
no
of
art
startingupon
it has
career
which
be
it may
fresh
life,after the
had
be
of method
avail
itself.
.
couple
are
yet untried,
There
of centuries
unheard-of
Ambassadors
of
is still
method,
experiments to
give no more
may
and
so
it if it chooses
to
open
much
be made.
than
be achieved
criticism
may
A
a
novel
hint
by
done,
be
to
novel-writingwithout
are
the
of the
rich
called
there
as
layingof
be
presently
after
pause;
such
to
The
and
method
on
to
CRAFT
"THE
delicate process
analyze the
attempt; it is to be hoped
There
be
to
says Mr.
are,
made.
.
They
so
FICTION"
OF
much
more
closelythan
now
indeed.
unheard-of
Lubbock,
already been
have
experiments
made,
some
of
ardson,
Joseph Conrad, D. H. Lawrence, Dorothy RichJames Joyce,VirginiaWoolf, John Dos Passos, to
of the experimenters.And
name
a few
alreadycriticism is
called on
to
analyze the delicate process. But curiously
experiments have taken
enough, many of these unheard-of
their start
just from that paradoxicalart, exemplifiedby
ence*'
James, of "dramatizing the pictureof somebody's experiacter
by strainingit through the consciousness of the chartheir start
taken
have
the point
himself. They
at
ther.
where
James left off,and they have carried the process fursuch novel means
of picAt least, they have invented
turing
them, by
the consciousness
a
further
in
sense,
extension
But
if the
new
And
of the method.
the method
actuallywas
There
of the character
does
further
not
"touch
for it
that it amounts
so
it turns
its limit"
to
out
in
that,
James.
to
go.
have
carried
experimenters
further
this
his school
of Dickens
and
as
the novels
of that school
have
from
those
Thackeray.
tion
Now, the novels of James which represent the culminaof his method
are
products of the twentieth century.
Still more
obviouslyof our century are the novels of his
Edith
Wharton's
leading disciples:
"Age of Innocence,"
for example, dating from as late as 1920, and Joseph Hergesheimer's "Cytherea"and "The
Bright Shawl" from 1922.
EXPRESSIONISM
closer
kinship to
than
to
typicalfiction
The
term
seldom
tone
from
drama
cast
than
characterized
of
of expressionism
of that school. In
realistic
more
derived
was
poetry and
the German
the
the
general
the German,
the strong
writers.
by
German
vehicle
of the
the Germans
Germans
wish
in nature,
appearances
artist's personal reaction
go on
to subordinate
aspect of
things to
the
the
but
"
to
an
make
art
expression,
life. And
spiritual
so, as
the
they
metaphysicalmanner,
and accidental
merely superficial
inner
The
movement
begins with painterslike Cezanne,
reality.
Gogh, with their freer handling of
Gauguin, and Van
forms and colors, organizedaccordingto a rhythm which
is
more
personal to the artist than imposed by the subject.
It passes into the more
arbitraryfuturism of painterslike
ject
Kandinsky, in which it is vain to seek for any precisesubit reaches its extreme
And
taken from nature.
logical
of sensuous
development in the cubists, who deny the validity
as
a
subjectfor art, but aim to make an
appearances
artistic abstraction
In
applying
of the essential
like
forms
found
in nature.
and
"expressionism'*
"impressionism"
of fiction,I wish to suggest the roughly
to works
paralleldevelopment in our time of the several arts, being
of the same
as
they are but varied manifestations
spiritual
cultural evolution.
In using the term
"exlife,the same
sometimes
I have
or
pressionistic,"
"post-impressionistic/*
the notion
of abstract composition
particularlyin mind
derived from painting.
And
since my subjectis technique,
I
am
more
terms
concerned
especially
with
departuresfrom
the
NOVEL
TWENTIETH-CENTURA
THE
10
type of novel
conventional
by
expressionistic
writers
which
with
them
offered
reorganizethe subject-matter
life,transcendingby methods
primarilytechnical
less realistic stuff in which
or
they work.
handle
and
Once
again
pretend to be
period covered.
detailed
and
Maugham,
of many
E. M.
Pearl
writers
In
have
stronglyromantic
writers
not
left
cast,
out
like W.
of historical
Newman,
Forster, Frances
the writer
questiondoes
in
for
general
the more'
of distinction, such
distinctive in
anything specially
of technique,or because
what
he stands for
exemplifiedin other novelists discussed.
stand
not
they
by
consideration
Somerset
as
treme
ex-
the reader
remind
I must
tain
cer-
indicatingthe
of
way
unconventionality
and
freedom
I call
on
of
account
H.
romance,
the evolution
is
sufficiently
novelists
Hudson,
because
of
and
in ticular
parwould
they
The
air of reality
sought
greatlycomplicatethe subject.
a high effort of the imaginaby romancers
tion,
may often mean
and
it has its bearing,in books
sions/'
Manlike "Green
certain questionsof techniquelike that of the
on
limited point of view. But it is, after all, a very different
from
the reality
matter
sought by writers who are dealing
with contemporary
Conrad
is a special
and familiar things.
since his personal experience brought him
into
case,
such close contact
with picturesque and
exotic material,
his passion to get to the bottom
and
motives
of human
gives a depth and seriousness to subjectswhich, with
But it
most
writers, could be classified as simply romantic.
too
does
follow
not
references
Young,
and
to
that
we
writers
William
need
like
McFee,
discussion with
clutter up our
M.
F. Brett
H.
Tomlinson,
however
be
ifi
PROGRAM
their way,
and
much
however
I propose
remind
they may
us
nical
of tech-
Conrad.
proceduresof
What
11
do, then, is
to
culminating in
to
trace
novel, and
well-made
the
first the
encies
tendthe
then
reaction
the tendencies
"
and
design.
tion,
tracingan evolution, I wish to avoid the implicaso
likelyto creep into criticism of any of the arts, that
in the sense
of an
what
are
we
observing is an advance
before. Let no one
I
improvement on what went
suppose
am
wishing to imply that the novels of the igso'sare better
work
than the novels of the i goo'sbecause
later,
they come
In thus
or
that
of
the
1850*5 or
and
do
we
the
the
meet
not
to
goo's
better
are
the
account
day
every
I do not
Fielding or Hardy.
is better technically.For
reference
1750*8.Altogether apart
take into
must
one
of
novels
the
even
of the
the
from
nique,
techman,
of
stature
mean
technique
intention, and
those
of the
stature
man
than
must
intention
be
of
judged by
a
Fielding
to
a
produce an
work
it, to
overdo
to
of
ingenioustechnical
art.
Still,it is obvious
technical
it, to
exaggerate
devices
are
that, with
the
discpveredand
passingof time,
tried out,
and
new
that he
TWENTIETH-CENTURY
THE
i*
who
later has
comes
of his
NOVEL
least the
at
advantage
is free
He
predecessors.
experimentation
profit,if he
of the
to
the various
can,
better
in
1850
novel
he
involves progress,
is
an
at
that tends
circumstance
one
least could
at
make
and
of
use
duce
pro-
so
produced
passingof time
have
or
There
than
suit his
best
to
ous
the dubi-
create
made
novel,
serve
make
But
of the
men
have
we
"control."
as
we
for the
igso's.In
at
In the very
act
of
the
of
case
later reaction
to
the
serve
case
the
control;
at
any
iggo's to
movement,
novel.
well-made
novel
expressionistic
as
of the well-
of the
tracingthis
the critiqueof
necessarily
in
the
there
rate,
none
is
no
ciently
suffi-
well defined,
much
to
for this
back
but
upon
critical sense.
But
native
deal with
air
as
our
to amount
vigorous,and long-standing,
have nothing to fall
we
purpose. There
knowledge of the classics and our native
critical
sense
is
strictly
contemporary
these
men.
We
are
notoriouslyinadequate
work.
part and
We
breathe
parcelof
the
to
same
PROGRAM
Their
us.
experiments
with
them,
they
are
after
are
waiting
the
by
standards
wonder
case
if
what
the
at
absolute
be
quite
be
What
those
procedures.
technique
how
much
to
procedure.
consider
the
age,
and
the
the
since
implies
Joyce
the
Wharton;
from
that
quite
of
work
George
incidental
be,
over
the
technical
different
to
limited
means
Dos
Eliot.
main
field,
by
to
which
shall
can
we
the
such
But
get
at
these
with
at
times
with
the
obliged
the
intention,
main
are
of
temper
The
different
effects
see
and
such
be
that
effects
to
the
from
Our
that
of such
of
work
of
Edith
social
considerations
object.
the
in
try
by
technique.
Passos
gram.
pro-
say,
served
do
psychology
of
our
far
to
shall
We
suppose
we
shall
much
attempt
associated
background,
determines
a
but
it is best
we
the
moment
how
cover,
philosophical
intention
own
our
procedures
effect
ground,
so
of
pride
ambitious
less
of
for
intention,
has
that
being.
is certain
Necessarily
that
in
with
time
with
not
whole
it does
artistic
an
shall
to
the
abjure
to
the
for
kinds
the
We
ground
such
such
and
the
covers
better
study
to
inclined
dead.
occupied
want
fiction,
do
least
at
enough
we
of
making
shall
we
have
we
we
them
that
damned
be
And
are
know
And
the
with
criticism,
well
rather
saved
whole,
them.
what
measuring
we
we
pleted
uncom-
out
success.
times,
at
artists,
with
had
their
Hardy,
or
decadent
We
than
people
Fielding
are
are.
If,
crimes.
decadents
we
On
of
they
are
we
and
their
to
of
still
making
busy
judge
to
their
of
result
tory
labora-
the
in
were
we
too
are
able
if
as
the
on
We
be
to
accessory
it is
"
experiments.
13
slant
will
object
intended
secured.
be
will
and
II
AUTHOR
EXIT
the
Ford,
to
other
is the
Scott,
in
in
present
all
on
the
form
sane
When
and
especially having
and
affair
her
virtuous
sister
concluding
pages
taken
to
did
even
so,
he
not
was
afraid
than
contented
to
he
the
felt
happy
that
dazzled
more
obliged
by
married
sister
to
add,
the
in
these
the
had
tation
exalbut
heedless
some
lady
great
Scotch
large capitals,an
of
the
over
sinners;
melancholy
to
ried
mar-
of
social
and
reader,
lover,
baronet
good
of
couple
the
happiness
light
rosy
marriage
careless
Sir
outcome
of
cup
The
even
may
legally
happy
the
shed
to
you
bandit
her
lassie
This
romance.
that
out
make
be
her
the
of
girl, might
by
and
Jeanie
point
fill up
to
how,
out
featured
having
and
Deans
high society.
point
Midlothian/'
of
frivolous
his
demanded
was
pains
Effie
got
into
brought
her
and
of
good
conduct.
his
over
right
and
characters,
Heart
worried
love-affair
unhallowed
the
of
"The
finished
evidently
was
of
successes
the
wisdom
to
formed
in-
explain
to
fqrrning
and
story,
and
is everywhere
action,
of
any
properly
are
the
nuggets
the
author
you
your
right philosophy
had
he
Walter
and
and
insure
of
course
failures
the
of
scatter
to
the
that
see
and
you
them,
feeling along
to
than
Fielding
In
the
Eliot,
Fielding
more
you
author.
circumstances
to
of
opinion
the
George
person
the
characters
from
and
Thackeray
impress
of
disappearance
from
novel
English
will
that
thing
one
the
of
view
bird's-eye
minister,
admonition
Reader:
This
tale
the
will
great
not
truth,
be
told
that
in
vain,
if it shall
guilt, though
it may
be
found
attain
to
trate
illus-
temporal
AUTHOR
EXIT
splendor,can
of
crimes
our
ghostsof
the
the
worldlygreatness,
This
happiness;that
real
long
paths
quences
conse-
and, like
factor;
the steps of the malethose of
of virtue, though seldom
haunt
of
always those
are
the evil
their commission,
survive
forever
the murdered,
that
and
confer
never
15
and
pleasantness
in the work
even
of
peace.
novelist
Ford. At
thoroughly of our time as Mr. Ford Madox
Mr. Ford does not hesitate
least,in his dedicatoryepistles,
it is he has been attempting to say, as for
to explain what
example in "A Man Could Stand Up":
so
This
of
is what
the
of
reasons
the late
similar
the
modern
mind.
ing
fightIf, for
lective
of dislike for col-
to
permit your
you choose
this" or something very accentuated
own,
your
another
on
along
up
than
embark
to
was
types other
rulers
war
war,
lines" is what
you
will
have
to
put
with!
But
the resemblance
comment
the
on
here
book
that
It is only in
superficial.
Mr.
Ford
permits himself
thing.It is only there that
is
his
to
he
point out the moral of the
is the philosopher.Within
the limits of his story, in his
strikingseries of war novels, he does not appear at all. The
author does
story tells itself;the story speaksfor itself.The
not
count
apologizefor his characters; he does not give an actell
us
Above
of them;
he does
what
they do,
feel, what
describe
not
has
but
tell
us
them; he does
them
tell
what
to
"
use
of his central
my
friend's eyes
as
"To
medium
character, Tietjens] I
"
minds
am
even
themselves.
they think,
impressionsbeat in on their
in which
they find themselves.
situations
us,
not
what
from
they
the
this determination
ing
[heis speakadhering in
actions
reyou have here his mental
and his reflections
which
are
not, NOT
not,
presented
those of the author."
as
"And
"
This
is
great
outstapding feature
of
techniquesince
WALTER
will but
confessed
her
to
understand
save
to
swear
why
her
expositionsof
Jeanie cannot
This
before
and
during
the
the
counsel,
we
scenes
so
little
it
less than
wait
in suspense
scruple
of
to
tell itself
be had
hardly be
simply
"
read
this,with
the
home
been
content
even
to
if
see
highest
tidious
by a faswithout
degrees
let the
story
to
Jeanie,or those
feels so profoundly
of
Scott
to
conscience.
stuff of the
brought
might
that
as
emotional
can
Effie
do
not
that
testify
Stevenson
or
up on Conrad
of their force. But
their force is many
sense
at
of her
this fatal
overcome
these
reader
well
the birth
sister will
her
17
if she will
"
power;
some
untruth
an
life. And
SCOTT
the
disgraceto
his
name.
Instead
of
"
characters
situation
and
correct
and tenseness
of the
agony
the good heart
to those
as
taking part so much
sentiments
of the author. Effie is not
Effie but
that render
the
prisoner,or
the
not
TWENTIETH-CENTURY
i8
THE
man
fell forward
his head
with
senseless
guards betwixt
whom
terrifieddaughter. The
of his
unfortunate prisoner,with
the
on
foot
the
at
NOVEL
with
impotent passion,strove
she
placed."
There
two
are
great offenses here againstnarrative art.
In the first place,the scene
is presented in tabloid. There
has been no proper
focusingof attention on either the old
of the reader by those
his daughter,no preparation
man
or
little forward-lookingreferences that arouse
suspense. And
when
the bit of physicalaction comes,
as, presumably,the
climax
posed
of the scene,
and conventionallydisit is so briefly
of that
but
have
it sounds
like
was
this with
to
compare
Moore
or
stage direction.
mere
of the critical
some
You
moments
to realize how
Hardy
completelyScott here
failed to meet
die challengeof
neglectedhis opportunity,
his phrases of sympathetic
be presented.And
to
scene
a
which
the merest
are
description,
apology for neglecting
in
his
duty
the
to
as
present-dayreader,
be
should
told. For
the
poignancy and
making the action
himself, how
us,
This
masters
the
worst
They
seem
not
Archer, but
dramatic
to
are
offenders
to
feel about
several
think
it
Jeanie
of
the
elegantto
more
Deans
heroine."
must
story
a
us
instead
needs
feel
of
tell
through
century. Among
greatest novelists.
refer
Eleanor
or
scene,
offense
it.
in the nineteenth
are
making
right down
writing continues
of the novel
to
emotion,
own
of how
of
of the
power
its
carry
another
his notions
with
we
of
manner
the
in themselves
are
story-teller,
at
Bold
tervals
regularinor
Isabel
In
I have
to
"our
this passage, as in
italicized certain
reader's
attention.
number
words
And
of others
which
wish
"
GEORGE
pity in
the
with
sauce
excellent
ELIOT
which
she
19
smothers
and
serves
and
up
is the
Brooke
erringpeople. Dorothea
Vincy is poor thing; there is poor
poor child; Rosamond
how
Lydgate and poor Mrs. Bulstrode, and God knows
bundles
of protoplasm.Maggie Tulliother suffering
many
in "The
the Floss" is poor Maggie, by natural
Mill on
ver
and persecutedwoman.
In "Adam
rightas misunderstood
Bede," there is of course
poor Seth, and (forthe drunkard
taken off)poor wandering father;
who was
so providentially
Donnithorne
and Hetty, on
the point of sucand Arthur
cumbing
"Poor
to sin
not
things!It was a pitythey were
when
in that golden age of childhood
have
they would
timid
stood face to face, eyeing each other with
liking,
then given each other a little butterfly
kiss, and toddled
Above
all is Hetty always and everyoff to play together."
where
"poor little Hetty," "poor wandering Hetty," etc.
of Hetty Sorrel, George Eliot's sympathy is
In the case
unmixed.
This great bluestocking,
this Victorian
by no means
this
philosopherand companion of philosophers,
scholar with a face like a horse, could not regard with unqualified
frivolous, so shallow, so
so
sympathy a creature
let us not forget so pretty as Hetty Sorrel.
brainless,and
And
Evans, livingnobly and conscientiously
Mary Ann
of sin, pioneer as she was
of a responsibleand
in a state
her
"
"
"
rational
could
woman,
sympathy
most
toward
attitude
not
but
the
relation
stiffen,with
remarkable
instances
between
irony and
scorn,
of the Victorian
and
man
the
of the
passionfor
the
not
to
approve.
THE
20
How
the author
with
in the world
the face of
rings of
hair
what
about
lie
her
charmingly
so
prize the
face
and
about
[exclaims
be the easiest
gets who
man
dress!
in that odd
horse.]It would
to
like roundness
Ah,
NOVEL
TWENTIETH-CENTURY
figure;the
her
ears
wins
sweet
delicate
and
folly
babydark
neck
.
sweet
like
bride
Hetty!
And
tions;
page of such ironic commendathen
for it is thus that Adam
Bede was
taken in. And
there
follows
the author
Before
ask
makes
woman"
demonstration,
who
are
has
apt
her
apologyfor
despiseAdam
you
yourselfif you
pretty
long
were
if you
believe
ever
ever
as
Adam.
deficient
in
predisposedto
could, without
evil of the
one
believe
leve
you. No: people who
think of the stone, and sometimes
to
evil of any
hard, head-breaking
bewitched
not
penetration,
pray
downy peaches
jar their teeth
terribly
againstit.
three
are
"
the reader
know
attitude
what
he
should
take. And
there
is the scientific
ing
passionfor explainingthe character, makunderstand
how
the particular
us
phenomenon before
illustrates the laws of human
in general.These
us
nature
three tendencies
are
closelyrelated and they are generally
-found together.
Thackeray wishes to make us realize the
of Amelia
when
she is neglectedby George Ossufferings
her pret"orne,and at the same
time he points out
how
dicament
is typical
of that to which
reduced by
are
women
social ordinances:
our
To
whom
and
struggles
could
little martyr
tell these
daily
poor
Her hero hijnself
only half understood
the
tortures?
THE
did
her. She
inferior,or
Given
We
to
Turks
made
them
go abroad
bonnets
their
with
weak,
to
enough,
liberally
disguisethem,
to
souls
be
must
with
one
man,
and consent
to remain
at
unwillingly,
"ministeringto us and doing drudgery for
not
It is in
similar
vein
to
to
us
thinks
put
in
us
it necessary
to
make
had
no
home
with
as
enthusiasms.
theological
to
George
Eliot
them.
the
box
thinks
occasion
To
of the odious
to devote
the reader
say, from
Arnold
or
Mr.
fresh from
of
those
Slope,he
long page
to her
the
on
Rev.
Mr.
impulsiveas
it
to
proper
defense.
the novels
Conrad
Bennett, there
prone
them
so
ear
are
defend
slaves
our
clergyman Mr.
feeling,
pure Christian
Trollope in the same
plea for
of
man
pink
us.
conduct,
better humor
have
yakmaks. But
and
they obey
and
and
ringlets
and
too
We
too.
soon.
recall it.
to
of veils and
by only
too
women,
our
her
was
modest,
woman,
smiles
instead
seen
heart
too
was
of
doctrine
our
her
much
too
affections
the
subscribe
maiden
loved
she
man
given away
bashful
pure,
21
that the
own
trustful,too
too
are
to
once,
tender,
dare
not
VICTORIANS
or
is
of fashion.
am
not
at
all certain
be a kind
tracingmay not even
of degeneration accompanying the gradual decline
in
doubtless
are
vigor and spontaneity.We
incapable of
day, an art which is
rightlyappraisingthe art of our own
The
best we
do
can
expressiveof our own
sta,te of mind.
"
am
is
to
make
bothers
is that it is
in the Victorian
us
instead
much
as
people
in order
tell
not
at
such
assures
is
Bold
not
due
at
certain
it. On
point in
the odious
in love with
is
several occasions
to
Mr.
Arabin
of Eleanor's
with
not
had
Eleanor, and
true.
But
began
mind
with
as
soon
as
be very fond
that he wished
of her, and
himself; but
been
this
to
up
he
heard
of her
to
thought
has
It
incredulity.
with
Mr.
with
marriage
have
to
did
his
not
Slope
period
that
such
with
her
acter,
char-
some
her
Thus
of
with
one.
then, in
this
for his
think
read:
we
the
probability
but
in
not
was
some
not
one
make
wife; he
of
him
on
certainlyhad
did
He
doesn't
but
amazement,
he
that
she loved
himself.
now
situation
Eleajior, and
friend
said
does
Arabin.
Mr.
as
of his
he
feels it incumbent
he
from
heard
but
and
is in love with
Arabin
us
Trollope, for
in love
with
in love
not
not
tells
the
themselves.
that such
is
or
of
motives
feel, how
us
people
is
author
their conduct;
tellingus
that Mr.
course,
know
of
The
thoughtsor
make
not
moment,
Arabin
that Mr.
of the
these
to
us,
know
does
is fond
example,
within.
understand
to
he
us,
presents itself
He
to
instead
presentation
presented,it is from
they are
from
of
need
we
that if
or
our
of character
treatment
the characters
talkingabout
of them;
without
method
different
principleinvolved in
of story-telling.
is the artistic
what
out
preferencefor
What
NOVEL
TWENTIETH-CENTURA
THE
22
had
love
been
else, he
up
his
never
her, in connection
ing
experienced an inward indefinable feelof deep regret, a gnawing sorrow,
pression
an
unconquerable deof spirits,
and
also a speciesof self-abasement, that
he" he Mr.
Arabin"
done
had
not
something to prevent that
other
he so thoroughlydespised,
from
he, that vile he, whom
carryingoff this sweet prize.
Well,
he
precise,succinct,
say, this is all very good
ment
orderly,complete.It is a perfectly
satisfactory
generalstateyou
"
of the situation
But
it is in
no
sense
as
an
it is known
the
logicalfaculty.
imaginativepresentationof the
to
AUTHOR
EXIT
facts; and
the
to
23
that
imagination,to
facultydemanding
tory
empty and perfuncarid and superficial
algebraicformula.
an
characters
your
make
us
us
in these
so
D.
H.
men
other
there
English writer;
is no
and
feel that
us
they
are
in
love,
if you do
all for telling
And
true.
need
at
words.
had
last,I suppose,
attraction
the
subject to
women
is
conventional
has, firstand
Lawrence
and
and
prim
that
or
the other
or
one
make
cannot
heart-whole
are
that
by tellingus
You
of
sex
as
many
as
any
generallysatisfies his readers
he
the
experience in question,however
readers may like it or dislike it. But I fancy that he has had
people'sbeing in love. He does not
very little to say about
tell us that people are
in love, but he describes their sensations.
of the
realityof
daze
had
the
come
consciousness.
over
his mind,
his breast,
In
or
he
in his
had
another
of
centre
bowels, somewhere
in
his
had
unable
to
burned
between
blind within
it,
burning there, and he was
anything, except that this transfiguration
him
and
her, connecting them, like a secret
body, there
strong lightwere
know
started
another
activity.It
was
as
if
power.
Now,
will
there
are
day
seem
some
no
doubt
features
quite as quaint as
of this
the
writing which
writingof George
Eliot, and
yet Mr.
time; and
effort
did
to
not
texture
Lawrence
is,in his
he has made
here
into the
has
ished
vansense.
way, characteristic of
sincere and not unskilful
own
a
the Victorians
present a phase of truth in which
interest themselves
the very feel and
to render
"
of
erotic
experience;not to
but to give the
generalizations
an
tell about
items
it in intellect
of which
it is
Ill
PSYCHOLOGY:
principal
'NE
himself
between
psychology.
but
the
series
people
that
acts
of
characteristic.
We
like:
what
are
look
they
we
are
his
presents
of
exposition,
people,
and
will
sufficient
especially in
time
since
1850.
time
more
particularly
situation,
conflicts
what
are
how
the
how
of
and
day,
or
niques^
tech-
tion
characteriza-
indeed
feels
character
ous
seri-
of the
from
know
to
zation
characteri-
varying
purposes
our
wishes
reader
his
at
any
time
in
to
given
he
reacts
to
"
rendered
is called
The
the
author
the
the
reflect
of
for
ple
peo-
on.
exposition, description,
of fiction,
writer
later
the
as
people they
which
and
(exposition),
of
sort
differentiae
to
people
what
been
has
is
narrative
of
know
description,
referred
be
generally
not
are
his
important
are
all
ordinary
But
acts
by
means
any
elementary
the
(description), what
like
to
involving
any
most
to
history
past
(characterization). The
are
wish
in
the
in
concerned
call
story
events
and
than
more
accordingly
their
of
series
we
is essential
by people,
anything
interest,
is
what
by
begin with,
To
intrude
may
is
story
form
some
It
performed
to
the
story.
events.
or
acts
or
of
what
in
author
the
and
reader
Psychology
pretends
form
the
which
in
way
simplest type
of
ELIOT
FIELDING,
in
his
the
general
of
character
characterization.
feelings
and
psychology.
mental
It may
be
him
This
detailed
processes
a
very
which
is what
different
been
has
tion
presentain
fiction
thing
from
NOVEL
TWENTIETH-CENTURY
THE
26
of the science.
by the professors
psychologyas understood
is clear, and its applicationin
But
the originof the word
do not
fiction is legitimateenough if we
try to relate it
too
closelyto the scientific use of the word. Psychology is
the psyche
in the narrative art that concerns
that element
that is,the subjective
aspect of experience.
oneself with the subjective
The
dispositionto concern
and
more
growing more
aspect of experience has been
in fiction,at least in English fiction,since about
dominant
of the nineteenth
the middle
century^It reached a peak in
its
the novels of Henry James, but it did not there reach
and
limit. And
their
extreme
Joyce and Virginia Woolf
concerned
school are even
more
extensivelyand intensively
such a dewith psychologythan James and his school. To
gree
that critics rightand left are bewailing the complete
disappearancein such work of plot that is,of the objective
"
"
element
which
makes
enough,
of
in
fiction, of the
the
there
are
story
to
series of
begin
certain
of
with.
the
events
And
devices
and
acts
yet, curiously
and
procedures
almost altogether
nineteenth-century psychology which were
abandoned
by James and his following,and which
have
not
been
taken
up
to
any
extent
by Joyce
and
his
school.
One
of these
analysis.This
procedures is
what
is called
psychological
explainingwhat, in
the motives
ing
determingeneralor at a given juncture,were
the person'saction, especially
when
the motives
are
entangle
complicatedor obscure and requiresome
ingenuityto disThis procedure did not originate
or
bring to light.
in the nineteenth
time
be found
from time to
may
in eighteenth-century
in that
novelists and especially
century, but
great
FIELDING
PSYCHOLOGY:
To
he
reception,
his
he
himself
and
with
Western
to
it
satisfied,unless
means
of the hatred
convinced
was
by*no
was
againstSophia;
passed sentence
declared
pleasedhe had
for,however
27
that
was
of his mistress:
scorn
and
tinguishingf
taste,
of the
him
consider
into
the soul of
mind
of
for her
which
dis-
choice
this
and
appetites;
desires
same
he
who
hath
viewed
taught
morsel, indeed
ortolan
an
to
inspires
he
this served
contrary,
further
of her
and
person,
revenge
was
discovered
rather
to
as
views, from
which
itself
it in
ortolan
riflingher charms,
some
one
seen
her last;nor
which
her
no
never
this human
on
aversion
in
brightnessto
sighs.Indeed,
her
looked
he had
most
in their
men
delicious
that
an
added
tears
highest lustre
the
the
likewise
higher with
when
of their several
as
had
direct
to
serves
Sophia
with
regard her
which
food
objector
to
this, he
With
of_all_animah.
property
we
was
with
greater desire
his desire
in her
at
all lessened
himself.
to
than
On
by
the
too
much
without
to
even
its share
tion;
men-
in
the
which
he promised himself. The
gratifications
rivalling
poor
and
her
him
Jn
added
another
affections^
supplanting
Jones,
and
another
additional
to his pursuit,
promised
rapture
spur
his
to
enjoyment.
Besides
all these views, which
to some
scrupulous persons
may
seem
to
which
And
to
too
few
readers
this
be settled
much
savour
on
was
his
will
of malevolence,
regard
^the
..estate of Mr.
daughter and
her
with
he had
great
any
Westenii^which
issue; for
one
so
pect,
prosrence.
abhorwas
all
extravagant
THE
was
the affection
would
but
he cared
he
not
intended
and
he
the
by
desirous
so
of the match
that
love
her;
Sophia,by pretendingto
her.
In
who
pietyof Thwackum,
his
and
father
her
beloved
was
Blifil was
deceive
to
deceive
to
pricehe purchasedhim.
Mr.
reasons
doing
the
As
means.
taught,that
so
rectitude.
which
or
To
the
he could
other
not
draw
of those great
few
were
the
wicked
how
end
terial,
imma-
was
occurrences
advantage from
the
the
apply
to
consistent with
fair and
were
means
proposedwas
not
used
occasions, he
of
himself
availed
this he
other
to
pretending
uncle, by
own
it mattered
religious
(assurelymatrimony is),
were
he chose,
the husband
with
be miserable
to
what
at
of that fond
consent
these
For
NOVEL
TWENTIETH-CENTURY
28
moral
in life
precepts of
on
one
masters.
are
many
earlyexample of
himself
his
with
the character
or
feelings
reader
which
indicates
of
of scornful
is
self
addressinghim-
directlyto him as
author
is dealing with
franklyoutside
nor
one
tone
is
to
Jones
appetite
yet he
...
His
was
was
not
far from
of the
being
complexion of
destitute
of
that
."
.
that is,in
psychologyis analyzed;
PSYCHOLOGY:
for
reactions.
There
Blifil
in which
two
were
the
meets
all the
of his character
is said
to
beauty
And
present
in its
the
give an
which
incidental
he
has
prizeFielding;the
are
among
find
to
who
and
Sophia more
since "no
hath
will
thrust
tions
reac-
not
at
hath
one
never
tive
attrac-
of the
is one
and
the chief
thingsfor
humanness
reasons
seen
it in distress."
seen
elaboratelyexposed
more
soundness
ure.
pleas-
of that petite
apmals."
aniof
all
property
common
of mind,
highestlustre
his
so
"destitute
not
was
for him
state
him,
the
then
to
be
to
natural
was
in her
to
they exemplify.Blifil
It
aversion
of her
which
desires her
he
of
complicationor multiplication
is a
Besides
which
distress;and
ardently because
more
that there
of her
attractive because
more
tinguish
involved, and further dissubtleties, or refinements, in his
certain
us
29
motives
the several
enumerates
FIELDING
for
in
which
an
we
of his characterizati
placinghim
so
self
high in our pantheon. There is no doubt that he himerary
regarded his philosophyas what gave weight to a litform which
was
generallyso frivolous and negligible.
one
placehe describes his introductoryessays as a "kind
very
In
ot mark
or
stamp, which
reader
historic
kind
to
hereafter
may
what is true
distinguish
enable
and
indifvery ferent
genuine in this
a
feit."
writing,from what is false and counterThe
novelist
point is that the ordinary light-weight
is incapableof producing a serious essay, as incapableas
his compositions
the ordinaryessayist
is of prefacing
with a
Latin motto,
Greek
like "the ingenious author of the
or
Spectator."
of
NOVEL
TWENTIETH-CENTURY
THE
3o
distinctlythe most
philosophicalof
Fielding was
novelists!and we do not again encounter
eighteenth-century
analysisuntil
anything comparable to his psychological
novelists of the nineteenth
to those highlyphilosophical
come
we
These
century George Eliot and George Meredith.
indeed
writers are
more
given to psychology
infinitely
who
makes
than Fielding,
by comparison the impressionof
of action. These
rians
Victobeing a bold and simple narrator
anxious
about the morals
of their people;there
are
so
is
romantic
more
cast
to
their sentiment;
and
in many
their
with
more
naturalness
inevitablyproduced the
"dramatic"
technique.And yet, when
they are examined
features of psychological
we
distinguishthe same
closely,
analysisas we have found in the passage about Blifil.
George Eliot often goes behind the apparent motive to
which
is the
something lyingdeeper in the consciousness
which
main
of conduct.
determinant
Arthur
Donnithorne
behind
such
which
"there
an
Arthur
was
was
to
had
at
sort
work"
in the
Bede"
explicitresolution
or
hardly aware,
motive
"which
in "Adam
Thus
of
she
pointsout how
lay an implicitone of
how, still deeper down,
under
of backstairs
reflections
such
and
influence
such
not
an
tude,
atti-
admitted
himself."
But
it
in "Middlemarch"
that
was
from
the
study
of physiology. Most
interesting is
ELIOT
PSYCHOLOGY:
analysisof the
wealthy banker
her
is
fortune
whose
diverted
and
in
him
from
the
it. He
is
to
inherited
have
founded
was
Bulstrode.
processes of Mr.
deep and sincere
mental
of
31
not
religiousfaith,
line of business
dishonest
who
person
should
rightly
plain hypocrite,but
He
at
all
has
career
is the
Raffles. He
named
character
drunken
been
only
who
one
of Bulstrode's
knows
him
to
compelled
his wife
tell
to
Raffles,and
this is
of great distress
cause
him.
to
Bulstrode
For
of
many
these
which
movements
misdeeds
are
not
direct
of his
the number
to
disproportionate
But
from
shrank
an
indirect
more
like
were
taken
lie with
the
subtle
intensity
misdeeds.
muscular
of in the conscious-
account
though they bring about the end that we fix our mind
it is only what
desire. And
we
are
vividlyconscious of
can
vividlyimagine to be seen by Omniscience.
ness,
and
we
Here
is
notion, wherever
Eliot
picked
psychologywell
George
on
that
it up,
not
aware
merely of a
stronglysuggestive,
bases of behavior, but also of the Freudof the physiological
ian
This notion is more
less
or
theory of the Unconscious.
carried through in the account
of the spiritual
predicament
in which
Bulstrode
finds himself. It would
be greatly
now
to
Bulstrode's
warned
And
would
out
were
dead.
And
Raffles is
now
in
house
of the way.
It is
now
makes
visit,and
BUTLER
PSYCHOLOGY:
of the
boys,on
could
mark
was
swearing and
not
enough to
so
that he
of each
name
boy
depravityrevealed to them,
flinched, but probed and probed, till they were
pair never
delicate than they had
the point of reaching subjects
more
No
on
form
mother.
father and
the
tabular
after the
in little squares
he
whether
arranged in
card
33
yet touched
Here
upon.
made
and
up
awful
how
matter
the
was
resistance
unequal,by tumbling
self took
Ernest's unconscious
him
which
to
his conscious
in
fit of
the
ter
mat-
self
was
fainting.
and highly
(1902)is a delightful
nary
book, but it is hardly a novel at all in the ordisignificant
and it is
It is autobiography thinly disguised,
sense.
"The
Way
of All Flesh"
with
written
maximum
of eralized
genbrief and
sprinkledwith
and episodes.
vivid anecdotes
Besides, it is too franklyand
formula
to the customary
baldly philosophicalto conform
much
of his note-books
into
of fiction. Butler dumped
so
left for the development
each chapter that little room
was
of story or
The
want
one
reason
with
along
there
drama.
is Butler's
all
tone,
which
eighteenthcentury,
is the
and
dry
of the rationalistic
tone
the romantic
not
tone
of the
Victorians.
In
the
mixture
Victorians
of
Eliot, the
the
what
rational
often
and
psychology itself
What
bothers
us
irritates
the
is
is the strange
sentimental.
In George
us
highly interestingand
is the
sense
we
have
lumina
il-
of her
for
our
benefit.
the
characters
the
air
about
is
It
of
has
the
is
safety
of
of
an
her
tearful
conducted.
us.
pointer
teacher,
air
often
toward
and
the
NOVEL
moralistic,
the
investigation
whole
she
TWENTIETH-CENTURY
THE
54
in
anxious
chicks.
It
is
her
Toward
hand.
us
Toward
motherly
in
tone
which
attitude
she
has
the
hen,
the
toward
so
much
characters
concerned
IV
MEREDITH
PSYCHOLOGY:
O, FNE
is that
of
she
the
not,
far
which
the
of
comedy
follow
to
With
familiar
Eliot,
the
the
of
of
plot.
In
of
in
the
to
hush
they
seek
Sir
is
in
them
Austin
the
do
all
of
what
their
feel
on
the
for
of
the
example,
'
35
narily
ordi-
What
for
it is the
good
they
the
"
aim
never
of
What
about
they
selves,
them-
objective
sentiments
really
past
are
so
elevation
utmost
ment
mo-
satisfaction
ordinary
their
is
calls
than
more
ultimate
worth
own
is
he
sentimentalists.
to
manipulating
appearance
Feverel,
is
ordinary
tangible worldly
The
are
some
process
willing
are
subjective;
else
the
in
values.
and
consciences.
depend
not
measuring
art
they
vanity. They
than
they
the
of which
mate
ulti-
the
gratification,
is, people
definite
difficult
more
character,
subjective
something
moral
for
standards
purely
their
up
more
and
give
is
psychological
that
much
so
interests
own
masters
the
selfish
some
lies
describe.
to
by
the
people,
with
not
endeavor
their
is
Meredith
"civilized"
is
their
desired
George
wherein
after
good,
thing
aspect
than
heart"
analysis
difficult
process,
concerned
are
His
the
was
technical
more
highly
of
"twists
more
mechanism
Meredith
given
more
even
subtle
this
with
sentiments.
much
and
much
the
and
goal
terms
the
psychologist
as
exhibiting.
was
was
Eliot
physiological
the
concerned
he
But
tracing
to
she
know,
as
psychology.
Eliot
with
concerned
was
processes
so
of
peculiarities of George
of the
as
and
so
much
to
finement.
re-
concerned
NOVEL
TWENTIETH-CENTURA
THE
36
take the
to
which
course
son
to
as
for
himself, at the
him
that it makes
time
same
sible
respon-
for the
of the story.
tragicoutcome
"The
Egoist"is not a tragedy.But here we have the same
for
It is necessary
sophistication.
processes of sentimental
the moral comfort
of Sir Willoughby to persuadehimself
and the world that he can
with nothing but the
be content
best. Arid
when
so,
he
is obliged to make
be
to
act
paragon
hand
"
to
fear
very
fine
be
but
woman
woman
generous
the
not
Vernon.
about
set
colours,like
to
her
painting Laetitia
delectable
in
beautiful.
Her
was,
miniature
he
swimming air,a
result in him
beauty,and
visible
taller stature,
the
"
Clara, he
have
cannot
human
bow
his cousin
he
think
moreover,
Clara
over
Forthwith
her
himself
and,
preferred;
to
finds that he
witch
to
have
who
been
gave
eyelasheson
and
enamel
glow,
transcendencythat exorcised
had
a
dark
her
the
driven
second
him
time
this
[the
The
jilted?].
to
"THE
their aid
it
so
But
deed
performed
already[some
to him,
necessity
was
later]he
pages
his executioner.
as
37
to
was
EGOIST'
dreaded
He
had
look
to
now
on
She
tempted to
she been away, he could have walked
the insane. Had
through
the
the performancecomposed by
self:
of doing a duty to himsense
perhaps faintlyhating the poor wretch he made
happy
in a manner,
C
lara's
to her
at last,kind
polite.
presence in the
house previousto the deed, and oh, heaven!
after it,threatened
his
Pride?
wits.
had
He
it back
pride:he
his
misery.But
I do
is
had
it
he
was
he
none;
as
ere
too
and
countenance
was
trodden
his breast:
submit
right."He
it down
it
dagger in
proud to
cast
Clara's
now?
his
an
to
pridewas
misery."What
to
smoothed
his
Would
the
answer:
pride in
her
Yes, he
on.
rectitude
for
his
endorse
for
Laetitia? At
laid
beauty ascended,
one
beam
on
him.
We
mixes
one
to
cries
when
storm,
board
on
are
him,
the
ship,that
Laetitia
and
and
the crew,
is for the
the
the
one
latter. But
if there
what
the former
was
might
be
not
than in casting
to Clara
greater safetyin holding tenaciously
her off for Laetitia? No, she had done
things to set his pride
throbbing in
that
but
the
quick.
appetitewas
his purposes.
nothing
to
thrilled
burningly to
who
could
be
admirable
Fie
.
so
short-lived
magnanimous
he, the
might
hold
to
in him
for ance;
vengeif it ministered
vengeance,"he said,and
in his admiration
under
her
mortal
of
the
man
injury:for the
a drop or
two
of publicpity.
He drank
pitiable.
like a poison,repellingthe assaults
of self-pity
be given up. It must
be seen
Clara
must
by the world that,
he felt, the thing he did was
of his own
as
right.Laocoon
serpents, he struggledto a certain magnificenceof attitude in
the muscular
of constrictions he flungaround
himself. Clara
net
more
more
be
must
up:
blood
to
given up.
but
to
not
bright Abominablel
touch
whose
one
be
extinguisher;to
of her
the second
might
if she should
taught
think
to
what
she
wife
must
As
of
darts
be
be
must
be
given
in
the
given
up
old-fashioned
an
...
whispered to Willoughby,
preservation
be
She
would
in his bed:
snakes
yielder,
of the
an
NOVEL
TWENTIETH-CENTURA
THE
38
it
the world,
it
were
assuredlywould
not
site,
requithink
be
seen
strong intention
supposing
"And
so
Whitford,
I have
scandal,
to
or
handed
he
who
her
opened
transcribed
to
his cousin
his mouth
only
and
and
shut
very small
secretary, Vernon
his
eyes."
portionof
this
ter,
chap-
ety
entirelygiven over to Meredith's variof psychological
analysis.
Meredith's
varietyincludes all the features of Fielding's
and
of his own.
George Eliot's, with certain specialties
Some
of his specialties
tend in the direction of "dramatization,"
but the philosophical
features are
and authorial
so
which
much
more
must
who
held
is almost
marked
have
than
been
the ideal of
even
still
more
in
George
the
despair of
novelists
MEREDITH
PSYCHOLOGY:
about
through tellingus
or
quoting from the
more
any
than
another
not
seldom
and
propheticvein
The
to
which
and
of
assert
the
course
that
of
can
can
be
Victorian
in the vein
the
abstract
not
hesitate
the reader
address
to
rectly,
di-
of exhortation, in the
that he
is
put
does
Egoism. He
of
everything in
novel
in
Sentimentalism
Carlyle.
of
mention
realization
times
Book
39
to
be allowed
is
not
ajform
the
to
one
Meredith
with
that
properly a
rush
the
one
at
leads
novelist
at
all. Of
and
of: ^i^mt"_glasticit^,
greatest
varietyoT
include
"The
Three
one
genre
Musketeers"
uses.
of
"Remembrance
for wisdom
but
and
self-
found
in
effacingrecord
Maupassant and SigridUndset, in Jane Austen and Thomas
Hardy. And this I did not find, or I found it so involved
with intellectual gymnastics,with didactic intention, that
"RICHARD
referred
41
to as
Autumn
FEVEREL"
Primrose; Adrian
Lady
is the Wise
is the
Blandish
Mount
Mrs.
Youth;
is the Enchantress.
The
but
the
to
when
is a
symbol
the
remove
put
veil
one
often
tions,
to abstracgivingconcreteness
it comes
to concrete
thingsand to persons,
dubious
help to the imagination.It is likely
to
subjectone degree farther from reality,
is a
symbol
between
more
seems
if Meredith
as
eloquent appearances
like other
the aim
of
means
and
us
if he could
of the
French
naturalists
that
likeness. He
render
likes
He
does
thingsso
things so
not
does
relyon
not
take the
painsto
that
commentary
well
no
make
of
features
distracting
This
tone.
Feverel,"
where
mentary.
com-
of their
the
speaking
it speaking,
is necessary.
In short, he
himself.
the commentary
with the subject.
interfering
of the
it,
fectly
per-
sufficient
furnish
to
is forever
One
render
the
I take
It was,
their
It
them,
trust
not
own
they were
to
give a speaking likeness
aimed
They
to
world.
things,in
faith in
wanted
of life,as
breathing
in themselves
to
the
is his
of Meredith
certainty
un-
in "Richard
it is
unfortunate, we
can
particularly
its very origin.
"Richard
Feverel" obviouslystarted on
trace
down
cut
a
burlesque tone. The earlychapters,so much
in the second
edition (now the current
version),
present a
purely ridiculous Scientific Humanist, surrounded
by a
of farcical female
idolaters. But
the subjectwas
court
too
for the
serious
tone
Lady Blandish,
in
names
his "crucible
farce, and
the
of
name
the
of the cruder
dignityand
Richard
and
tragicthan
the scheme.
which
on
the
Lucy, so
the
But
reader
refuse
feels
comedy,
human
to
be
throughout
"Blandish,"
much
and
woman,"
Restoration
serious
he
to
modeled
with
compati
in-
the
on
the
her essential
play.Then
and
tures
crea-
so
much
come
more
of Sir Austin
treatment
carries him
or
more
trouble
The
NOVEL
TWENTIETH-CENTURY
THE
42
less
with
the
and
of this
momentum
book.
through the
this method,
start
the
apart from
someness
tire-
mere
with
is that it surrounds
of the artificial style,
its
it is important
air characters whom
poisonoussophisticated
should
that we
approach in all simplicity not merely Sir
and
but Richard
selves.
Austin
and
Lucy themLady Blandish
the irony
The
never
burlesque comedian
gets over
of the fact that these healthyyoung
souls are accomplishing
instinct what
better by mere
Sir Austin
ously
much
is laboriso
working out with his System. And the whole lovemaking of Richard and Lucy is served up to us in an odious
sauce
curiouslycompounded of tender sentiment, whimsical
sententious
losophy
phipatronage, enthusiastic nature-description,
It is wort^iwhile quoting
and burlesque humorl
a rather
long passage, that describingthe first meeting of
the young
lovers, to show how a superbly conceived
scene
and the finest sensitiveness to beauty may
be almost
gether
altoa
spoiledby the intrusion of philosophichumor
that I have chosen
here not
the exla Carlyle.And
note
tremest
example of this phenomenon, but rather the passage
Meredith
in which
in
the
to simplicity
nearest
comes
of human
beings.The passage is introduced
presentment
"When
has
nature
by the chillingphilosophicgenerality,
"
"
Above
green-flashing
plunges of
white,
hung
of earth. Her
flexible brim
nodding,
face
forth
shoulders, and
behind,
shadow, almost
golden
and
shaded
was
lipsand
for the
weir, and
below, lilies,
golden and
thunder
that die
us
from
there
by
chin
flame."
shaken
swaying
were
the
also
broad
Fates
And
by
straw
in the sun,
thick
ter
daugh-
hat
and
with
times
some-
where
the
ray touched
them.
the
anchor
at
banks
hung
are
She
her
in
was
UNCERTAINTY
TONE
OF
simplydressed, befitting
decency and
inspection
you might
see
that her
the
43
On
season.
stained. This
lipswere
closer
ing
bloom-
tween
regalingon dewberries. They grew bethe bank
and the water.
Apparently she found the fruit
abundant, for her hand
was
making pretty progress to her
Fastidious
mouth.
youth, which revolts at woman
plumping
her exquisite
and
would
proportionson bread-and-butter,
(we
must
suppose)joyfullyhave her scraggy to have her poetical,
can
hardlyobjectto dewberries. Indeed the act of eatingthem
is dainty and induces
musing. The dewberry is a sister to the
person
young
lotus
and
was
innocent
an
occupied,and
are
it was
with
the
the damsel
up
above
the
flashed
kingfisher
sister. You
eat:
mouth,
undrugged
mind
free
who
knelt
there. The
eye, and
to
roam.
hand
And
so
little skylarkwent
southern
cloud
her, all song, to the smooth
lying
from
dark
the
her
blue;
a dewy copse
over
along
nodding hat
the blackbird
fluted, callingto her with thrice mellow
note:
heron
out
her
and
ate,
as
if no
if she wished
as
travelled
emerald
for one,
knew
or
by
wild
a
flowers,she
was
terrible attraction
bit of
[an
not
pastoralsummer
the
lovelyhuman
allusion
and
invadingher territories,
fairyprincewere
not
stillshe
to
to
the
note
breath
buzz, the
and
beauty of
life in a fair setting;
Magnetic Age]. The
his proximity to the
vision.
think
THE
It is the
System
boy
NOVEL
TWENTIETH-CENTURY
44
whom
which
know
we
and
interested
are
Feverel,
Richard
from
him
reduces
ing
plumpyouth, which revolts at woman
with a venher exquisiteproportions."Here
geance
enters
from Sir Austin. "The
the burlesquestyle
taken over
damsel"
is pre-Raphaelitismout
of place."Making pretty
rank
of "fastidious
her mouth"
to
progress
and
bad
of
progeny
Meredith
"this
But
always has
playing,and
of
self-consciousness
Victorian
torian
blooming young person" is Vic"wedded
the System" and begettinga
to
taste
intolerable burlesque.
taste.
bad
is
is mere
it
system
or
generallyresults
in
some
It is this very
tone.
feature
with
other
dubious
which
he
which
tion
complica-
giveshis
work
so
"modern"
more
"flatness"
and
this mixed
a
air
an
There
monotony.
tone
is handled
peculiarbeauty. But
his
he
The
in which
case
to
the
with
his
tact
are
out
and
results
but
sure,
in
and
tone
is that of his
is
most
vant
rele-
psychological
we
have
here
reached
analysisproper
which
do
marks
more
is the aim
good
deal
his advance
find
in which
complicationof
present discussion
pages
perfecttact
is anything
break
to
many
we
the
and
him
border
the
over
difficult to follow.
between
"dramatization"
of the well-made
of such
line
psychological
of consciousness
does
MEREDITH
PSYCHOLOGY:
the
In
there is an
about
insensible
the character
of the
He
been
he could
away,
the author's
to
She
look
on
tempted
walked
have
follyof having
The
now
unwavering?
example,
statement
ment,
rendering,without comimaginings of Sir Willoughby:
Clara.
resolution
for
the direct
to
How
Willoughby,
from
transition
meeting
him.
before
Sir
thoughts and
dreaded
stood
about
long passage
45
to
retained
her
and
the
insane.
keep
Had
oh, heavenl
had
he
none;
back
dagger
And
Sir
it
ere
trodden
was
forth,
so
that he
himself,
of the
not
wits.
Pride?
the
He
his
pridewas
his
in
to
Yes, he
the end
to
Willoughby
for her
on.
she
the
it down
cast
sane
posed
performancecomhimself: perhaps faintly
through
of doing a duty to
by the sense
hating the poor wretch he made happy at last,kind to her
manner,
polite.Clara's presence in the house previousto
deed, and
her
it
a
misery.
paragraph.Note
Meredith,
who
that it is
says
self)
(to him-
comment.
is
sure
not
view
that
is
has
no
And
whether
then
there
are
it is the author
times
or
when
the reader
the character
whose
breathed
not
given."Self-preservation,
vengeance,
He glancedat her iniquityfor a justification
whisper.
of it,without
is
This
of the
making
in the
own
to
do
her
Willoughby
Is
ing
defend-
of his conscience?
for the relative ineffectiveness
reasons
strong is Meredith's
So
hurt."
permanent
distinction, or
court
of the
one
method.
that his
desire
any
it the author
himself
NOVEL
TWENTIETH-CENTURY
THE
46
of the
statements
dramatic
instinct
reactions
character's
must
be colored
is his
author's
the
didacticism.
continually penetrate
The
each
inner
other
in
and
a
the
subtle, sometimes
There
often bewildering manner.
fascinating,
of turning to the lightthe
Meredith's
way
of
the
characters
Browning;
presentment
or
"Caliban
Browning
"
but
that
that
there
reminds
view
outer
is much
in
consciousness
of his contemporary
that purity of dramatic
one
is seldom
one
upon
the obscuritywhich
derives
from
the dramatic
of
he has
projectingpsychological
processes. And
of mixing the dramatic
the added
obscuritythat comes
with the philosophical,
of passingback and forth constantly
without
those different planes of
and
warning between
it is so hard
to
vision, planes which
get into the same
picture.
for objectionto Meredith's
But the main
method
reason
main
the obscurity.The
is not
trusion
objection is that the inof the philosopher in Meredith
stroys
so
constantlydethe illusion created by the dramatizingof consciousness.
He
is forever worrying and badgering the creatures
of his imagination.He takes away
with one
hand
what he
hand
he creates
a
giveswith the other. With one
living
discree
being and with the other he deals the mortal blow of indissection. So that we
might say that his analysis
almost cancels the effect of his imagination.That
is what
for the characters, like Richwe
not
ard
might say, if it were
manner
Feverel
and
Clara
Middkton,
whom
he
so
largely
MEREDITH
PSYCHOLOGY:
stories
excellent
of
save
so
hard
which
he
It
personal
the
to
of
operation
in
dramatis
his
which
tries
the
from
exempts
people
make
of
them,
his
47
involves
generally
is
the
perhaps
Meredith
from
psychological
for
and
analysis,
whole
die
stories
moving
being
the
what
specimens.
he
PSYCHOLOGY:
the
back
reader
PROUST
the
to
point
49
which
from
the
first one
started.
where
all is digression.
speak of digressions
But I use the term
as it would
apply if the objectwere
in a story. Everything is digression
arrive somewhere
to
contribute
which
does not
to an
understanding,or to the
the objectis to
of the action. But with Proust
movement,
of experience,including any circumstances
recapture the whole
in the course
of the narrative,
brought to mind
the time of writing he is
and all the reflections which
at
It is not
to
exact
make
to
writer
Albertine.
on
to
is the
Gilberte
But
de
and
Guermantes,
daughter
of Swann's
wife;
and
are
So
have
that
of Swann
whom
he
married;
and
issues
side
voluminous
thematic
Monsieur
relation
between
there
de
is between
Charlus.
de
And
of
volume
that
true
the
demi-monde
mantes
Guer-
historyof Saint-Loupand
after
It is
the
in Madame
interest
volume
consume
of
woman
sentimental
chronicle.
the narrator,
the
and
bringsin the
erotic historyof
the
the
case
there
of Swann
all these
this multi-
is
and
sort
of
that
of
the
perversionsof Charlus
and Albertine.
So that perhaps the key to the composition
in an
is to be found
elaborate
contrapuntal development
of themes; and this way of regardingit would
enable
to
us
and
is
of
associate
the
novelists
of
Dos
But
as
art
our
of Proust
time
as
with
the work
of such
verse
di-
Passes.
at
least in exterior
semblance,
the
work
of Proust
edges
rambling autobiographicalchronicle, which acknowland
no
obligationto the "economies"
adjustments
fiction. He has time for anything he wishes to include;
NOVEL
TWENTIETH-CENTURY
THE
50
likes is dissertating
thing which he particularly
it is psychology in the strict
psychology.Sometimes
upon
fourof the word. There
sense
is,for example,a delightful
of hearing. It begins with
the sense
a
excursus
on
page
of the sounds made
description
by a grate fire heard through
door. Not knowing what
a closed
they were, the character
and
one
did
concerned
Something
that there
burning.
that
roll over,
the
room
but
vacant
not
was
being
was
there. In
one
couldn't
It
fire.
it was
simply the fire
reality
keep quiet, it kept moving the sticks
some
and
around,
stick
the impressionthat
was
with
being moved
was
associate them
not
clumsily.I
most
and
another
in:
went
And
smoke.
one
the
fire let
one
it
when
even
didn't
if I had
been
to
the other
on
some
his
blowing
one
nose
walking
or
have
tributed
at-
and
back
forth.
He
I heard
be
the
far from
seemed
to
off.
heard
Suddenly
the
At least I
hear
there, I
Beginning
saw
so,
that
heard
thought I
discussion
the
on
it in that
the
if
as
right,
long
which
it did
I
not
place;I reallydidn't
have
passes
faint
it
watch;
place,from
the
grow
the watch
one
see
couldn't
kept coming
in front, from
it would
I discovered
in
which
tick-tock
I couldn't
from
me,
sometimes
tick-tock
budge.
it
sitting.This
was
behind
from
come
him.
around
Saint-Loup'swatch,
directions, since
the left;and
from
way
where
looks
of
tick-tock
different
from
and
sits down
now
no
to
location.
the
sensations
of
sick person
temporarilydeafened, to the psychology of
arrives at the sound-world
of the deaf, or,
love, and finally
to
the deaf in
is
of
placeof
pleasantkind
manifestations
fairy-like
which
sounds.
of
musing,
and
the reader
may
PROUST
PSYCHOLOGY:
deal
wandering
51
these
down
him
and
flowery
is not
here
side
of
in haste
to
get
with
on
from
Pater
Meredith
and
Fielding.Pater
deals
stands
which
mostly in the analysisof esthetic impressions,
side
the analysis
the one
of sensations on
midway between
and, on the other side, that of the sentiments, including
with esthetic
the moral sentiments.
Proust deals extensively
he has a good deal to say
impressionstoo. And, moreover,
of the psychology of the snob, of the motives
that govern
people in the game of "society."
of all in Proust, no doubt, is the analysis
But commonest
of the sentiments, particularly
involved
the sentiments
in
love. Here
elsewhere
he indulges his penchant for referring
as
the particular
the general law. Love, he
to
case
tires of tellingus, is a creation of the imagination,
never
and often has little to do with the qualities
actuallypresent
in the beloved
object.The love of his hero for Madame
in point.It is a by-productof the
de Guermantes
is a case
glamour taken on in his childish imagination by the name
Thus
Guermantes.
to the general subjectof the
we
come
prestigeof names.
At
we
to
start
but
out
to
which
it is
not
world
find in
we
no
have
for
that
us
with
Names,
the
certain
other
citythe
to
such
extent
an
soul which
it cannot
that
we
possess
longer have
simply to towns
as allegorical
paintingsdo, it is not simply the physical
which
they tint with various color and people with
marvels,
it is likewise
h6tel
chateau
or
genii,and
depthsof
the
her
has
waters
name,
lady,or
its
their divinities.
the
so
then
fairy,as
every famous
the forests their
Sometimes, hidden
faisytransforms
in the
herself in accordance
TWENTIETH-CENTURY
THE
52
with
nourishes
imaginationwhich
our
atmosphere in which
after having been for
lantern
slide and
NOVEL
de
Mme.
her; it is
that
so
existed
Guermantes
in
the
me,
to
altogetherdifferent dreams came
impregnate it with
the misty dampness of torrents.
However, the fairydies out if we approach the real person
to whom
her name
then begins to
corresponds,for the name
reflect this person and she contains nothing of the fairy;the
fairymay be born again if we go to a distance from the real person;
but if we stay near
for all and with
her the fairydies once
her the name,
had
to
with that family of Lusignan which
as
end
the day when
to an
come
the fairyMelusine
on
peared.
disap-
when
And
which
a
the
so
might
we
stranger whom
photographic
whether
sound
we
those
and
the
name
from
let
card
not
or
a
another
cause
our
memory
which
it then
the dreams
for
successively
is but
of
ought
we
from
than
more
ncr
which
to
sensation
specialtimbre
seeminglyunchanged, we
This
is
of
portrait
refer
we
the
to
see
a perrecognize,
son
to
time-
former
some
which
recordingmusical instruments
keep the
styleof different artists who have playedon them
the
one
all,the fine
known,
never
identification
have
is goingby.But
with
as
successive retintingsof
the
by finding,below
know, whether
we
who
end
under
Name,
names
to
make
held for
which
hear
us
our
ear,
which
its identical
this
name
and
this
separates
syllables
nified
sig-
us.
of Guermantes
the name
acquaintance,
graduallylost its
in question.
It is of
originalcoloringfor the young man
course
impossibleto do justicein my translation to the
is more
which
like that of Pater
rare
qualityof the original,
than of any other English writer. Only the nicest adjustment
of the
two
sentences
down
idioms
from
volved
inwill prevent these interminable
ing
seeming ridiculous or from break-
in spiteof
altogether,
the
supplenessand
sure-
PSYCHOLOGY:
of balance
ness
so
PROUST
53
floating
securely.
It will be
obvious
than
Meredith
is no
effort
that Proust
goes
afield
farther
much
of
flection,
regeneral psychological
and the questionwill be asked: why are we
ritated
irnot
with Proust as we
with Meredith?
are
Why do we
find it in his case
not
a well-nighfatal fault in method?
And
the answer
is,I think, mainly this. In Proust there
to
construct
dramatic
story. There
are
no
ments
mo-
of
And
tone.
that
Not
Proust's
the
is
so
the sensitive
more
to
certain
in
ling
put the disillusioned world-
liable
to
But
the
faults of
manist
hopeful hu-
and
than
manner
it happens in this
scientific determinist
serious
difference
absolutelypreferableto
"humanist."
worldling.And
"
world-wide
is
tone
seem
hopeful
much
worldling the
a
is such
that the
case
hedonist
"
tains
main-
subjectwhich contrasts
the jocularityand
facetiousness, of the romantic
note,
moralist. Meredith
is a magnificent
example of the vicious-
of
ness
the
the
romantic
of
want
disposition
virtue
of
art
their
objectivity.
Saxon
and
in
over
the
bias
in
faith
in
the
conditions
alone.
their
things
of
power
have
might
them,
if
been
to
this
resent
and
their
that
moral
fatalism,
in
must
be
tone.
But
lose
the
truth
readers
make
nor
world
there
drama
the
more
gain
is also
in
danger
that
which
over
the
of
of
psychologizing
acceptable
than
the
and
the
a
board.
Marcel
that
of
with
bad
very
That
Proust
their
are
ferent
indif-
And
there
moral
stronger
esthetically.
doctrine,
by
this
in
bracing
control.
no
in
loss
edifying.
us
and
good
involved
great
be
truth
the
more
are
have
we
going
to
acters
char-
the
even
discourage
not
feel
us
esthetic
some
do
they
both
douhj;
to
authors
English
inclined
are
of
behalf
anxious
so
ing
pointdifferent
how
We
on
on
begin
we
showmen
these
tone;
is in
why
of
nature
is true
It
and
ourselves;
human
to
attitude
know-it-all
them
them,
them
etc.
leave
cheering
telling
.
behavior
cannot
warning
only
strongly
so
direct
they
forever
are
and
mistakes,
that
by
scientific
hold
to
vantage
ad-
period
and
will
the
the
certain
Victorian
the
life
of
They
general
Meredith
and
"
parade.
on
determinism
of
Eliot
in
of
life, admonishing
good
out
have
favor
the
and
costume
English
like
characters
the
in
extremes
to
expressiveness,
for
passion
fiction
of
Writers
control
their
the
forever
writers
for
the
be
pushed
manner
prose
simplicity,
to
French
NOVEL
TWENTIETH-CENTURY
THE
54
Meredith.
We
so
often
of
illusion
is
one
is for
son
rea-
some
VI
PHILOSOPHY:
leave
to
but
their
have
their
work
time,
H.
G.
and
such
and
Wells.
much
the
mind,
from
in
its
from
the
often
to
be
not
the
derived
of
not
taken
as
having
in
ularly
particand
Goethe
ferentiated
dif-
well
not
literary
likely
to
be
attach
they
form
extraordinary
a
very
better
they
55
may
abroad
be
Eliot,
than
novelists
are
that
these
and
in
the
very
than
it
but
importance,
talents
high place
known
and
it is evident
speaking,
them
wisdom
reflective
most
Hugo
to
came
political lesson
the
Generally
it
Dickens
story-tellers. But
economic,
occupy
as
philosophic
These
that
often
of
like
writers
Richardson,
weight
writers.
it.
novel
the
and
and
related
was
were
only
moment
greater
story
from
their
do
able
social, the
the
Scott
serious
the
to
mind,
and
of
extremely
spite
of
have
it bear
those
even
for
who
hands
made
and
is
consider
us
Wells,
and
class
constituted
nor
Johnson
right.
own
Let
philosophy
so
a
and
abstract
witness
novel
the
in
Dr.
century
"
Hugo
is worth
It
novels
origins,
its
if, in
as
"
in
eighteenth
the
philosophic
in
are
obviously
of
Rolland
like
studies
vehicle
Victor
Remain
novel.
nature,
obvious
novelists
the
to
as
human
was
are
include
that
however,
Rousseau
time
they belong
of
satisfied
not
were
the
Such
philosophic
allegory
rich
it
life.
our
not
whose
that
to
in
do
Voltaire,
unrealistic
of
who
picture
make
to
philosophy
general
his
dramatic
impelled
felt
novelists
been
always
have
HERE
HUGO
VICTOR
which
is
novelists,
qualities
to
in
of
estimation
widely
more
read
highly
MISERABLES"
"LES
57
the
to
be
whom
man
helps him
and
It is
now
to
his escape.
the
to introduce
necessary
who
man
young
the heroine, Cosette.
the
Cosette.
which
plot
gardener turns
in earlier days,
convent
befriended
has
and
make
estimable
of
he
of Paris
streets
But
lead
Jean Valjean
is destined
follow
I cannot
end
the
marriage of
bear to give up
the
to
cannot
to
marry
turns
many
Marius
and
Cosette
to
heart. And
her young
lover, and he dies of a broken
yet he
that he has expiated his crime, and
dies happy, realizing
is
recognizedby
Marius
as
the very
be said
first it must
pages. And
that, so far as story goes, it is very well done. In a narrative
characters
from
the most
drawn
diverse
involving many
edition
than
more
2,000
follows
the
excellent
of characters
group
another
which
is
group
one
linked
with
them.
It is
method
tablishing
es-
troducin
solidlybefore ineventually to be closely
very
well-ordered
and changes of
fussylittle interruptions
innumerable
of
the
center
of Balzac's story-telling.
Hugo has many
spoilso much
of doing it. Such is the excelin the manner
lent
high qualities
with which, at one
objectivity
point and another, he
in action, especially
shows
character
us
a
Jean Valjean.In
matic
general the story is notable for its bold modeling, its draintensity.I know
nothing in the whole
range
that
of fiction which
the reader
in
goes
faster where
it does
holds
go, which
Is there anything
tightergrip of suspense.
more
excitingthan Jean Valjean'sflight
through Paris that
ends with his scalingthe convent
in
wall, or his adventure
the underground labyrinthof sewers?
that this fine story-telling
is the good side of
It is true
a
NOVEL
TWENTIETH-CENTURY
THE
58
for one
thing,
possible,
only the most exciting
by the author's election to narrate
The
of the history,
moments
to "hit" only the "high spots."
of ordinarylifeare neglectedaltogetheror treated
moments
in hasty survey. There
of the patientfollowingof
is none
lives
small incidents such as make
up the stapleof most
realists excel in.
and such as Thackeray and
the French
a
vicious
In
other
long
one
pudent
happenings,of imthtdtre,which, taken all together,
clever
to
side of action,
well-nighincredible
and
amount
venture
pure adtissue of coincidences, of extraordinar
the
coups de
simple melodrama.
pends
de-
the author
Everywhere
for him
flaming hot
but
on
and
iron.
are
with
foot, and
one
to
have
They
he has succeeded
all but
about
put
bound
end
an
him
to
with
him
hand
and
foot,
self
sharpenedcoin in freeinghimthen by a trick he gets possession
a
has
the
hands.
his
But
his
of escape from
instead of using it againstthem,
means
escape,
burns
in his power,
and
their ruthless and cruel
he
own
it
turns
flesh.This
anything that
With
the
senses
he
great and
in the
does
not
on
is
to
over
wish
himself
show
his
to
make
and
that he
own
to
even
deliberately
will not betray
will and
never
tells
tell.
of the
to
flesh and
bring out
the
STORY-TELLING
HUGO'S
soul and
make
it show
59
their foreheads,
upon
justas
nies
the muti-
you."
tearingthe
And
iron from
window.
the
open
whirling in
the
When
be
and
well
and
implement disappeared
ground far away, and was
few
closely,
scenes
found
are
the
side of suspense
and
drama,
element
is not
stronglypresent
on
theatrical
imaginatively.
Compared
of the
work
chromo,
to
to
the
with
not
save
the
it is hard
the
examined
done
where
horrible
scenes
they will
but
out
snow.
bombastic
Such
flesh,he flungit
his wounded
The
night,fell
the
extinguishedin
to
more
any
I fear
than
of
ones!"
in his
whether
of the
neglectedwhat the novelist proper
of Tolstoy and
rank
Flaubert, or that of George Moore
of his craft.
or
George Gissing regardsas of the essence
"
"
that
should
one
Hugo;
is
the
took
so
out
much
so
indeed
entire
and
time
to
which
in the
work
up
book
this
solelyto
to
the
battle of
the
Victor
private
social
ment,
com-
good story-teller
a
background of
no
devoted
story proper
of
significance
political
historywith
richlyinterlarded, it is
philosophy.And
one
to
in the
not
look
general historical
chapterslong, are
to
said, it is
it is in the
chronicle
ever
be
then, it may
But
books, many
background
terial:
ma-
Waterloo, another
sociological
study of the Paris street urchin, another
the historyand description
of the sewers
of Paris. Two
a
books
nadines
are
devoted
and
to
the
of
convent
of the
generaltheoryof
convent
life. There
to
an
account
Ber-
NOVEL
TWENTIETH-CENTURY
THE
6o
cussion,
nothing but generaldisthere
and during which
the story simply waits. And
scattered through the novel many
more
are
chapterswholly
devoted
to speak
not
to general background and
theorizing,
entire books
are
of the
which
incidental
the author
there
in which
is
of the action in
passages in the course
about
instructs the reader what
to think
it all.
served
background material, it is brilliantly
in review
to give the book
up, and tends, in the long run,
and grandeur. But in so far
of monumental
a sort
solidity
it is a substitute for the serious close-uppresentationof
as
As
for the
human
nature
serves
simply
"
to
the
ordinary
deceive
is
both
on
business
author
higher
of
and
good
fiction
reader
into posing
suplevel than
intellectual
"
it
it is not
at all on
nature
reallyis. As a study of human
historical and philosophiThe
a high level intellectually.
cal
for the most
are
digressions
part a turning aside from
the particularcase
at
issue, an evasion of the problem of
fiction. And
while they are interesting
enough in their own
right,and full of information, they are, after all,only a kind
of high-class
journalism.
The
journalism,
styleof Hugo is the styleof high-class
or
more
exactlythat of the clever parliamentarianof the
romantic
period.It is self-conscious and complacent. It is
sentimentallyeffusive where the occasion calls for pathos.
in the manner
of Dickens
It is given to rhetorical repetition
and
of De
rhetorical question in the manner
Quincey. It
is witty,
antithetical,bombastic, pathetic,
figurative,
oquent,
grandiland makes
an
English reader think of Macaulay
and
Carlyle and De Quincey and Frank Crane and Fra
Elbertus
all rolled into one.
And
it is that kind of style
which
has the effect,very often, of divertingattention from
the characters, the subject,on
the author
himself.
to
One
trick will serve
In
to illustrate the generalquality.
his concern
for dramatic
effect, Hugo indulges freelyin
the penchant for making his paragraphs very short, like
it
STYLE
HUGO'S
the successive
that each
of
utterances
61
who
actor
an
the
for
continuous
sure
of the
the
too
cessive
suc-
which
by
pauses
emotion
mannerism
This
be
to
indentations
in. The
utterance.
wants
strong
been
has
adopted
in America
fatalities
Still other
Is it
possiblefor Napoleon
And
no.
No.
On
of
It
The
the
time
was
balance
.
Napoleon
decided
was
He
was
ago
for this
excessive
.
this
century. Another
long
this
battle?
On
Wellington?
Waterloo,
at
had
Napoleon
had
events
arise.
vast
of
was
preparing,
evil will
itself.
to
man
this
of facts
series
the law
within
not
was
fall.
omit
destinydisturbed
in human
man
several
of this paragraph.]
sentences
been
answer,
account
no
announced
weight of
[Here I
had
We
of God.
account
nineteenth
in which
to
win
to
of
account
victor
Bonaparte
the
On
why?
Bliicher?
of
destined
were
denounced
in the
infinite,and
his fall
on.
in God's
Waterloo
is
not
[//genaitDieu.]
way.
a
of the
universe.
So
then
we
imply
his
was
that there
was
constructed
with
that
But
it is clear
philosophy.Whereas
a
view
to
side
one
series of dissertations
relation between
no
the
on
would
proving
the
a
whole
thesis.
on
to
seem
Hugo's story
that
an
and
story
Hugo
tells
what
explicitly
most
us
NOVEL
TWENTIETH-CENTURA
THE
62
was
Mis6-
rables":
The
is
nothing, from
end
one
under
the reader
which
book
to
the
be the interruptions,
may
forward
from evil to
the march
details, whatever
the failures,but
exceptionsand
good, from the
unjustto the just,the false to the true, from night to day, from
to the
appetiteto conscience, from decay to life,from bestiality
hell to heaven, from
of duty, from
sense
nothingnessto God.
Point
Goal:
A hydra at the bethe spirit.
of departure:matter.
ginning,
This
the end.
angel at
an
evolution
from
evil
"
"
man,
instruction
for
bread
liberty,equality,fraternity,
the
Edenizing of
This
the world
social progress
it
virtuous
Revolution
the devotion
But
had
and
of
Hugo
and
woman,
all, ideas
for
the
was
mission
political
the oppositionof
hence
Marius
been
for
all,
in short, Progress."
"
his frivolous
to
republic had
grandfather.The
sweetness
been
defended
of Marius
had
of the
the
publican
re-
monarchist
in
ushered
by
by Napoleon.
the
Hence
to
proved unworthy
substituted
die empire for the republic.Hence
the statement
of Hugo that Napoleon was
"in God's
way," and
the conversion
of Marius
ing
festerThe
to pure republicanism.
submerged tenth was the result of social conditions for
the monarchy was
which
partlyresponsible.Hugo points
out
Napoleon
that
the
abandonment
by the
old
of little children
monarchy.
was
bit of Bohemia
not
couraged
dis-
in the
PHILOSOPHY
SOCIAL
classes
lower
was
not
slaves
who
were
were
steals
him
turn
a
into
of
soul
is
if you
one
be
can
it is very
But
like
him
treat
which
goodness
criminal.
Every
one.
drawn
Christian
of the
and
of
that human
is the
to
be
realize
And
humanitarian.
humanitarian-
and
that
with
matter
him
philosophy,but
simple vehicle for
is considered
nature
figure of
romantic
to
is
merely
not
that
he
has
this
philosophy,
exclusivelyas
structed
con-
means
good bishop is in
proving a theory.The
ideal
the ideals
Hugo's humanina'ive.
sentimental, exaggerated, and
sentimental
his fable
is the
This
with
harmony
romanticism
on
Babbitt
artist,what
an
he has
that
down
so
is rather
tarianism
as
be
is
Hugo
Professor
as
But
in
most
is
"
that
not
may
ism
the way
Revolution.
It is clear
one
and
way,
has
man
that he
to
to
easy
is treated
if he
out
right.The
good,
higher
were
of bread
crust
in the
those
to
ularly
againsteducating the people. Particthere need of galley-slaves
to maintain
a fleet of
subjectto the capricesof the wind. And galleylike Jean Valjean,
recruited in part from men
who
criminals at all. Not every starvingman
not
spheres.They
boats
accommodation
an
was
63
Christian
virtue.
Long
every respect an
before one
has finished
the fourteen
and
which
character
has
to
do
human
Each
here
not
nature
with
the
as
of the characters
though
Fairbanks
he
adds
creation
to
that
author
is
art
whose
knows
type and
some
those
aim
it from
is
to
present
experience.
little more:
Jean
jean,
Val-
of the
qualitiesof a Douglas
already exemplified by the
turned
bishop; Famine, the loving, loyal woman,
by unjust social conditions; Javert,the
prostitute
tion of human
in its blind official phase;the
justice
Th"iar
diers, incarnation
tion
incarna-
ol the
of le rnauvais
political
spiritof
the
pauvre; Marius,
republic,etc.
into
incarna
VII
PHILOSOPHY:
I
F
VICTOR
afforded
and
by
of
decline
since
the
view
Hugo
is
These
two
relation
to
times.
men
the
the
different
of
dress
background,
and
Fraternit"J.
And
brand
of
own
moral
and
and
the
into
them
Wells
religiosity, he
men
are
disillusioned
into
merely
of
has
had,
makes
in
bridge
the
wears
have
very
much
into
fallen
the
Libert"-Egalit"-
certain
nothing
Hugo's
age
comparison,
he
that
So
terms.
more
Wells
radicals, and
comparison
into
brand
spirit exemplified
though
progress,
rhetorical
brought
not
while
respective
their
industry
the
in
position
philosophy
has
Wells.
G.
under
politics
Wells,
especially
in
run
and
Science
that
of
all
at
by
his
phases,
that
Valjean
Jean
bishop.
good
political
such
in
Christian
both
But
his.
Wells's
critical
H.
similar
has
sure,
to
than
thought
the
abatement
contemporary
novelist
of
and
Hugo,
prominence
greater
be
the
of
that
expect
obvious
somewhat
trend
to
from
of
the
something
similar
be
must
greater
occupy
water,
time
it
interest
general
Much
since
the
much
suffer
will
For
not
if
And
suffered
we
is
example
Wells.
G.
has
may
reconciling
of
striking
more
H.
day,
time?
of
WELLS
difficulty
novelist
Wells
by
Hugo
the
still
own
Mr.
unbiased
Victor
as
his
lapse
G.
contemporary
of
reputation
with
fiction,
our
reputation
a
illustrates
HUGO
philosophy
H.
as
fervid
may
it is
not
not
novelists.
it
is clear
interesting reading
65
continues
faith
in
unabated
express
unnatural
And
that
in
once
Victor
his
and
human
himself
to
in
bring
they
Hugo
are
is
speculative
that he is
phase,but
is
obvious
most
Wells's
BritlingSees
if with
which
novels
"
an
This
better story-teller.
infinitely
Hugo's we compare novels of Mr.
later
Clissold"
NOVEL
TWENTIETH-CENTURA
THE
66
life with
contemporary
Machiavelli," "Mr.
New
combine
of William
World
"The
of
realisticpresentation
interlardingsof
extensive
social
philosophy.
brief
of
review
(1926) will
clear what
make
of
World
"The
This
mean.
Clissold"
William
book
purports
be
into
the
life
being.Each
in each
the
up
William
book
from
slipsover
one
Clissold
the individual
abstract
to
case
"with his
of each
has been
Clissold,at the age of fifty-nine,
happy
devoted
and
discussion
of the
occupiesmore
in this book.
"Dickon"
touches
recounts
as
scientist. And
relations
than
The
an
on
briefly
nine
third book
reviews
the married
their activities
sections
an
life of the
two
during
the
real
into
a
a
comprised
advertisingman
him
with
which
religion,
and
of the sixteen
is taken
dining
this leads
of science
of
William
in the firstbook
Thus
theorizing.
design,
consideration
the bulk
and
Richard.
his brother
and
of
certain
recounts
World
imagination,
brothers, and
War.
But
the
as
subjectof the book is Dickon's ideas on advertising
of publicity,
the war, the reconstruction
a means
on
period,
and the period of debt-collectingrunning over
liam's
into Wilideas on
the same
The
contains
fifth book
subjects.
but is entirely
no
privatehistory,
occupiedwith an account
of the new
order which
is coming into being under
the
ods
auspicesof science and industry,and of educational methcalculated to produce an "adult mentality"in citizens
of the new
order. The sixth book is virtually
all devoted to
"
"
"THE
discussion
toward
sex
WORLD
the
indicate
Hugo's. In
of
the
matter
difference
CLISSOLD"
WILLIAM
review
This
OF
rightattitude
the
"William
of
between
67
Wells's
to
take
Clissold"
will
method
and
and what
philosophy,
issues
wanting in that direction upon
specialdramatic
which
makes
which
a
gives it suspense
story enthralling,
and
and
coherence
is perhaps
growing interest. There
about the same
proportionof story to general speculation
to
in
as
"Sartor
Resartus," and
the
story elements
are
persed
dis-
weave
material
all the
it,while
to
to, and
return
so,
read
these books
if you
care
fiction. Then
as
as
fascinating
you find them
you
this reinforcement
of background
to the story, with
material, and
interest. The
you have
been diluted
and
Of
more
"William
has been
move
Clissold"
diluted. There
is
reallyno
on
its own
one
it is
is
not
episodewhich
account
to
too
enough
is sufficiently
well developed
constitute
of in the briefest
is disposed
much
part of
story. The
possiblespace
so
as
to
story
make
68
THE
TWENTIETH-CENTURY
NOVEL
room
discussions; it appears
be
to
duced
intro-
in
as
the
novel. The
in
feature
of its
concreteness
Wells,
distinctive
most
pictureof life,and
period,is to give his
his later
of
those
days. It is
vacuous
conceal.
lot of
quite a
is
tendency of
story in sketchy
novel
the
outline, in
I suppose
This
makes
sort
dull
promiscuous love-making in
nothing
to
boast
of
and
nothing
to
I could
love very
long time I found no one
who
much, and I began to preferwomen
plainlydid not care
for me
who
brought a personal passion,
very greatlyto women
of
the
into
the
I was
or
one,
ready enough to
pretence
game.
admit
and
they were
charming
delightfulcreatures, but not
that they were
and
that I was
personally indispensable,
mented
torand
monstrous
fidelities
by yearnings, uncertainties
their
For
on
account.
love which
I had
began
manifestlyungenerous
affairs in which
feel
tolerance
for meretricious
thought revolting.But
once
absolutelymeretricious
love
to
love.
If I had
I should
I did
not
have
been
failed in
fail,so much
of
rarelycame
poor
some
man
of
paying was
to
and
these
there
was
the
quitethe same
thingas meretriciousness.
qualityof my life in the middle forties. Cut
in this fashion
aimless. But
that is
to
not
its
to
heart, it
was
friendless,loveless and
was
sive,
steady,extenkindly commerce
not
toil,much
interesting
fellowshipand
with
and
aesthetic gratifications,
pleasantmen
women,
fun,
deal
a
of
excitements,
incidental happiness in it. But
great
there was
dissatisfaction waiting for me
in the shadows
arid
NARRATIVE
SUMMARY
the
by. I
being
not
was
Here
have
we
over
Summaries
in
used
blanket
of this kind
in general terms,
description,
novel
any
which
of
are
passing
was
full.
the
to
Life
good enough.
not
was
of the
or
It
quiet moments.
69
that
over
course
undertakes
not
a
at
one
number
cover
of years.
occasionally
necessary
to
moment,
considerable
be
in
But
such
Wells
case
economies.
takes
but
meager
the saving he has made
For
parts which
are
advantage
ot
in summarizing
liam
love-making of WilClissold is not matched
by any adequate development
affairs which
the serious sentimental
are
reallyimportant
for his theme.
Immediately after the passage quoted
the
of
this
for those
time
they save
economy;
treated at length.
promiscuous and
he goes
on
Helen,
who
citizen
to
meretricious
account
an
so
necessary
of considerable
his
new
the
actress
independent female
social order.
This
relation
is
genious
delicacyand requiringpatientand indevelopment if it is to be convincing.It requires,
if nothing else, a certain extension
and
bulk, so that it
and leave a lasting
impression.But Mr. Wells,
may register
has little patienceleft for the
at this period of his writing,
one
love-stories called
much
occupied with
the effort of
to
of his novel; he
is
so
equal
important thingsthat he is unimagination necessary to give them
more
reality.
For
are
not
there
form
to
indeterminate
dogmatic
many
is one
enough
as
rules that
such, it is this: if
be
chronicled, it is
that of the
as
can
novel
be laid down.
there
But
if
episode is important
important enough to be
an
NOVEL
TWENTIETH-CENTURA
THE
7o
chronicled
Arnold
which
so
of it
greater than
much
of Wells.
are
It may
that the best of Mr. Wells's books
turn
out
of his Utopian
his realistic full-dress novels but some
and
romances
Verne.
forecasts in the
mechanical
such
In
stories the
of
may
privatehistoryof
trouble
interest. The
common
Jules
is
individuals
the
histories with
public movements
to do this tying up
difficult
then,
attempt
in
moreover,
in
comes,
his realistic
novels, with
very
And
of
manner
ment
importance; there is no occasion for the developthor
sentimental
episodes;the imagination of the aumatters
over
expatiatewithout let and hindrance
of little
of
Tale"
Wives'
Old
"The
of the novels
any
not
makes
to
to
in
convincing
this association
of
manner.
privatehistory
that are
it is the publicmovements
publicmovements,
ment
danger of dominating the outlook, to the great detri-
with
in
of what
With
writer
like Mr.
substitute
to
which
call fiction.
we
is
the
supposed
he reconciles
once
there
to
Wells, there is a
constant
himself
he
once
tion
disposi-
for the
story
lets himself
go,
role of story,
has a
in his rambling. He
the subordinate
to
is
inadequacyof
in
the
incidental
something
There
left
is
of
readers
what
the
to
no
to
and
story-telling
philosophy of
interest
is still
novels, there
be desired.
doubt
that
Mr.
William
the
Clissold
called
Wells
He
in
has
has
been
stimulated
phleteer
pammany
thought,
contemporary
catahimself, "a ferment,
a
PHILOSOPHY:
WELLS
71
tion,
lyticagent, a provocation/'He has brought into circulacial
or
kept in circulation, more
general ideas on the soorder than any English writer since Arnold.
But
he is
brilliant a pamphleteer as Voltaire
Swift or
not
or
so
France,
Anatole
has
Shaw
as
Chesterton
or
Mencken.
or
He
not
leadingarticles
has
in newspapers
and weekly reviews; and he
of editorial writers, the need
boil
excuse
to
the
not
the argument.
He does not seek with passionle mot
in that
juste.He is capable of writing banal sentences
down
of absent-mindedness
mood
Here
writers.
splendid vista
is
is that
that overtakes
all but
the greatest
a
description:"What
gracious and
of the Champs-Elysees,the finest,I
is characterization:
Here
"For
me
she
or
and
wonderful
the timbre
the
But
pages
at
outline
of her voice."
is the
worst
stretch
of die
in
long-windedness. One
"William
Clissold"
on
the
hundred
abstract
World
Clissold." UnQle
Ponderevo,
the
manufacturer
POLLY"
"MR.
AND
"TONO-BUNGAY"
73
rather
ingredientsnot too well mingled, if it seems
agglomerationof themes looselyheaped togetherthan
adequate development of a chosen theme, there can be
of
doubt,
at
of the
They
Polly"
"Mr.
is
not
main
motive
book
that
in the
which
in
offended
the
Old
"The
by
Baines
incident
is
in
the
item
on
in which
throws
tickets
nearlyso good
It is
It is
into
as
the
besides, his
important
an
time
ally
structur-
real person
than
even
on
is very important
and dramatic.
same
more
is
who
tense
the
Povey is a much
Polly,or Kipps, or
Mr.
or
the
Povey
window
person
at
shop,
important.Mr.
Parsons,
Mr.
refined; and
of
characterization
of
primarily humorous.
not
in
an
is reminiscent
It
more
is
window
appreciationof
is
it
decoratingthe
episodeis not
humor
Bennett's
There
seriously.
Tale"
and
the Parsons
Wives'
life. But
man's
Parsons, salesman
one
tickets."
the lack of
part of Mrs.
take
he insists
artistic "window
scene
historyof
need
we
discharged because
with
ing
mean-
introduces
amusing chapterin
is
no
like
of books
true
clearlyfiction,and
are
the
term.
this is
And
rate,
any
an
Uncle
than
Pon-
derevo.
Arnold
For
his
is reallynot
way.
But
not
does
He
he
seem
not
in his
has
has
Bennett
art
good
which
is
fundamental
not
shared
in characterization
knack
by
seriousness
in approachin
Mr.
Wells
except in
Wells.
a
superficial
a
hittingoff types, no doubt of that.
does not
get into the characters. Indeed, he does
to realize the importance of gettinginto them.
He
seem
to
have
of
envisagedthis
as
something
involved
marily
thinker
of
lured
Now,
of
methods
which
of
ter
But
idealistic
the
books
the
has
in
clear
the
history
form
they
of
rather
in
are
literature,
than
among
of
his
the
romantic
Fors-
Prophecy.
and
philosophical,
are
thought-provoking
and
novels,
place
the
in
Mr.
and
we
pamphlets,
essence
of
which
Fantasy
Wells
Mr.
but
types
of
mary
pri-
nature
realism
those
those
fiction\JJhe
human
entertaining
outward
that
of
of
ends
written
of
merely
headings
the
primary
of
vey
sur-
our
"md
philosophy
of
to
distinguish
to
proper
ends
the
in
But,
are.
of
study
even
under
he
the
not
true
fiction,
includes
while
be
is
call
is
is
it
ends
the
may
fiction
This
concrete.
we
they
carry
free
certainly
are
you
carry;
novel,
the
be
may
novel
the
make
to
whatever
mainly
what
^end
and
in
serve
serve
it
ends,
your
which
legitimate
make
can
serve
is
ceived
con-
philosophy.
his
it
people
which
by
means
has
he
mainly
And
themes.
as
suppose
you
it
those
novel
swallowing
whatever
make
social
on
the
into
NOVEL
TWENTIETH-CENTURA
THE
74
is
novelists.
among
might
well
as
that,
and
the
in
phleteers
pam-
VIII
imply
not
is
It
of
in
style
both
the
novel
the
method
is related
live
they
the
and
Hugo
of
question
which
on
of
say
against
element
philosophical
terms
to
prejudice
reference.
the
had
have
HAT
FRANCE
BARRES,
HORS-D'CEUVRES:
and
narrower
and
story-element
broader
the
the
which
by
It is also
together.
does
philosophical
of
the
to
Wells
Mr.
question
the
of
sense
word.
since
Ever
form,
we
there
has
call
may
works
"South
of
in
the
in
fiction,
and
of
often
not
of
extremely
thought
as
Consider,
Barr"s.
is
than
novels.
the
for
The
candidate
question
The
fiction
example,
very
for
class
Maurice
all
works
disparagement
no
And
themselves.
by
imply
to
may
duller
of
that
contain
they
more
contemporaries
is how
of
far
it may
be
in
garded
re-
proper.
Jardin
"Le
simple
in
Anatole
of
delicious
They
often
logues
dia-
Life
of
treatises
meant
not
meaty.
their
of
meat
Here
witty
Private
works
certainly
into
them
putting
the
most
"
counterparts
"The
and
scholastic
the
the
what
novels
development.
modern
belong
among
"hors-d'oeuvres"
term
regular-line
by
here
exquisite
are
form
is involved
meat
and
Troy";
the
their
of
of
form
Shandy";
Yellow,"
"Crome
the
of
stream
distinct
highly
succession
in
"Tristram
with
as
constant
main
the
and
These
Barr"s.
almost
hors-d'oeuvres
Peacock,
and
France,
constituted
was
an
outside
Wind,"
Helen
are
been
"Candide"
of
the
novel
literary
lying
belong
cast
the
story
membership
75
de
concerns
in
the
B"r"nice"
a
Chamber
(1891)
certain
of
lippe,
Phi-
Depu-
ties from
Midi,
Aries, and
B"r"nice,
symbolizesfor
who
NOVEL
TWENTIETH-CENTURY
THE
76
which
he
him
dreamy daughter
of
fascinatingand
the
loves, as well
the
ward
back-
various
unpractical
of spirit.
and antique qualities
tain
Being distressed by cerfeatures of her erotic life,he persuades her to marry
excellent philistine.
But this proves a mistake. B"r"nice
an
the conclusion
that he has
to
dies, and Philippe comes
in reference
to
misinterpretedthe will of the Unconscious
country
as
her.
October
one
warm
She
talks with
his
of her spirit
the appearance
to him
night in her garden at Aigues-Mortes.
with
ends
book
The
him
at
length,and
for having
some
thinking,pardoning him
in wishing to substitute
his notion
sets
him
right in
been
"a
trifle vulgar
of
for
correctness
there; but
am
Where
the
urge
wretched
that
depths.
you
must
am
from
aimed
having
In order
...
fail
not
sometimes
ones:
to
Think
is death.
not,
there
too
animate
is in
well,
them
too,
such
of
an
satisfy
your
keep in touch
to
with
me,
with
me
all these
indifferently
or
rightaccording to
intention
of
givinga presentationof
manners
in
de-
BARRES
MAURICE
tail,a la Thackeray
Daudet,
or
77
nor
detailed
of
account
nor
processes,
of
even
her. The
book
is
of his attitude toward
representation
really,under a slightfictional form, the expositionof a
the
philosophyof life,an attitude of mind, in somewhat
symbolicalfashion of the "Vita Nuova."
So far from
wishing to disguisethe abstract character
does his best to bring it to the fore.
of the book, Barres
a
of sections
of the heads
Many
entitled
"Berenice's
sections
bearing the
is one
tendency.There
chapter
and
this
subdivided
is
into
Pedagogy,"
nice's
captions"Berenice's Method," "Bere-
Pleasures," "Berenice's
the duties
and
le
to
the scholastic
make
an
procedure." He
insists
this scholastic
on
of letters who
the coquetry of a man
is bored
of his day. So that if "The
the silly
World
story-telling
of William
the mask
under
to
with
method
with
And
of Berenice, I
order
desseche)in
Duties."
himself, "This
says
which
terms
this dialectical
underline
he
in
conceived
are
Clissold"
of
is
to
novel, "The
of
the mask
thought of
be
Garden
as
treatise under
of Berenice"
is
novel
treatise.
and
of "scene"
individual, and
action, Berenice
apart from
exists. She
exists
as
an
the
cannot
fail
to
which
you may
seductive.
find
hold
you
has
B"r"nice"
of
Garden
"The
NOVEL
TWENTIETH-CENTURA
THE
78
quality of poetry,
the
which
cannot
we
its
impressed with
"
of wit. In this it is at
it is
his work,
Like
of the novel.
that
brevity
in line with
the
pretensionsto
be
not
It has
no
is the soul
of Anatole
the work
with
one
brevitywhich
France.
regularevolution
ralistic
regarded as natu-
fiction.
And
with
so
Anatole
in
seriouslyis no
build
to
In
ambition
no
them
his choice
not
in their
finish them
he
of characters
entirety,
off.
highly selective
is
and
memories
scholars,
butt
of
boyhood.
own
is fond
He
his
And
and
humor
is of the
is fond
he
of any
one
provocative of
and
who
his
in
likes
on
of old
visionaries,absent-minded
antiquaries,
dreamers.
not
himself, and
concern
thingshuman
show
to
and
up
is
He
he has
classical
too
exhaustive
these
or
so,
spiritis
of naturalism.
document
human
frequentlydull
themselves
His
France.
men,
tric
eccen-
can
be
wit.
His
the
tionalism
ra-
of
type that revels in the superstitions
the Golden
Legend;
fantasy.He
resents
his
standards
any
the unfettered
hand
irony goes
in hand
with
of verisimilitude
his
which
out
Everywhere
as
and
in Anatole
it dominates
the story is
so
France
"Candide"
shaped
of the author,
to
turn
and
general
the "Tale
idea
of
to
as
the
nates,
domi-
Tub,"
the attitudes
it
were,
ANATOLE
demonstrate
FRANCE
theorem.
79
the
Perhaps
thing
guishes
distin-
which
stand
of human
superstitious,
and his fables
egotistical,
nature
as
irrational,sensual, and
gullible,
are
mainly a series of witty anecdotes
these traits. But
he holds
likewise
ideal of
an
to
and
never
society,
yet realized, and
in bookish
realized, but persisting
be
in the dreams
of
few
"humanists,"
and
reason
ideal of humane
never
and
tradition
ideals.
is wise
men
seldom
know
that such
characters, and
Monsieur
absent-minded,
and
impractical,
socialistic dreams
as
they are
the world
by
about
Sometimes,
theme
and
symmetry
in
its
the
convert
doctrine
of
there
is
in "L'lle
irony at
overwhelmed
futility,
vulgar animal behavior
is
in
conjunction of
favorable
of France
has the
in geometry.
reversal of roles
neat
of Love
the
"
with
ironic
the author
this appearance
des Pingouins" he
not
the expense
and
shapeliness
of
the
"
her
to
incidental
of
started
of formal
begins with
religionand ends
case
who
the monk
dissection
has
is the
Such
fallingconvert
courtezan
philosophers and
theology.Often, where
game,
Thus
accordinglyas
appears
ful
his beauticuckold. And
demonstration
"Thais," with
would
of
there
when
efficient
him.
fable, a book
of
he
air of
an
wave
on
Only
Bergeret
have
wave
are
his
he invents
of these
to
an
likely
most
professorBergeret as mouthpiece
enough
of
illustration
in
cendental
trans-
banquet
Christian
much
too
shapeliness.
istic
his rationalwith
bur-
realitythan
two
parts
the
not
are
sharp contrast
we
had
two
as
BERGERET
"MONSIEUR
people of
the
opposing
different
kinds
of
art
in the
Monsieur
camp.
associated
The
PARIS"
Bergeret, and
it is here
but
that
never
we
that the
So
they
it is
so
in
are
as
if
book, loosely
same
in the
81
ciled
reallyrecon-
life of
domestic
have
the
most
charming
those
most
have
"You
were
to
have
come
Pauline.
till
Bergeret.
got my letter?" said Zo".
"Yes," said Monsieur
Bergeret.
"You
Saturday/'said
Monsieur
one."
"No,
the other
"I've
only received
"There's
NOVEL
TWENTIETH-CENTURY
THE
8*
one."
another."
understanding one
no
here
one
this
that
seems
author
the
don't
Anatole
dog
intellectual
may
the
of
pretensions
such
his subtle
finds
And
in
feel certain
as
claim
men
of
then
we
that, at
for themselves
throwing doubt
his
of the
on
do
and
you
him.
And
which
so
had
he
his
dragging
off to seat himself sadlyon
there he stayedduring the
me?"
And,
belly in
bit of
perhaps he
taught him
as
with
sign
his backside,
whole
of
had
to
regards Monsieur
reproachfuleyes,
tempt
rudiments
offers him
master
And
master.
the
Riquet
the
humble
not
way
placeoverawed
earlier days,lessons
majestyof
Bergeret
ideas; but
men.
Bergeret
received, in his
our
not
religioussentiment. When
chicken, Riquet declines.
The
it
For
terms.
Bergeret in
being."It is true
intelligent
all of
motives
simply be
Monsieur
psychology
in agreement
with the Bewith which
the consistency
he attributes to
France
haviorists. And
his
the lower
Monsieur
with
an
is
and
conduct
all of his." I do
understand
bottom,
is
and
man
human
strictly
understand
doesn't
the
agrees
in
is described
dog
between
Everything in
world.
animal
of
distinctions
invidious
no
of
over
much
lowered
as
to
tail,
humility,he
by the door.
meal.
FRANCE
HORS-D'(EUVRES:
habits
of truculence
believes
He
from
and
and
of
of
state
savage
into
being.
is capable
primitivemind
raised
being
suited
more
this
that, in mankind,
of evolution
reasonable
derived
83
something
to
more
lieves
be-
He
characterize
may
fiction.
as
in method
Still,essentially,
and
this is
manner,
cal
classi-
author's
is
concern
of its incarnation.
than
slightnarrative
for gettingthe characters
philosophy. This is
Such
device
for
talking,a starting-point
hardly
There
is no
novel
Lucian,
than
much
Once
allow
of
stress
need
not
luck, is
an
effort
at
that
that dramatic
this is
and
meant
not
these matters.
about
worry
author
reallywitty,and
is
for
novel, and
Here,
by
good
rare
within
even,
we
marked
rarer
a dramatic
story-teller,
probably no greater proportionof
than
a
Rabelais.
Erasmus,
close-range
study of
lives in their particularity,
with
the strain and
passionately
sought personalinterests,which does
of fiction proper.
to give life to the characters
human
so
of
more
than
ever
Hazlitt.
or
as
fictional
Why
not
here
matter
accept such
we
witty
essayists?
And
veins
no
one
of these
need
complain
characters.
that there
It is
good
is
no
for once,
blood
in
in the
a
book
about
and
men
free
and
of
heat
When
the
one
heat
sticky
one
the
Of
sun."
and
the
"There
passion,
full
but
light
there
Only,
heat.
commentary
more
light
novelists.
than
light.
In
than
heat;
but
is
all
light.
light
it
than
is
light,
Hardy,
the
is
the
heat
France
There
one
be
white
pure
little
is
not
may
of
light
the
light,
intellect."
is
it:
on
This
but
sun,
The
distinguish.
fiction
For
the
is
Anatole
so
Dorothy
"Here
Of
The
gaiety.
cultivated
must
we
much
of
it
of
says,
full."
reading
reads
some
dry
feeling
or
one
and
one
here;
heat
is
light
of
and
pure
in
heat
more
When
best
that
us
Bourget
is
heat,
his
at
little
Paul
is
style
have
we
"Here
sun's
give
that
laundry."
the
sun,
is
burning
the
is
whose
not
reads
steam
Tolstoy
of
light
says:
of
writer
does
oneself,
to
"Here
says,
who
one
says
messiness
and
sweat
have
to
hysterics,
novels.
Canfield
NOVEL
women,
from
and
many
its
TWENTIETH-CENTURA
THE
84
and
life
there
the
the
is
case
life
specific
and
Fielding
hardly
of
reproduction
of
of
peculiarity
rather
character
there
Thackeray
heat
with
enough
Anatole
to
make
France.
fiction
is
than
is
is
heat
more
them
IX
HORS-D'CEUVRES:
of
quality
in
and
form
and
his
manner.
and
irony
the
turns
in
see
and
his
of
quality
Colonel
his
sister
and
Zo".
of
like
their
gallantry
for
and
they take, by
inhere
in
Such
There
dreams.
the
world's
and
nation
he
was
Jest,"
while
in
resources,
could
which
dying
in
be
ignorance
85
And
and
delight
paradoxes
stance.
circum-
and
in
Kennaston,
attempts
plundered
what
amorous
the
those
for
have
of
and
"He
of
of
Bergeret
writers
by
to
Bonnard
between
exploring
his
he
virtues.
effort
up
the
by
similarity
bare
Colombo.
Cristoforo
was
size
defenceless
and
the
lay
of
Musgrave
folly,
turned
ironies
least
human
of
nature
the
of
to
gard
re-
fanciful
too
episodes
hutnan
in
Sylvestre
these
with
turn,
it
Is
that
fondness
is the
the
of
by
whom
on
between
think
one
merely
times
at
persons
at
of
matters
are
genteel
relation
exposing
were
Cream
the
witty
they
of
is
narratives
some
of
kinsman
There
not
him
old-fashioned
of
makes
more
that
sort
traits
persuasion,
general
affection.
a
Bergeret?
Agatha
still
the
France
many
mind
to
suggests
amused
his
tastes,
his
even
and
embroidering
"The
business,
tenderness
wry
which
and
Musgrave
antiquarian
But
by
He
of
Monsieur
the
and
brings
with
novel
so
stands
who
Cabell,
them
he
humor
light
with
France
aims
importance.
Branch
traditional
shares
grace,
human
to
little
who
and
Barres,
the
to
distinguishing
the
is
heat,
James
relation
than
American
our
like
so
rather
again,
JIGHT,
CABELL
history
had
to
his
doubled
find
with
his
in
some
nity;
impu-
endeavors
had
to
achieved."
find the
discovered
NOVEL
TWENTIETH-CENTURY
THE
86
And
of
means
there
was
making
the alchemist
who, "seeking
had
life perpetual,
accidentally
gunpowder."
Cabell and
point out between
to
Barr"s, but to labor the point of similaritymight seem
writer. And
in the American
of originality
suggest a want
have few writers more
we
originalthan Cabell. His prose
most
styleis in itself a creation highly individual and of the utsupplenessand charm. Of that I have treated at length
in "The
Prose."
Outlook
for American
Again, he has
the greatest inventiveness
in adapting to his use
shown
does he take a plot
the matter
of medieval
Never
romance.
the origiincident ready-made. Never
trace
or
can
one
an
nal
of an
episode.But, deeply impregnated as he is with
and
romance
some
folklore, he has always ready to hand
incident
of necromancy,
some
typicalnotion of the folkwill
mind
to the working of fetish and
talisman, which
as
perfectlysymbolize the spiritualtransaction called for by
his theme.
Thus
he has invented
entire cyclesof imagtwo
inary
adventure, the cycles of Jurgen and Manuel,
pletely
comfurnished
with kings and queens,
with wizards and
creatures,
speaking birds, invisible
champions, monstrous
And
literal-minded
cloaks, and magic transformations.
sons
perhe has the pleasureof mystifyingwith learned
ence
referSimilarities
to
The
text
I could
and
invention
also
source.
what
is
important is the
meaning underlying each event, the systematic development
of a theme; and, above all,the perfection
with which
the author
has compounded
his diverse
elements
mance
roand rationality,
irony and idealism
reducing them
"
"
to
one
consistent
elixir,of characteristic
flavor and
virtue.
of his legendary
more
speaking now
particularly
tales like "Jurgen" (1919) and "Figures of Earth"
(1921).
He
has stories,too, dealing with "real" people, who
take
part in credible action in the contemporary
settingot old
Such
Cords
"The
of Vanity" (1909)
Virginia towns.
are
am
and
Rivet
"The
many
stories
all of
are
87
(1915).But in
piece with the pure
Neck'1
Grandfather's
in
these
ways
CABELL
BRANCH
JAMES
romances.
are
"
"
dead
he
woman
is "The
Rivet
loved.
The
most
in Grandfather's
Neck."
But
this story
china
about
a
even
from
time
it all
to
time
throughout
of
clingsto
In
how
and
scent
some
the
ideal and
magical, the
the
dreary
matter-of-
"misty midbook
of real and imaginary. This
region" or borderland
by a Mr. Harrowby, who has
begins with an introduction
his fortune
made
in cold-cream, and who
givesan air of
pedestrianauthenticityto Felix Kennaston, the deceased
Then
author.
we
pass directlyto mythical Storisende,
another
fact, interpenetrate
one
where
the
meet
we
lady of
the subtle
dreams.
From
clerk
thence
in
sort
of
Horvendile
we
return
and
Ettarre,
again to
field
Lich-
Like
commonplace world of Felix Kennaston.
marries
other commonplace people, Kennaston
and
goes
to whist
partiesand takes little satisfaction in "the world
and wont."
of use
But he has an artist's imagination,and
Storisende
the magic sigilof
from
has brought with him
and
the
Scoteia, with
this he
with
returns
the
which
at
immortal
he
will
induce
can
to
dreams.
the dream
Ettarre.
And
world
not
With
and
the aid of
communes
of that ideal
OF
CREAM
"THE
could
He
woman.
JEST"
THE
face
89
without
decision
no
and
temptation without
ing;
dodg-
lied,
he
compromise;
by instinct,at the threatened approach of discomfort or
and seraphim would
fellows' disapproval;
yet devils,men
no
in vain
it occurred
[And]
historyof
our
the
dearest. To
and
to
race,
thus
of
must
this
us
this
it is in
serve
his dream;
must
parody
and
which
what
fail in
he
are.
we
it evades
and
inadequate
so, must
that
being
the dream,
to
spire
con-
essentials,the
condemned,
seem
we
play false
all,we
For
.
in
historywas,
far.
.
of his
from
that his
me
service, and
dream's
one
him
dissuade
to
if
as
holds
Thus,
us,
and
into
restaurants,
"and
we
so
bed."
to
in
day
was
make
Thus
swings
them
come
through
pulse of
back
ideal and
true.
of Cabell
and
disillusion.
we
The
pendulum
the
visioned
"
figuresof
the
back
Of
NOVEL
TWENTIETH-CENTURY
THE
go
romance
are
the
dusty world
the
more
givingus
mirrors
like broken
of matter-of-fact.
the
realistic novels
one
which
perhaps''The
of
in the character
Neck."
The
theme
objectified
Colonel
Musgrave is the old South survivingprecariously
in times with which
it is out
of keeping.This gentleman
the material
the pride of family without
perity
prospreserves
of
consistency
and
usefulness
who
and
is
it support. He
preserves the old
out
and the old refinements, withthe old gallantry
which
honor
texture
once
or
gave
accomplishment. He
represents the
new
blood, the
content
It is
with
a
new
is married
wealth
and
to
girl
energy;
be
his
futility.
theme,
significant
and
the
flesh in
which
it is
has
"THE
loved
Anne
one.
middle
Patricia
and
Stapylton,
to
in
Then,
ravishingyoung
91
ture
happy. Gesage, Musgrave
wished
Charteris, and
number
NECK"
GRANDFATHER'S
IN
RIVET
her
see
venes,
interengaged to marry her. But a young man
capturing the imagination of Patricia; and on the
evening when Musgrave's engagement to Patricia is to be
made
by announcing magnanimously
public,the Colonel anticipates
becomes
the engagement
Gesture
number
two.
of Patricia
Tableau.
But
.
man
the Colonel.
Charteris
in
years pass
with
love
the young
but John
not
The
making love to
Musgrave'sown
garden? For life has
fallen
her young
man.
the noble gesture
Patricia marries
is
has
to
dull, and
grown
in
cia
Patri-
brilliant,unscrupulous
the
writer.
.
What
shall
do?
Musgrave
will
He
"
he
all costs,
has
to
loved
"
Anne
in order
to
Charteris
spare his
termine
and is de-
in her fool's
that
the
he
is the Colonel's
Musgraves! Tableau.
1 do
not
to
mean
theatrical in his
with
and
than
the cool
half-brother, illicitscion
own
handling of
precisionof
of
de theatre.
Coup
suggest for
moment
that Mr.
Cabell
is
this
or
sober colors of
common
life.Even
more
"The
Cords
of
TWENTIETH-CENTURY
THE
92
the
summer
ingenue
novelist,and
notes
her book
such
old hand,
an
as
industriously
as
NOVEL
before
that, and
at
he and
has
he has his
But one
ready for the printer.
enough. The comedy becomes
Townsend,
needing a rich wife,
is not
contretemps
hilarious
positively
when
heiress instead
and
won
Cabell
is much
acceptedhim
whose
man
she
because
passionin
one
his wealth.
not
It is clear
concerned
more
plausibility.
Of
course
standard
should
we
of realism
recentlytold
different
his
were
as
well
doubt
no
beauty.Only,
as
truth of "life"
he does not
artistic aims
is
so
much
to
judge him
from
that he
by
(1932),how
those of his
is in
temporaries.
con-
pursuitof
as
has
subscribe. He
Restless Heads"
"These
own
There
truth
which
to
in
us,
undertake
not
the
ture.
na-
or
representative
"general"truth, as Aristotle
calls it,the truth of
philosophical
poetry, which is "a more
and a more
serious thingthan history,
for poetry is chiefly
about generaltruth, historyabout particular."
conversant
In this contrast
of functions, fiction has mostly ranged
itself along with history,
since it has gone in for the particular,
in
the documentary. But Mr. Cabell has thrown
his lot with
the
poetry, which
goes in for the general,
Burton
It is this difference of aim
that Mr.
spiritual.
It is
Rascoe
has in mind
of
Cabell
of the term,
when
"Chivalry": "We
is
but
not
a
accept the
must
novelist in the
to
common
ceptance
ac-
soul."
CABELL
HORS-D'CEUVRES:
In
the
not
the
form
be,
and
still
his
of
that
journey.
the
Only,
ideal
of
in
he
holds
There
ilated
is
creating
while
the
Maid.
heat.
pale
figure
of
in
and
of
dreams.
And
diffused
the
the
we
only
have
light
is
garden
shines
to
in
the
fall
him,
the
not
of
illumination
they
the
pearly
back
as
of
do
ever
humanly
I
light
say,
of
moon.
radiance
his
light
but
sun,
Through
of
suing
puron
more
the
the
have
Latmos,
upon
And
world.
substance
material
of
him
thought.
his
dream
his
market,
corn
fails
never
forth
body
unassim-
of
Cabell
with
of
Endymion
an
Cynthia
this
to
events
have
in
Thus
his
so,
that
parody
must
poet's faculty
symbols
not
may
supernal
Indian
the
For
and
substance
a
question
any
Henchard
poetic
and
service,
and
dream;
his
serve
quate
inade-
dearest."
persons
these
must
us
dream's
never
the
Michael
than
the
myths
are
of
ideal
this
it is in
"For
variable
in-
same
visioned
the
between
forth
the
ever
the
into
but
space
form
stories.
his
of
shape
the
where
some-
the
naturally
takes
it follows
and
follows
has
Cabell
is
it may
elusiveness,
material
into
not
each
philosophy.
Such
Mr.
generally
and
back
line.
story
Poictesme,
that
fail
which
is
to
disillusioning compromise.
flesh
must
is
that
journey
cycle,
the
man's
every
And
realm
and
unbroken
and
times
else,
books
diversified
however
at
even
all
his
of
form
sired.
de-
be
to
before
him
in
The
which,
little
leaves
of
aware
substance.
shaded
simple
said
is
thought,
subtly
Cabell
Mr.
one
from
apart
of
form,
is what
Form
though
of
matter
93
his
every
moon
DOSTOEVSKI
PHILOSOPHY:
JL
philosophy,
the
Tolstoy
and
doubt
do
fine
partially
the
to
the
"Henry
the
of
comedy
of
Thackeray
what
it
against
in
him.
If
how
much
in
Like
It
is
but
which
with
has
manners
which
Trollope.
did
less would
of
normal
his
moral
of
that
think
like
the
have
an
of
think
us
inkling
stoy,
Tol-
of
cal
mysti-
strange
which
values
of
rabid
so
fanaticism
the
ing
vary-
command
Conrad
liked
human
of
Night"
makes
made
have
he
of
"Twelfth
eral
gen-
our
Tolstoy,
Tolstoy
not
of
no
only
corresponds
in
which
Dostoevski
Conrad
none
tales, is
Poe's
like
that
chology,
psylurid
of
sort
of
as
morbid
in
atmosphere
capable,
not
He
infidelity that
are
(1866)
and
Ivan
which,
have
taken
have
fallen
so
at
philosophy
of
much
have
from
victim
more
to
the
"Crime
been
virulently
Paissy.
94
at
often
so
the
in
religious.
root
about
murders
Punishment"
(1881).
western
scientific
is
and
Karamazov"
Karamazov
coming
of
bottom
the
stories
Brothers
"The
and
is
the
woven
kolnikov
Father
that
novelist
Dostoesvki.
which
by
is
Fourth."
Tolstoy's,
atheism
like
daylight
"Macbeth"
transvaluation
is felt
which,
great
books
his
In
Dostoevski.
to
specialist
all
creation,
He
or
was
is
common
of
tone
given
as
moral
systematized
him
is about
artistic
experience.
the
He
atmosphere
be
think
not
there
form
novel
must
Turgenev.
or
nightmare
the
palm
I
respects
many
or
in
dramatizing
OR
Both
infected
with
Europe,
seems
holy
materialism
Russia.
Ras-
that
to
They
described
DOSTOEVSKI
PHILOSOPHY:
"Remember,
unceasingly,that
man,
young
has become
world, which
95
in the
has, especially
great power,
down
have
have
only
nothing left of
analyzed the
their blindness
With
a
want
all that
parts
sacred
was
to
learned
in
us
of this
of old. But
they
overlooked
and
of this
the science
deed
in-
is marvellous."
with
is associated
believe
they
be
to
are
with
accordance
In
have
Karamazov
Ivan
ideal of the
he
man-god,
commit
must
in "Crime
he
into that of
ordinaryslavish humans
like Napoleon. Incidentallyhe has
spirits
class of
to
cannot
put
the crime.
his
even
pursue
of the way
out
good
act
in itself
"
is in
He
mean
and
himself
prove
murder.
Only by
can
extreme
and
Nietzschean
ment,"
Punish-
such
to
deliberation
and
Raskolnikov
for themselves
erected
that, in order
in all coolness
blood
logic,both
Raskolnikov,
overman.
believes
this
shedding
rise from
the
poverty,
that he
so
and
"
he
will be
able
to
save
to
a
his sister
mind,
himself
and
fails
to
his
secure
obliged to
murder
person, who
does
victim's
the old
not
deserve
he finds
money;
woman's
sister,an excellent
to
be
put
out
of the
"CRIME
PUNISHMENT"
AND
97
isolation of
impossibleto bear the spiritual
he was
crime, and how, accordingly,
brought to the point
his spiritual
where
regenerationmight begin.
I cannot
experienceof this
imagine how a psychological
in draworked
matic
out
satisfactorily
magnitude could be more
affair up to the Epilogue involves
whole
form. The
the half a dozen
but nine days, if we
count
out
days of
it
found
man
the
days
preparationfor
days leading up
of
six
and
of these
Each
of
obliviousness
mere
days
the confession
to
is crowded
with
of Raskolnikov.
with
confronted
situation.
During
they are
with
the three
embodied
and
states
of mind
always those of a
problem; they are
present urgent
is the
states
never
almost
are
always provoked by
almost
experiencesof
the
concerned
But
They
presentedabstractly.
man
surrender.
everywhere
are
we
of mind
and
confrontations.
dramatic
What
two
the
exhaustion:
and
sickness
in
dramatic
is
nature
of
not
for
disillusioned
Marmeladov's
these
daughter
thingsin
his unconscious
need
The
is
to
is urgentlyforced
upon
is rendered
fencingwith
his crime
in
humanity
are
with
mind
reverberation
is
him
in
scene
scene
Above
justice.
off from
developedin great
in the abstract.
and
situation
after
the
mare
sweet
to
riage
degradingmar-
the immediate
letter. After
the officers of
cuttinghim
by
of
vividlyobjectified
beats his
that he conceives
in his mother's
discovery
The
something
not
Sonia.
of
It
vealed
re-
fear of
desperate
all,the effects of
intercourse
of
would
take much
and
the
at
long to
too
point is
plot.The
NOVEL
TWENTIETH-CENTURA
THE
g8
that
time
same
have
we
set
here
of the
turns
highlycomplicated
playing
plot,all devised for dis-
close-knit
of
is the
which
The
both
each
case
of Ivan
wishes
the
the
he has used
in the
for miserable
man's
for
Raskolnikov
He
nothing
noble
mean
and
him.
Raskolnikov
Raskolnikov's
into
comes
religiousposition;
Ivan
corruptedby
about
sensual
or
soul
And
false
theft, but
phy.
philosothere
pictureof
whose
what
weakness
he
story because
seems
therefore
is for
thinks
always to
is
to
theories
his
Svidrigailovknows
has
theme
he has been
him
that
certain
the
involve
vilest
Raskolnikov
moral
be in his
might
of
is
the
now
serves
Raskolnikov
to
present
Raskolnikov
women.
is
is,on the
Svidrigailov
is on the side of pride.
of great trouble
Raskolnikov's
to
sister,and
wishes to marry
her. But the main
that he
purpose
developing the
in
Karamazov
cause
in
found
pro-
it is Svidrigailov.
murder
committed
has
what
sensuality,
side of
He
is
the
in
shadowing forth
he has provided
manity.
hu-
But
it himself.
device
same
unfaith
an
Karamazov.
understand
to
man
to
understand
to
us
uglinessimplied
wishes
liable
more
sympathy
thing is true
same
moral
all the
of his
measure
Dostoevski
cases
he
him
makes
nature
in
abhors
the
person
rigailov;
Svid-
vile.
murderer,
But
and
"THE
KARAMAZOV"
BROTHERS
tion
for Raskolnikov.
It is
were
perpetuallythere
to
99
if another
as
him
remind
vile he is.
how
pendent
is a complete and indeSvidrigai'lov
character, with his own
way
historyand his own
of solvinghis problem
in his case, as in that of SmerdyaDostoevski
it is not
kov, it is by suicide. And, moreover,
who
tells us that he has this kind of symbolicalrelation to
The
best of it is that
"
Raskolnikov.
draw
We
prompting by
the author.
factor in
expiation,this
the
that
that if
So
is an
Svidrigai'lov
driving Raskolnikov
is but
theme
philosophical
confession
to
reminder
another
the
without
conclusion
of how
portant
im-
and
completely
dramatized
is in this novel
least
in the
story.
The
to
on
theme
of "The
that of "Crime
more
Brothers
and
sides than
is very similar
Karamazov"
Punishment."
in the other
Only,
book.
Instead
have
we
it is
developed
of the
three
one
brothers,
each
attitude toward
the fundamental
a different
typifying
is first
spiritual
question,a different state of grace. There
Ivan, who has been so impressed with the senselessness and
life that he rejects
who
has so
the God
crueltyof human
and
ordered
the true
things.There is,at the other extreme,
simple believer, Alyosha, whose mind and life are penetrated
with the good in which
between
the
he trusts. And
two
is Dmitri,
without
his
and
climax
at
heart
believer
but
one
in whom,
almost
the
father.
He
comes
with
knows
he
his
is
not
murder
of
actuallyguilty of
this
arrest
for the
ther's
crime; but he realizes that in his heart he did wish his fadeath; he regardshimself as a thief and a despicable
NOVEL
TWENTIETH-CENTURA
THE
ioo
by
pride he had is completely broken down
he
the grilling
he is put through by the policeofficers.And
if he is condemned.
begins to feel that it does not matter
What
worm.
Like
so
of the
I have
persuaded
he begins to look
the expiationof a
and
suffering,
commit.
not
indication
no
of
the
complicatedevents
here shows
up the plotof this book. Dostoevski
osity
of the great masters
in the art of arousingcuri-
one
and
is
characters, he
of his salvation, to
means
given
make
himself
back
the
as
he did
which
of
salutarypower
forward,
crime
of Dostoevski's
many
He
maintaining suspense.
his main
facts and
"release"
how
knows
them
at
to
just the
keep
right
art
as
novelist. He
which
he holds
has, at any
rate,
cal
philosophi-
in all
in common
with
sincerity
a good many
people.And the important thing for us is that
he has succeeded
in bodying it forth magnificently
in terms
of individual
character,speech,and action.
Alyosha alone is a great dramatic creation, a personality
of radiant beauty whom
he has succeeded
in making thoroughly
and whose
plausible,
simple goings back and forth
system
among
way
who
He
the hideous
of life
worthy
understands
knows
circumstances
how
of
the
to
our
human
deal with
complex," which
most
heart
without
in Russia
seems
to
despisingit.
as
have
an
ority
"inferi-
raged with
DOSTOEVSKI
PHILOSOPHY:
particularvirulence
has
He
101
novel, "Bystander
genius for gettingalong with children,
"
witness
Gorki's
recent
he
if they were
as
always treats precisely
grown-ups,
be worth while
It would
and therebywins their confidence.
acter.
studyingin great detail Dostoevski's handling of this charFor in it he has accomplishedthat well-nighimpossible
feat of making goodness as real and as interesting
as
whom
evil.
tion
it is the story of Dmitri
that givesthe best illustraof how
Dostoevski
a thesis in moral
phy.
philosoobjectifies
But
It is he
is driven
who
by
his
himself
in
undisciplinedpassions,
his self-contempt,
and his unsettlement
of spirit,
to a series
of rash and scandalous
which
in his being
culminate
acts
of murder.
of
convicted
It is he who, under
the grilling
the policeofficers,
down
has his pride so broken
that he is
serious state
brought at length to a penitentand spiritually
of mind. It is he who, through the love and faith of Alyosha
and
and his determina
Grushenka, is supported in his self-respect
to
His
of grace.
that of Raskolnikov.
The
is very similar to
is that Dmitri, never
case
corrupted by
restored
is carried
to
much
in the
include
own
maintain
Brothers
of
cases
point in
Karamazov"
of the
than
been
so
Raskolnikov,
So
that his
is
of fiction. And
Alyosha
and
ference
dif-
thoroughly
more
ily
read-
spiritual
history
that of Raskolnikov
objectivemanner
the variant
different
as
rightmind.
farther
state
having
false doctrines
his
"
and
then, if
Ivan, each
at
ways
alwe
his
of grace, we
that "The
see
remarkable
tion
illustrastill more
the road
is
of dramatizingphilosophy.
possibility
I might have chosen
Of course,
Tolstoy to illustrate this
Or
I might have
chosen
possibility.
Turgenev or Gorki,
connoisseurs
writers whom
regard more
highly than
many
It is certain that they are
Dostoevski.
plainerrealists than
he, more
simply presentinglife under its familiar aspects,
less given to warping it in the direction of their moral
dilectio
prefor choosing Dostoevski
is twofold.
My reason
In
first
the
then
builder
of
the
of
is
objectifying
showing
And
this
how
And
plot
in
being
philosophy
He
the
so,
in
In
is
one
is
the
he
and
is
story
he
is
positive
of
fiction.
in
several
the
great
obvious
most
means
remarkable
most
the
writer,
case
the
and
plain
any
of
form
the
dramatic
"dramatic."
of
examples
out
more
theme.
story-tellers,
word.
much
word
plots.
better
gives
worked
system
he
of
senses
he
place
philosophical
And
NOVEL
TWENTIETH-CENTURA
THE
102
simple
best
one
may
go
of
of
sense
to
hand
sian
Rusthat
for
choose
in
hand.
XI
PHILOSOPHY:
BEFORE
wish
to
have
undertaken
who
mention
stands
other
two
in
such
prevail
this
in
It is
to
who
Russia,
first Zola,
Dostoevski
in
Zola
that
of
purport
materialistic
novel,
And
science
to
whole
the
of
line.
contrast
assumptions.
make
philosophical
outside
men,
marked
hop_e_of mankind,jand
is to
the
of
subject
large things
fundamental
the
the
leaving
MANN
THOMAS
ZOLA,
his
looks
writing
his
social
of
interpretation
as
phenomena.
His
"Lourdes"
which
of
return
a
had
he
the
challenge
give
by
bringing
in
Our
her
all this, he
horrors,
which
for
his
But
the
Marie.
has
young
Pierre
the
city
the
in
of
with
of
whom
to
of
the
and
with
with
hypocrisies
has
He
chosen
de
from
physicians regard
gin
Vir-
sufferings,
Marie
woman,
helpless cripple
modern
same
the
1858. Along
year
mass-view
young
the
at
dertakes
un-
typical
pilgrimage,
sudr-pilgrimages.
a
the
while
jvas
he
novel
one
Lourdes,
in
work
been
most
his
of
his
pieties, enthusiasms,
"nervous
for
of
in
Arid
the
This
world.
simple sheep-girl
character
central
the
though
to
associated
who
saint,
of
first appearance
wishes
hisjowji Hfetime,
modern
account
Lady
the
on
heroisms,
are
the
tation
manifes-
prodigious
within
to
history
especial emphasis
made
witnessed
detailed
of
study
^Ta^sTalionalismL
wrought
cures
is
supernatural
.tp_
to
time
(1894)
Guer-
girlhood,
her
tially
essen-
as
case."
register of impressions
Abb6
has
Pierre,
ceased
to
who
be
103
has
a
he
long
has
chosen
been
believer,
but
in
love
he
tic,
skepwith
goes
to
PHILOSOPHY:
of other
dozens
or
ZOLA
creations
105
tiously
less ambi-
in novels
of Zola
conceived.
Of
I do
course
series
Macquart
taken
as
not
mean
not
was
whole, it is not
philosophy.Many
an
of the
to
of social
impressivemonument
individual
of
novels
series
the
velop
like other novels, and desubjects,
and
them
with art and imagination."L'Assommoir"
"Nana"
skilful and moving
the most
are
certainlyamong
read. Only I do not
regard
piecesof fiction I have ever
moir"
them
as
philosophicalnovels. The
subject of "L'Assom(1878)is clearlystated in Zola's preface:
their
have
I have
themes,
wished
family in
the
ties,the obscenities
feelings,and
simply moral
theme.
and
of
idleness
follow
the
promiscuity,
But
develop
Zola
(1880) is
"Nana"
each
these
novel; and
what
is
there
case,
another
is in the
too
wise
an
artist
implicationswithin
we
and
shame
of honest
death.
It
in action.
causes
In
loss
progressive
working-class
faubourgs. In the
relaxing of family
subjectof
same
of
to
of drunkenness
wake
is
or
have
followingin
the
the ruin
and
is in
wake
one
to
background
blame
like
for the
limits
that he
of
the
ditions
con-
and
Coupeau
suppose
the
case
aspect of the
can
single
of alcoholism
and
idleness, in
of fortunes attendingon
dissipation
lust. These
subjectsare boldly conceived, conscientiously
studied, and most
tural
humanly presented.The greatest strucskill is shown
in organizingthe material
around
a
series of occasions which
follow out a plan of scenical narrativey^Considered
better
purely as novels, they are much
than books like "Lourdes"
and "V"rit""
work
(1902).And
for this may
be that they are
much
one
reason
so
more
to
purely works of the imagination,that they undertake
the other
carry
make
theory.The others
impressionof being doctrinaire,
of social
load
smaller
much
NOVEL
TWENTIETH-CENTURY
THE
io6
by comparison the
and
show
us
of
whole, Zola
making
serves
to
So that, on the
masterpieces.
once
again the difficultiesof
philosophy.
favor
in
prepossession
every
"Buddenbrooks,"
"Death
of its author.
in Venice/'
Books
"Tristan"
had
like
made
novelists
perhaps that one of ^living
suited my personaltaste in qualityand
who
most
perfectly
Above
method.
all, "Buddenbrooks"
(1903),with its epic
of life through several generain the representation
tions,
sweep
of family life among
the
its authoritative
treatment
of Mr. Galsworthy,
to the work
so
parallel
wealthy "bourgeoisie,"
but having to my seeming so much
more
depth and
me
think
mass
It
that he
and
resonance.
was
of Thomas
represent
to
was
Mann
myself what
American
in contemporary
of
but that one
word
no
I
it
was
thought
when
that seemed
I wished
to
to
lacking
me
can
find
strictly
European connotations,
1 do not refer to that entitywhich it is
"soul" (dme, Seele).
of religionto save
the function
immortally,and I am far
Mann
Thomas
is not
from
a
meaning sentimentality.
in sentimental
characters,and still
specializes
in a sentimental
I
less does he interpretthem
way. What
have in mind
simplyquality
perhapsbe denominated
may
the part of the author
in personalexperience,
the sense
on
itself. It is this which
of value in personality
giveswhat I
called resonance,
which
have
gives depth and a kind of
writer
who
bloom
to
the work
of Continental
writers such
as
do
not
MANN
PHILOSOPHY:
often
characterize
107
in
present-daynovelists
England,
and
stillless in America.
This
find
qualityI
whatever
any French
in the scale of
his rank
in Andre
Russian
age, in
of
writers
"Cement."
In
find
not
Hugh
clever and
what
who
any
There
is
interest
who
the
not
to
seem
most
me
are
writer.
times
some-
it. They
European
for
are
the
end, sophisticated
as
no
in and
personality
Anderson
is Sherwood
substitute
suggestion of
least
of value
know
not
how
fiction of
to
comes
course
there
in
"Winesburg
are
that somehow,
than
we
with
Thomas
Mann
were;
account
qualitywhich
so
exceptions.
Ohio"
for the
or
temporary
con-
our
formerly there in
Melville, Howells, James), unless
plenty(witnessHawthorne,
infected
most
Gira").Al-
White."
"Poor
cruder
Pirandello
sun,
writers, in Ham-
sentimental
inventive
and
sense
to
I do
have
they do
that
natural
"Si
and
Pascal"
of
I find
writers
smart
devil, but
and
it in Aldous
American
those
with
author
Gladkov,
it in Scandinavian
like Maurice
Walpole
it. The
I find it in
Gide.
Lagerlof,in SigridUndset.
in writers
And
find
I
"greatness."
highestdegree in
in "II fu Mattia
invariablyI
I do
Soviet
find it in
ItalyI
(forexample
in
the
tinction
of dis-
writer
in almost
was
moment,
else that
we
have
we
English utilitarianism.
is the author
who
are
and
younger
been
too
strongly
that may
be,
stands in my mind
However
most
live?
In
There
"Buddenbrooks"
is
no
that
philosophyto
be
is all he
found
undertakes
there,
at
least
to
on
do.
the
io8
THE
TWENTIETH-CENTURY
surface. The
NOVEL
book
rise
theory of cyclical
imply some
organism. At any rate, there is no
tain"
philosophical
speculation.But "The
Magic Mounis as full of philosophyas it can
is page on
hold. There
of expositionof scientific matters
bryology.
physiology,em-
may
fall in the social
and
overt
page
"
There
of
matters
so
much
hundreds
discussion
of pages of overt
social. And
there is,not quite
political,
religious,
on
are
the
The
central
theme
of the book,
retreat
into
found
to
The
be
will
feature
leadingcharacter
engineer from
career,
is a
Hamburg.
back
of
reality
on
speculation,or,
the author
must
wise
other-
have
of pre-war
certain Hans
Before
he will make
rightlyunderstand
one's
death, which
to
dominant
if I
turn
ivory tower
some
phrased,that
who
ing
involv-
elusive theme
mentality.
a young
(^astorp,
startingout on his professional
three weeks'
visit with
cousin
is
famous
at
a
taking a temporary cure
hospitalfor
consumptives at Davos Platz. So great is the power of suggestion,
that Hans
has
his
three
not
even
out
Castorp
stayed
weeks
before
he
down
comes
at
The
to
with
have
cold, and
bad
certain
before
is condemned
to
several months'
the sanatorium.
the
months
extend
selves
them-
years. He
gets the habit of this invalid life; he
loses touch with the world
down
below; he gets absorbed
to
in
the
endless
business
of
lectually
intel"balancing his accounts"
and spiritually;
and it comes
to pass that he loses
track entirely
of that time by which
ure
ordinarymortals meastheir experiences.
As a matter
of fact,he has been there
of the World
seven
seven
in
sleepers
the
his
Magic
War.
long sleep.He
Mountain
roused
This
is
at
one
event
of the
last
by
the
Magic
the
thunder-stroke.
And
what
was
he
doing
all those
years
in
"THE
Mountain?
He
MAGIC
MOUNTAIN"
109
in excellent
blankets
himself
expert skill. He
with
which
he had
learned
to
wind
about
eatingfive heartymeals a
day at the well-providedtable, and recordinghis temperature
times a day. He was
his
for
love
seven
ried
a marnursing
lady with Asiatic eyes and cheek-bones, with ill-kept
and a beautiful skin, who had the habit of slamming
finger-nails
the glassdoor every time she came
into the diningwas
room.
above
But
all,he
was
helped by several
and
personalities
striking
swayed his mind.
he
was
In this
"balancinghis accounts."
three men
of
men
interesting
decided opinions,who alternately
"
The
from
descendant
tuberculosis,
of
and
patriots
Settembrini,
Freemason,
rebels, a believer
an
Italian suffering
humanist,
in the
the
Reason
of an
eighteenth-centuryEnlightenment, member
''International
League for Organizing Progress."Another
is Herr
Naphta. He is by origin a Jew, a Catholic and
education.
and
believes in the
He
Jesuit by conversion
of
the
in our
of the proletariat
time
as the best means
dictatorship
souls. He
has a
for bringing about
the salvation of men's
great theoretical contempt for the body, and is inclined to
of the Inquisition
of torture
defend the methods
as a means
from tuberculosis.
of purifyingthe spirit.
He too is suffering
Herr
and,
Naphta is a subtle and persuasivereasoner,
like Herr
Settembrini, is fond of arguing and
making
termina
And
converts.
they often engage in passionateand inrefrains conscientiously
Mann
debates. Thomas
from
interveningin these combats, and the reader is left
to
of the
how
disputants.But
the balance
is very
cult of
far he agrees
in
one
matter
with
he
this
much
opposed to
and
suffering
death. He
what
to
seems
Herr
he considers
that
or
one
weight
brini
Settem-
Naphta's
action; and
THE
no
if he
TWENTIETH-CENTURY
NOVEL
consulted, Castorpwould
were
his idle,self-indulgent
ways.
illness is self-induced,and
to
return
the lower
to
Neither
He
long ago
that he
think
to
seems
would
have
do
given up
Castorp's
much
better
world.
Settembrini
woman
he has been
perhaps of
Love
nor
which
The
he is
above
freightof
cowardice
and
morbidity,perhaps of
evidentlymeant
outline
will
serve
to
to
the
symbolize.
show
what
an
enormous
abstract
in Dostoevski, less
"Writ"."
than
even
in Zola's "Lourdes"
or
The
mouthpiece
inventinga
of
an
idea
"
character
as
we
may
who
shall be
say of Marie
the
mere
de
Guer-
IMAGINATION
CREATIVE
saint and
the Abb"
major
minor
has
or
his
not
Pierre. There
characters
he has
not
who
Magic Mountain"
and
unforgettable personality
them
imagined
to
habitats, as
head
with
nurse,
is something
of
in favor
not
at
the
of
in
patientor
mingled suspicion,indignation,and
who
one
he
that
be
must
be such
Fraulein
So when
cold in
mere
he
has
place,if only by
her
way
and
is that?"
by
such
your
age. And
We
have
no
now
call
are
see
air of
same
superiorityon any
that air of suggesting
thinks
tuberculosis
to
conies
there
can
sanatorium.
Hans
see
puts him
soon
torp,
Casin his
of
sort
up
of
here
cousin
your
then?
come
of the
the
either
cold
questions.
you
speak
with
asking, "What
colds? Didn't
you
to
of
the attention
if he
cold, she
further
her
"Do
"
Mylendonk
von
says
he
and
cold
of his mind
out
thing as
has
he
announces
in to
lungs is worth
doctor, and they all look
rough spot
ugly
he has
Castorp because
Hans
the
is called
sty, who
enormous
we
may
crispand
of speech.There
is the
say, their idiosyncrasies
of Fraulein
von
Mylendonk,
alarming manner
the
of the
singleone
and
in their looks
of "The
unmistakable
own
begin with,
To
is
in
also often
Twenty-four.
here
and
have
It goes
catch
with
cold
.
cold, honored
?
.
manchild;
of the
there
people down
dable,
von
unten)." She had a formi(das ist so ein Schnickschnack
of utteringthis word
Schnickschnack.
a frighteningway
ot laryngitis,
have
I agree to that;
beautiful case
the most
"You
the naked
clear
But
that
is perfectly
to
laryngitis
eye.
that
is
simply
some
nonsense
doesn't
one
is
before
come
trom
chill; it
and
susceptible;
us
benign
the
infection
comes
from
an
infection
to
which
else is Schnickschnack.
leans more
your susceptibility
and looked
close with
at him
It
...
towards
her
is
possibleindeed that
the benign," she said,
ugly sty, he
knew
not
how.
DETAIL
OBJECTIVE
the details of the
There
history.
113
certain
are
of person
features
and
than
more
the lecture
hand
and
It
arm
look
must
one
it in
the neck
have
defects,
there
glass.No,
not
or
if
as
perfectlyclean,
and
be
mouth,
wry
hand,
and
about
what
which
an
opposed
was
head, and
which
thinner
was
that
so
would
the
and
too,
so
there
Hans
far
as
could
Castorp went
Chauchat's
arm.
bent
arm
How
was
on
at
the
off
were
gnawed
was
Castorp made
Chauchat's
through
his head
bourgeois resistances
of love.
round
More
.
behind
her
the
lightestgauze it was,
and
misty luminosity,
certain
if it had
time
same
knuckles
Madame
working
less attractive
been
covering.It
cool
the
clearlyhave
without
to
therebytook
arm
said of the
had
scarcelyclothed, for
was
than
to
half-thought went
this soft
arm,
nails
that. Hans
about
study
under
magnifying
aristocratic about
her
the
her
eyes-
to, and
cut
finger-nails
whether
stayedriveted
themselves
the
the
around
doubt
Krokowski
Dr.
with
sure
skin
the
beautiful
be
even
no
them
certainlynothing
was
not
had
by
one's
to
wanted
one
one
close
so
that
so
blouse."
of her white
hand
that
it whether
at
anyhow"one
forward,
Castorp is greatlydistracted
goes on
her back hair.
as she fusses with
oppressiveto
was
above
out
shoved
was
tender
been
and
entirely
plump"
that arm
cerned,
conwas
judge.Where
sistances.
certainlybe no question of bourgeois recould
one
on
dreaming,
women
with
dressed!
on
Frau
They displayedthis
and
and
to
liberateness
their way
understood
about
It
that
did
all
was
made
women
the world,
over
above-board
that
it
was,
and
hardly
you
but
life
that
de-
desirable
themselves
deliberate
with
arms
God,
passionatedesire. Good
beautiful
preciselybecause of
dressing"for
and
they
which
with
of
our
arouse
beautiful.
was
they brightenedtheir
bosom,
And
transparent gauze
in order
NOVEL
TWENTIETH-CENTURY
THE
ii4
so
even
by
generally
thought
Oh
men.
that she
let it
yes!But
capableof
not
was
if the
what
lady had
motherhood"what
in wearing sleeves
any sense
bodies" their diseased bodies?
and
ought
The
to
be considered
minute
most
in Mann
with
the
stopping on
him
superiorto
counterpart,
any one
moir."
the
of
our
Mr.
in my
I
"
not
Dreiser
"
admiration
scene
or
character, and
be forbidden
things.In
to speak
and
that
no
by
are
we
sense,
law.
never
yielding to
performances like
of that
there
is consistent
that
assurance
for
speaking now
objectivedetail is made
am
and
Was
so
\lesirous of their
men
documentation
confident
of
then?
obviously made
That
material
Zola
make
to
indecent
surface
organic disease,
some
"L'Assom-
which
infallibly
the individual
to render
quality
translates itself directly
into what
art
by
may
call
The
"close-up."
that
too
much
was
classic French
made
of Frau
naturalist would
Chauchat's
hand
consider
and
arm,
PERSONALITY
HUMANE
115
they should
have
been
left
to
"
"
Mann
is one
his time
and
That
of those
objectivedetail
is
He
is
beneath
he reveals
much
is almost
are
as
and
Once
if he did
sets
them
like persons,
All this means
on
spiteof
they
But
he could
and
details.
"
nation.
subjectivediscrimiof
much
he is so
writer
of
mass
himself.
all stand
he
their feet
take
because
ing
that animatappearance
human
being something
of each
this in
to
directions
two
humane
and
differentiated
in
in that of
external
representative
types
scheme.
philosophical
he
apparently small
scientist,and
"
his
act
than
more
of
profound
every
makes
which
essence
of
much
so
philosopher.He
so
much
afford
can
he is so substantial, and
is because
in that of
make
to
writers who
rare
cannot
as
not
protoplasm.It
His
for
something
leave
persons,
stop them
characters
them
there.
they begin
if he
in
to
would.
none
of the
most
He
much
creative
of
the
smartness
that
interesting
contemporary
characterizes
so
fiction in the
Englishlanguage.He
to
seems
have
in his power
confidence
more
NOVEL
TWENTIETH-CENTURY
THE
n6
more
to
ject,
faith in his sub-
out
get his effects with-
Babbitts,
than
more
are
or
more
than
musical
motifs
in
counterpoint.
philosophical
which
He has that supersophistication
brings the wisest
is
back
the conception of value. Thomas
Mann
to
men
conscious
of those
perhaps in our day the novelist most
mathematicians
which
and physicists
essences
our
spiritual
and materialistic
are
laboringto bring back to a mechanical
well as any one
what
frail wisps and
world. He knows
as
the shoreless tides of destiny.
But he thinks
are
on
motes
we
is "humanist"
less of us for that. He
no
enough to realize
that values
all there is
Hans
ideal entities,and
are
to
furnish
Castorphe
bewildered
of
German
means
intellectual
course.
The
mind
is
values.
gage of human
for a type of the ordinaryserious,
dilettante
German
shows
Teutonic
him
into
falling
and
the
sana-
MANtf
PHILOSOPHY:
torium
mentality;
polite
the
insinuations
nosebleed
taking
of
spell
in
of
real
pleasure
those
material
render
to
back
the
the
to
enormous
the
of
of
Mann
terms
of
for
of
that
our
fiction
if
"dramatizing"
story.
in
the
of
Castorp's
of
hands
is
writer
it, for
has
can
the
rendering
is
It
master
it
And
man.
philosophy
the
longer
no
can
his
and
cigars
Mancini.
which
discussion,
discursive
he
Maria
favorite
idiosyncrasy
very
moral
form
his
details
amount
in
proper
of
power
Hans
of
that
fact
the
over
in
than
subject
the
on
reflections
Thomas
his
of
loss
the
was
all
that
intimation
delicious
more
connoisseurship
bewildered
an
be
could
eloquent
us
him
up
tobacco.
Nothing
serve
with
wrapped
hours,
serious
the
under
falling
peaceful
first
walk;
mountain
his
and
balcony
by
alarmed
nurses;
in
him
and
The
well
going
enjoying
one
his
on
blankets.
and
the
under
nervous
more
doctors
upon
reclining-chairs
not
take
the
comes
rest-cure
woolen
was
of
that
the
hourly
growing
ii?
brings
what
this:
be
veyed
con-
genius
it
in
of
the
TWO:
PART
When
(as
no
pains
such
if
whole
of
afraid
on
periods
matters
to
of
time
"HENRY
the
it
in
chasm
of
shall
we
notice,
history:
our
FIELDING:
Tom
our
without
we
but
and
consequence,
totally
to
pass
his
spare
large
at
should
worthy
itself
presents
case),
open
years
anything
producing
hasten
to
IDEAL
scene
be
paper
nor
but
be
often
will
trust
reader;
not
extraordinary
any
we
DRAMATIC
THE
shall
shall
leave
ved.
unobsei
"The
Jones,
History
a
Foundling"
of
XII
TOWARD
there
has
been
with
perhaps
novel,
and
I call
the
it is this
well-made
its neatness
be
the
novel,
the
great
novel.
made
the
"
of the
Many
"well-made"
with
and
has
technique
decadent
that
been
the
upon
need
not
well-dressed
be
deserve
of weak
out
turn
best
what
to
novel
great novel
that
products
it may
the
the
novels
the
are
flimsy brains;
need
nor
man;
than
more
any
the
to
prides itself
well-made
The
began
It
rise
gave
that
novel
1885,
spread
soon
which
movement
novel
it
but
story,
of construction.
great
be
need
short
the
form.
with
growing preoccupation
about
of
writing
THE
NOVEL
WELL-MADE
THE
man
well-
the
tive
adjec-
the
imaginations
extreme
or
tion
preoccupaof
accompaniment
be
emphasis on form
may
theless
exaggerated, with a corresponding loss in vitality.Neverthe considerations
which
have
produced the wellmade
novel
with
is
in
tendency
artistic
real
are
form
will
to
occupy
of decadence,
nor
is it
in
as
far
so
and
Romance
the
to
realist
he
is the
by
his
love
that
or
even
is
in
detail
may
The
telling.
art,
provided
of
and
exclusive.
both
novel,
give
fiction; and
he
to
serious
may
so
neither
ideal.
that
picture
be
cept
ex-
tions
contribu-
though
bound
it
cause
decadence,
their
made
the
not
symptom
necessarily
to
tion
preoccupa-
field. It is
well-made
the
is concerned
of
he
of
have
good
to
whole
exaggerated
realist
scientist
tend
the
even
realism
ideal
nor
romancer
The
it is
the
the
considerations;
certainly
allowed
not
The
art.
of
life;
dominated
bies,
disposition to ride his hobhis story shapely
largely neglect to make
in mysteries,
lose himself
romancer
may
or
by
the
THE
122
NOVEL
TWENTIETH-CENTURY
when
than
more
and
evance
rel-
assembling of them;
ject
his story in the lightof a subto his material
significance
for the
mere
begins to consider
which
givespattern and
novel.
then he is moving in the direction of the well-made
The
nineteenth-centuryrealist,under the, influence of
wish to give a full and
his scientific ideal, may
hensive
compreComedie
his
view of human
l
ike
in
Balzac
society,
of evidence
amount
to bring the greatest possible
Humaine,
or
establish some
social theory, like Zola
in his
to
Rougon-Macquart series. But it is equallya scientific ideal
when
he
"
which
to
one
It is here
book,
the
to
limit his
matter
so
as
particularsubjecttreated.
esthetic ideals
are
identical,
precisionof outline)
making for unity,simplicity,
Among the theorists of realism, the one who has probably
of how
the realistic ideal affects
given the best account
in a novel, is Guy de
the organizationof matter
preface to "Pierre et Jean*'
Maupassant, in his famous
(1887).He is reallygrounding his apology for the realists
in fundamental
or
principlesof art in general. Seldom
in a discussion
of the novel, had any English critic
never,
which
so
brought this bourgeois form of
employed terms
writinginto relation to other forms of art.
both
Life
[he says,
scale; it crowds
for
GUY
123
ing
precautionsand makin contriving
tions,
artful and imperceptibletransipreparations,
in bringing the essential events
into full light,by simple
ingenuityof composition,and giving to all others the degree
of relief suited to their importance,so as to produce a profound
of the specialtruth which
wishes to exhibit.
sense
one
Art,
the
MAUPASSANT
DE
on
to give us
exact
an
representation
professes
of life ought to avoid with care
any linkingtogether of events
His aim
tell a story,
is not
which
to
might appear exceptional.
The
to
novelist
entertain
us
understand
of
way
as
or
to
who
touch
or
the
deep and
the interest
keep up
at
certain
to
to
force
and
think
to
us
of events.
significance
and
unfolding it
hidden
adventure
contriving an
characters
hearts, but
our
stead
In...
in such
ter
the end, he will take his charac-
period of
lives and
their
conduct
them, by natural
is influenced
be, how
this
and
the sentiments
and
insistent
details
meaning
of his work.
of
ten
years
the
beings who
which
surround
little
intention,
those
which
and
which
giveto
to
must
to
hundred
its
how
to
know
in
in
such
he
the
high relief,in
not
a
of all
tic
characteris-
eliminate,
do
compasses
midst
specialand
as
essential
the
out
pages
what,
show
it,has been
daily events,
show
bring
to
serve
If in three
life,in order
he
significance,
innumerable
will
out
of the
subserve
specialway,
his
all
might
It is easy to
from
the
who
method
old, obvious
the
writes
natural
perfectly
of
Moore
which
in Walter
had
(1886)
"
Pater
at
writers
esthetic view
of what
and
of
superiorform
novelist
The
much
device
novelist
as
the reader.
is Dickens.
No
pure
one
the
in all these
realist,to
it does
study
and
the attention,
ii\mind that
not
to
occur
to
take
is concerned
as
The
has
ever
sentimental
elements
and
sentimental
the
is
concern
but
strike the
in this
masters
that of the
not
that
of
the
imagination,to
teller
storyhold
entertain.
The
fication
grati-
understand,
simple,to
chieflyto provide
is pledged to every
greatest of all
of the interest of
much
togetherwith
And
bear
and
possible,
and
surprise,
procuringvariety,
to
and
distinguished
amusement.
entertainment
for
so
to
one
must
we
most
readers
severe
least
sions
"Confes-
neglected book
much
like any
artistic
same
English his
in
wrote
plein
it came
form
of the
out
"Fort
en
when
art
an
as
and
spirit,
Man"
Young
the novel
same
background, George
story
singlelarger
write
would
one
Renoir, Cezanne,
treat
to
the
other. In much'
art
the
(1883) and
Vie"
"Une
(1889). So
as
critics,
invisible threads
placeof
artists in
of
author
Mort"
la
Comme
this
baffles the
ferent
dif-
So
most
composition,so
of
procedure, often
certain modern
employed by
thread
that such
see
discern
cannot
NOVEL
TWENTIETH-CENTURY
THE
124
CHARLES
DICKENS
1*5
"
every
of a romantic
is of the very essence
the fact of these varied and surprising
relations
other
plot,and
This
one.
makes
of
under
What
his tongue,
connexion
the
whereabouts
distant
step?
ray
What
people in
house
the author
can
in
of
of
the
Jo the outlaw
lightupon him
connexion
can
the innumerable
own
says:
there be between
town,
its
Mercury
with
when
there
the
place in
shire,
Lincoln-
in
powder,
and
the
had
that
the broom,
he
have
who
between
many
histories of this world, who, from
NOVEL
TWENTIETH-CENTURY
THE
126
ously
very curi-
of the
clearingup
another.
in
mysteriesis one
should
and
in his
as
her
The
separately.
thing.The
love-storyis
be fond
should
we
undisturbed
our
The
emotions.
Smollett, the
master
of the reader.
taste
listed
maintain
rightnessof
the
is,in Dickens,
the
I have
Here
of the heroine,
to
interest
sentimental
The
fidence
con-
love-story
merest
tribute
The
of characters
bringing in a largenumber
that are
count.
acpicturesqueand amusing on their own
They are plausiblyenough brought in, but they
and once
real function
have no
to serve,
they appear on
of the stage.
the scene
they proceed to occupy the center
of perThey are not drawn to scale; there is no principle
spective
is
the
mainly
of
means
the aim
is
to
fill up
space.
eccentric
than
the
and
is
the
last;
reader,
more
type
while he cannot
deny that people as droll as these may be
that so many
droll people never
with any day, knows
met
Each
came
items
bulk
not
in them
as
the serious
abuses?
system, the
And
are
out
set
of
account
out
to
rect
cor-
not
the
prisons,
the realist?
Well, I have
influence
are
one
some
study of
of travels among
cannibals
and
for grown-up
children.
fairy-stories
in records
But,
so
no
doubt
public opinion
that Dickens
in
regard to
was
glad enough
certain
to
social sores;
CHARLES
DICKENS
127
and
world, and
It is also true,
Dickens
as
with
of
of
their
"Bleak
the
Miss
and
House,"
make
free
drunken
her
of
that
the
her
the
plot
itself. This
of truth
"Lord
of Dickens, and
that inner
or
tends
in-
she
which
is
disease
death
and
the aim
little
Crazy
finallygiven; old
dies, again
Chancellor," who
combustion; the dark places,
judgment
personal
complicated
the
to
fine themes
are
chiaroscuro
that
dramatis
the
given
of spontaneous
symbolically,
the fog,the mud, Tom-all-Alone's,
these
when
Krook,
up
has
so
to
at
entity
half-mythological
revolve the myriad planets
which
satellites that
Flite, with
the
ment
better-
sun
of
case
serious
puppet show.
Chancery Court, that
children
mere
story
is
has used
sort
in
not
have
and
not
coherence
all
"
theatrical
it is
But
chiaroscuro
theatrical
of truth
which
name
we
realism.
The
great
of alternation.
merson's
to
those
story
is
Bleak
House
"Bleak
giving place,every
And
within
change
constant
varyingcolor
at
in
of Esther.
there
have
We
and
two
or
Esther
three
Sum-
chapters,
edge
outside the knowlthat go on
each of these main
movements,
of
scene
and
world, with
ever
tone.
to
House"
is that
Dickens
We
ness
glooms and madof the rag-and-bottle
shop, and back to pleasantBleak
and
childish
House,
Skimpole, and thence to the pious
the Snagsbys, or
of Mr.
ministrations
Chadband
the
at
Each
picturesque interior of George's shooting-gallery.
of characters,and each peculiar
back
comes
setting,
group
the
Turveydrops, and
then
to
the sinister
GEORGE
ELIOT
129
proper
space
subjectdoes
3
Eliot
George
was
while, in "Felix
and
while
in
"Adam
and
Bede"
plotdepends on no such
The
plotin those best of
in "Middlemarch"
of the reactions
out
largelyof
are
too,
is not,
their
as
next?
happen
circumstance?
what
or
but
"
artificial and
her
how
mechanical
novels, and
of the characters
is in
is the
shall
altogether
consists of
to
questionfor
of this
the
meet
is
ing
work-
situations
Dickens, what
the
devices.
almost
meaning
we
Floss"
the
on
often
so
Mill
creation. The
own
it
"The
which
the characters
going
to
mysterious
challengeof
this
situation?
So that
which
is
feels
one
so
stronglyin
largea part
of the
her books
that moral
experienceof
tious
any conscienof fiction does so much
in a work
person, and which
The
give us the impression of reality.
to
serious
attempt
characteristic
to
show
strength and
how
weakness
"
true
brings out
characters
the
And
person.
carry the
major
Brookes
and
in Dickens,
the
Wellers.
in
are
makes
of each
most
It is
author
this tension
tension
often
George
Eliot
Poyser, Caleb
a
considerable
very
which
is the aim
of
of
element
"
fathers, the
and
aunts
interest which
common
uncles, who
the
the novels
placein
considerable
at
their
return
forward
to
all
have
than
the
along
who
that
same
is well
action
Dickens
in
characters
count
ac-
woman
the main
into
minder
re-
than
of
stage when
perpetual
be taken
must
are
the young
or
man
of these characters
by
None
ture
struc-
stant
family,which is so conproblem of the major characters
a
steadying influence,
responsibility,
of
the solid
They represent
in the
and
the mothers
Eliot.
George
and
society,
an
NOVEL
TWENTIETH-CENTURY
THE
i3o
have
continue
the
under
indulged.And
so
them
remarks
have
we
more
in
the
make
to
of the
center
way,
nothing
alreadyknow
we
length
like many
to
justify
well and
look
in which
they
much
more
the
greater reduction
of such
no
secondary
with
the main
The
of
characters, and
presented in
are
of characters
groups
one.
number
The
theme
any
with
is the
detail. There
pecially
esare
plotsinterlocking
tragiclove-life of a
has grown
dreams
up on a diet of sentimental
of relation to the actualities and obligations
of life.
who
woman
all
as
the
out
center
attempt
to
which
of interest is Emma
find in love-affairs
she does
not
know
how
to
find in her
own
FLAUBERT
GUSTAVE
131
with her
of the story then is concerned
The
love-affairs with Rodolphe and Leon.
only other sons
perher
in
the
who
are
given any prominence
story are
home.
bulk
The
farm-house
father, in whose
alien, her
imagination
world; Monsieur
dream
of
and
husband;
girl dwells
young
as
an
apothecary,who
provinciallife and
Emma's
the
serves
a
the husband
himself, Charles
Bovary,
real love
But
in
itself is the
portraitof
of her romantic
the sentimental
infatuation, and
which
drive her
world
of realities.
picture;the picture
The
woman.
the resultant
story
financial
tanglements
en-
and suicide,
despair,
with a steadyand terrible movement
never
moves
equaled
would
in English fiction of that day, which
not
give itself
logicof its theme.
up to the simple and tragical
Closely associated
giantsof
de
French
Goncourt
"
in Paris with
naturalism
was
the
American
James.What
James
Russian,
Turgenev.
in
and
and
His
of
simplification
was
greatlyadmired
writers, among
admired
Flaubert
Zola, Daudet,
"
examples of the
many
by the realist ideal, and
and
shame,
to
them
Turgenev
was
the
Edmond
work
nishes
fur-
form
duced
pro-
by English
Howells
his
other
and
emphasis
character
on
work,
his
James
wrote
that
was
of certain
him
was
such
first form
persons. The
figureof
the
as
he
people
do
must
wished
of his
affair of
plotrepresentation
tale appeared to
the
a
or
in action,
see
combination
question,What
that
interesting.
to
proceed;
them
I make
shall
of
being sure
very specialand
able
in his hand
he was
action.
to
something
this material
With
planning
an
in which
to
who
character
individual,
one
of characters
the
of proceeding from
way
in 1884:
individuals, whom
the
in
The
choice
plot,his
than
rather
"morally interesting,"and,
were
NOVEL
TWENTIETH-CENTURA
THE
i32
do?
what
take into account
Perhaps James did not sufficiently
lay back of Turgenev's choice of characters and may be
erally
said to have preceded it in the evolution
of his work. Gensocial
broad
a
speaking,in his best novels, it was
theme
the charaters were
to which
pertinent,and it is this
which
gives form to his work. For example, in "Fathers
and
Sons"
the
temper
Russians.
and
the
On
hand
one
well-meaning,but
considerations.
of
outlook
On
hand
of intellectuals,hard-boiled
toward
taken
by
the
in
is said
romantic
term
of modern
socialism.
readers
movement
light of
recent
prophetic,and
have
"nihilist"
novel, the
Russian
to
were
Until
not
which
held
been
he
the
brought
first
to
and
titude
at-
be
to
dominated
in their interpretation
to
use,
in
this
these
precursors
it to their attention,
tremendously significa
gettingunder
history,"Fathers
is perhaps the most
in their
precious,not
of the
aware
risinggeneration
ideals, and
in reference
was
sentimental
ruthless
notions of physicalscience
positivist
of social problems.
Turgenev
liberal and
men,
the
was
and
by phrases and
generationsof
by genteeland
other
the
the older
were
between
contrast
successive
two
dominated
is
Sons"
way. In the
is positively
of
significant
Russian
IVAN
novels
in
point of broad
sympathies were
his
much
Turgenev
a
fastidious
most
TURGENEV
side of form
on
a
book
is
as
however
lectuals,
intelthe side of the young
propagandistwriter. He was
realist;and
artist,a conscientious
the
But,
social reference.
not
was
133
remarkable
the
side of
the
on
as
on
thought.
departure from the vivid impression made
him
he knew.
doctor whom
on
by a real person, a provincial
This
the model
for his Bazarov.
His problem was
to
was
took
He
arrange
his
story in which
this central
character
should
be
of the romantic
brought into oppositionto representatives
generation.And this he does very simply.He makes him a
man
returninghome from his scientific and medical
young
friend and
and
he
studies, with a still younger
disciple,
follows these two
mer
persons through a few weeks of their sumvacation.
They
There
make
we
Nikolai
of the younger
man,
Arkady.
acquaintance of Arkady's father,
the
Petrovich,
liberal landowner,
and
heart, and
maintain
of his world.
hurt
the
and
men,
sentimental
has retired
to
continues
who
and
rudeness
which
to
and
has done
Petrovich.
to
challengeBazarov
which
chivalrous
intransigenceof
in
puts
an
end
an
vich,
Petro-
But
provoke
notions
Bazarov
comes
his
potterer,
feelingsand offend
of Pavel
especially
wounded,
is
The
personalemotion
leadinghim
is
who
societyman,
broken
dandy
he
who
by
who
it is
Pavel
older
more
to
tion,
ac-
duel, in which
to
to
Bazarov's
stay
at
Maryino.
and
hatred
the
meantime,
of romantic
Bazarov
sentiment, he himself
becomes
the vie-
he
of love. Both
tim
NOVEL
TWENTIETH-CENTURY
THE
i34
hostess, Anna
Sergyevna;
but
with
fall in love
Arkady
and
Arkady's
their
is the
love
terminate
inde-
givesway before a
youth and soon
sister
real, though gentle,passionfor Anna's
younger
of
sentiment
more
Katya.
the conclusion
Before
have
visit
paid a
to
episodes,the
of these
men
young
father is of
parents. Bazarov's
Bazarov's
lower
inclined
to
of
manifestation
with
affection. But
finds
feeling,
terriblybored at
people by leavingthem
and
the old
Later
him
smother
on
is
he
back
comes
to
he hates
his
every
lous,
ridicu-
parents fussyand
home; and he deeply grieves
after
them, and
his
gratifies
father
by
fected
charitypracticeof medicine. He is intion.
dissecwith typhus while conducting a post-mortem
of
find a means
In this backwoods
place he cannot
he dies in the flower of his
his cut in time. And
sterilizing
youth and promise.
the characterization
I cannot
take time
Of
to
speak,
though it is one of the main artistic merits of this book.
for honesty,and for economy
of means
For humanness,
by
in his
helping him
which
of the greatest
of the
account
way
the
and
in which
triumphs of
plot in order
he and
generalsubjectof
naturalness
minimum
any work
each one
of
so
this compass
to
bring out
the book;
by
intrigue,without
without
barest
fiction. I have
of the action
of Bazarov
of elaboration.
given a
two
characters
and
the
which
one
detailed
features:
are
related
the
to
simplicity
tized,
subjectis drama-
extreme
the
melodrama,
I
is
and
with
the
acquainted with
fiction in which
and
types of so wide a variety,
are
significant,
brought togetherin a story of
for the
illustration
not
am
of
social theme.
In
the
MOORE
GEORGE
simplerecord
of
the elements
Other
few
realist ideal
weeks
summer
of the Russian
examples
of the
simplification
produced by
of the Goncourts,
(1865)and
Gervaisais"
Here,
severe
and
determined
that
all
concentrated
are
revolution.
the novels
are
135
as
dame
"Ma-
Lacerteux"
"Germinie
confinement
readers
most
such
the
can
(1869).
of subject is so
hardlybreathe
the
atmosphere or is it perhaps not so much
of the subjectthat oppresses
confinement
the simple
us
as
of animation
and largeness
of soul of the authors?
want
in such
Much
reader
an
the average
taste of the serious cultivated
is the treatment
of similar themes
by George Moore.
(1894)reminds
Waters"
in
and
girl,
her
to
more
"Esther
writer
"
has chosen
pathos
but
is such
by
heroine
the
one
of "Germinie
difficult life of
the
in its realism;
who
will
strengthof
only
servant-
English
merely by
the
appeal not
her
teux"
Lacer-
character.
Esther
fight
sturdy,obstinate soul, with so much
in her; she is so well-meaning and religious,
devoted
to
so
is her
her child and so loyal to her husband; so beautiful
relation to the sufferinglady who
shares her faith of the
Waters
Plymouth
Brethren
the hardness
reader
of life as
by a sense
"Evelyn Innes"
instinct: that
her strong maternal
she experiencesit is mitigatedfor the
and
nature.
"
GEORGE
MOORE
137
givesmuch
and
a
work
of
The
same
problem
needs
considerations
and
Evelyn
hold
is much
first of all
the
life of
on
the author
in the naturalist
But
for
less
and
difficulties;
documented,
the
impression of being
art.
of
in music.
the
more
has somewhat
over-
subjectof styles
tween
Evelyn'sspiritbe-
the
manner,
sharp oppositionin
an
opera singerand the
of her
demands
faith
the
and
with
the
which
concentration
as
in
Lake"
of action
characteristic
are
"Sister Teresa"
thus
represents
well-made
novels
of interest
center
within
is maintained,
limited
novel.
and
which
the
novel.
with
we
the
another
"The
Lake"
with
narrow
place in
limitation
characteristic
theme;
religious
"Evelyn Innes,"
takes
is another
of
George
an
Irish
vent,
con-
place
of
the
Moore's
same
reversed.
outcome
Gogarty,
of
tendency
it is virtually
the
the
the
theme
"The
priestin
country
NOVEL
TWENTIETH-CENTURA
THE
i38
follows
Lake"
novel. "The
ing vogue of the well-made
immediately after the most notable productionsof Henry
James in his later technique.The restricted point of view
I speak of the conlater when
I shall leave for discussion
tributions
of
to
romance
novel.
which
regard to the limitation of subject-matter,
phase of realism, it is observable that this
represents one
in the work
of
is likelyto make
its appearance
sporadically
concerned
with technique
novelists who
much
not
are
so
With
George Moore,
as
and
traditions.
Victorian
in these writers
who
And
in
limitation
the
generallyresults
general artistic
of their
effectiveness
loves
to
create
likes
to
the
from
notion
manner
to
the reader.
humorous
of Dickens
and
and
centric
ec-
Thackeray.
crowd
which
Dickens
He
one
up
sions.
ten-
built
inherited
tially
comedy is, on the other hand, an essenformative
ideal, leading to the presentationof types
Moliere
in a relatively
tain
simple plot.It is true that cerof emotional
elements
appeal are lackingin the stories
will
book
in the
autobiographicalmodel
that conform
and
typicalVictorian novelist.
intruding his philosophical
Smollett.
His
" la
are
the dramatic
continuityof the story and dissipate
Some
of his stories,like "Harry Richmond,"
are
the
and
another
on
subject-matter
of form
neatness
explaininghis characters
and
exploit at length
characters
He
of
old
work.
is in many
ways a
has the Victorian
passionfor
reflections and
in
which
Meredith
He
the
general represent
of
closest
to
the comic
Feverel"
prefer "Richard
"Diana
of the Crossways" to
in which
unquestionablythe
formula, and
to
ers
read-
"Evan
"The
most
many
Harrington,"
Egoist."But the
is made
of the
ma-
GEORGE
MEREDITH
in dramatic
the action
for
possible,
plot,which
is concerned
attempt of young
to
the
Horace
De
Crayc
this
to
fondness
strict
of
thing,by the simplicity
from
beginning to end with
complacent
Laetitia
Crossjay Patterne,
misery of
to
and
selfish Sir
Dale, Vernon
her
the
the
gagement
en-
Willoughby.
Whitford
and
erence
their parts determined
by refhis
As
drama.
for Dr. Middleton,
all have
simple
for old
port and
of honor, serve
sense
fullyput before
Egoist"(1879).And
most
one
Middleton
Clara
is
is "The
scenes,
this is made
139
old
to
add
to
the urgency
his
and
Clara's
predicament.
This simple,uncomplicated drama, without
the ghost of
a sub-plot,
playsitself out altogetherin one spot, at Patterne
Hall and its immediate
neighborhood, so that there is no
of energy
in the adjustment to new
And
it
waste
settings.
is all confined, after four brief introductory chapters,to a
few summer
weeks; indeed, the bulk of the book occupies
but two
three days, following close on
another's
or
one
heels. I can
think of no
English novel of that century in
which
situation is played up for so many
a singlelimited
close-knit scenes.
emotional
The
pages, through so many
interest of the reader is held by Clara's predicament; his
intellectual interest,by the vanity and
selfishness of Sir
Willoughby; and the two interests are constantlyfed by the
continuous
action. Ample time is given for the full
one
development and realization of each aspect; and the slight
timed
interest
to give new
are
so
as
objectiveoccurrences
and animation
The
it is needed.
to the story when
chapter
of persons in the
of the names
headings,so often consisting
scene,
of
sequence
of the
the
act
suggest the
same
of
Meredith
one
French
was
no
play.
doubt
much
and
it shows
influenced
in this story by
the advantagewhich
the
novel
three
NOVEL
TWENTIETH-CENTURY
THE
i4o
varietywhich is so
the novel than the play,and which
demand
the great length of the novel. Many readers, who
and subject,
will
of frequentchange of scene
the stimulus
find "The
doubtless
tinuous
Egoist" tedious, the strain of conacter
attention too great, especially
consideringthe charclever and
is so much
of the dialogue,which
more
allusive than that of everyday life. One
must
acknowledge
is hard
that Meredith
reading; but for this his amazing
sacrifice of that
style,his
intrusive
It is
Egoist" would
quite possibleto conceive that "The
benefit by a good deal of cutting.
those
Beyond this it is impossibleto arbitrate between
find "The
tedious than his other
readers who
Egoist"more
find it more
One
books and those who
can
only
fascinating.
and that its qualities
say that it has the defects of its qualities,
those of a subjectstrictly
limited
and
veloped
are
fullydealso
on
In
respects Hardy
some
is
even
more
Victorian
than
books
reader
as
He
"Two
in much
is
on
Tower,"
nobler
and
work, such
even
as
Mayor
of Caster-
HARDY
THOMAS
14*
scenario
like the
one
for
of fiction rather
work
the
has
been
never
novelist
of
total esthetic
harmonious
effect of
relation
is threefold:
to
our
to
sense
renders
who
sightand hearing,one
precisionand at the same
sensitive
so
impressions
to
with
them
much
so
with
time
to
our
in other
This
the
directions.
order
appeal is strongest
settingis his
doors, under
or
of
such
native
as
most
and
"Wessex,"
of
interiors
in those
suggest the
novels
is either
and
nature
molding
in which
the out-of-
the weather,
of life through
rural environment.
generationsby this particular
"Far from the Madding Crowd"
is only in the second place
and loyalty;
it is first
drama
of love, jealousy,
a
betrayal,
of all a portfolio
of exquisite
picturesof pastoraland farm
countless
life,in which
of
passions
the
which
and
they are
the heart
take their
from
actuality,
tone
and
associated.
photographed against
conventional
casions;
a
background which is kept ready for all ocof the picture,
of the oneness
and we
have no sense
of there being any essential relation of the figuresto the
background. Hardy has a constant realization,both esthetic
of people from
and
of the inseparableness
philosophical,
the natural setting
in which
they appear. They are growths
In
most
novels
of the soil,creatures
the characters
of weather
are
and
circumstance,
seen
as
landscape,the meaning of
that of other objects,
by their
objectsin
like
us,
NOVEL
TWENTIETH-CENTURY
THE
i42
which
mass
is conveyed
and
to
shape and
movement.
observes.
passages where
attention
our
that interest
Fanny
Robin
milestone
to
This
he has the
with
great
at
most
uncanny
intensityon
in
effect of
certain
many
focusing
characters
chapter in which
milestone
makes
her way so painfullyfrom
along the Casterbridgehighway. She is Fanny
us.
This
is his method
in the
in
symbolic
of
symbol
suggestingfar
Robin,
character
and
and
"
bewilderment,
than
liness,
lonesuffering,
Fanny Robin betrayed
of human
more
mere
dying.
The
most
famous
example
of story and
is most
which
of the association
THOMAS
and
"
Heath.
For
Eustacia
For
Clym
"
who
and
its pomps
Wordsworth's
mountains
and
life of labor
natural
vanities
the humble
in
usefulness.
When
mother,
is the
outcome
The
view
like
an
is obliged to
of him
insect in the
earn
well
simple,
loses the
his
living
ship
hard-
no
for his
as
actual
tragedy
plot.
discovered
as
the
furze-cutter, it is
but
in the
much
Clym
for him,
from
means
him;
to
reading and
occupation of
it
"
meant
use
toward
exile
stagnation,
it means
disgustedwith
what
his attitude
by
the pomps
and vanities of the great
from the great world,
has returned
143
is determined
Clym Yeobright
Egdon
HARDY
by
Yeobright moving
landscapeof the heath, a
barren
vast
Mrs.
inhuman
this scene
alone
figureclothed in leather
is sufficient to establish Hardy as one
of the greatest of
Englishwriters. But its peculiargreatness lies in the perfect
appropriatenessof the setting,its absolute identification
the story, the fact that philosophically
with
it is indispensable.
drab
Something
"
similar
is
for "The
true
"Tess
in the
two
by
their
last mentioned,
built
being
in
Egdon
Heath.
And
instinct
lead
and
then
of them
an
"Aftercourses,"
out
which
of interest, a
is the
unity of
effective
I leave
And
composition as
of
account
gards
re-
the sixth
sion
Hardy's concesfor a happy ending
the magazine editor's demand
to
included
in his originaldesign. The
not
was
story
in one
is all included
time,
and
ing
endyear's
beginning
with long scenes
at
the Guy
night centeringaround
Fawkes
the
such
singlecenter
organic as
none
of time.
the element
book, entitled
to
so
for
design is heightened
of these novels
none
nor
in
the Obscure."
"Jude
the effect of
about
singlecharacter. But
place so remarkable
Woodlanders,"
celebrations
five books
was
is like
single act
of
Each
one
tragedy,with
of
the
XIII
DRAMATIC
.s
ONE
of
aware
the
not
the
to
classic
of
number
large
name,
the
at
of
of
give
the
seldom
Else"
there
certain
But
are
constitute
point
to
feeling
our
while
logically
dramatic
the
novel,
in
The
involved
actually
in
the
lead
to
the
all
whole
fect
per-
found
is
since
the
of the
novel
of
some
from
well-
well-made
and
complete
away
growing
called
well-made
the
trast
con-
acquainted
am
features
the
completest
special contribution,
that
in
hard
very
they
I have
what
in
is
(1923).
on
be
degree
It
tendency.
is
features
broadly,
work.
which
been
has
less
is
tinguished
dis-
goldenrod.
are
single
"Fraulein
tendency
of
involved
are
with
novel
be
novel
features
in
infallibly
commoner
dramatic
so
This
or
whole
in
which
novel
the
more
dramatic.
standing,
strongly present
novel.
made
and
on
time
novelette
is
greater
venience
con-
be
characterizing
variety
or
in
it, and
same
dramatic
and
one,
of
dramatic
Schnitzler's
The
and
different
many
example
itself
opposed
expression
present
dog
novelists,
example
so
of
showing
tendency
can
of all the
presence
for
it would
the
and
becomes
one
which
Or
toward
itself
novel,
type
dramatic.
tendency
breed
some
of the
certain
call
knows
the
by
like, say,
that
type
to
field
of
briefly
may
refer
to
whole
existence
we
exact
the
surveys
PRESENT
which
should
these
formula
tures,
feaof
it into
novel
and
the
play
be
read
and
the
quite
distinguishable type.
The
grow
essential
out
of
the
differences
fact
that
between
the
145
novel
the
is
to
NOVEL
TWENTIETH-CENTURY
THE
146
to
be
the spectator.
from the
that, at every point,the play is distinguished
novel by its greater limitations, by all it has to go without.
So
It has
characterization,
exposition,description,
go without
without
"psychology,"and almost entirelywithout
to
action.
And
at
so
advantages
the
play
makes
passedon
medium
up
to
of the
we
are
all the
of function.
a
third-rate
possesses
second
only
become
aware
The
to
more
dull
hand, through the relatively
imagination.That
present
has
one
play,to
over
But
in person,
we
of the
see
rect;
play is given di-
with
our
own
eyes,
PRESENT
DRAMATIC
with
hear
we
our
own
ears.
147
while, in human
And
beings,
powerful faculty,
the fact that the story is enacted, is put on before the eyes
of the spectator. It is not something in the past, but something
this is
going on now, in the immediate
present. And
the "dramatic"
where
in novels
Even
from
cue
the drama.
from
present. It is distinguished
all that
circumstances
of antecedent
tive
generalizednarragoes by the name
which
Balzac
lays down
he
is
is famous
the antecedent
to
constitute
point is sometimes
book.
Thus
part, which
point where
lyingin
which
he
of his stories;and
he
passes
the scenes
from
that
the past to
that are
the present of the story. In Balzac
this
than half-waythrough the
actuallymore
in "Ursule
is rather
part, that he
begin."If one
with
elaborateness
circumstances
of the
clearlyaware
for the
informs
should
it is at the end
Mirouet"
longerthan
the second
and
of the first
concluding
is about
that his story proper
to
apply to the narrative the laws of the
us
introducingto
Nemours
THE
the
only personage
be present
to
for
us
the
the book
"Le
In
point
"
at
"
was
here
which
to
securities he
this obscure
he
from
turns
in
Muret
had
purchased.Here
regard
through
expositionto the
third
one
the
information
M.
but
here
should
Pere
present. "This
dramatic
known
who
at
end."
an
NOVEL
TWENTIETH-CENTURY
148
all that
was
Goriot, whose
old
to
ends
was
the
expositionof
fearful Parisian
tragedy."
But since, in the narrative, everything is reallyin the
present than anything else except
past, and nothing more
by a trivial approximationin time, what is it givesus, in
of the dramatic
a
present?On the stage
story, this sense
everythingis present because everythingis enacted directly
have the
In a story, we
eyes and ears.
equivalentof the dramatic present whenever
for
our
vividly "constituted
scene,"
selected,a "discriminated
done
with
present situation, he
When
circumstances
arrives
the
at
calls it,
the
author
led
that
situation
have
we
Henry James
as
occasion."
explainingthe
psychological
to
itself in
is
the
its
in some
immediacy. The persons are confronted
hour of the day; they
particularplace,at some
particular
begin to act, they begin to talk, they are actuallyin the
process of working out the issue. It is an issue which
may
have existed historically
for a long time, and various operations
"behind
have
been
the
scenes."
But
going on
may
it becomes
immediate
issue; it is brought upon the
now
an
engaged; the battle is on;
stage; the opposed forces are
concrete
there
must
found, and
be
some
that here
It is this urgency of
most
to give a dramatic
story
"
it is this which
the reader
nay
perhapsas
an
that
actor
decision
and
an
"
some
solution
must
be
now.
immediate
character
issue which
certain
does
the
portionsof a
cheats the imagination,
and
suades
perhe is actually
present, as a spectator,
to
in the drama.
DRAMATIC
But
is secured
present
time
every
149
without
even
without
PRESENT
he
shows
occasion.
the
skilful
his characters
us
Our
by
of
writer
in action
on
interest in human
mere
fiction
a
ticular
par-
character,
our
mere
there in person.
There
are
long stretches
concerned
with
introduced
the dramatic
to
in Dickens
where
we
so
people so droll,so peculiar,
households
are
are
not
ing
be-
ing
enchant-
deliciously
impossible that we are
perforcetransportedto the scene and give ourselves up for
hours at a time to "listening
in" on
the talk of Mr. and
Mrs. Micawber, say, or of SaireyGamp, pouringout
strong
from
her
liquor
tea-pot and spinning the myth of her
"
to
friend Mrs.
It has
contrast
"
Harris.
always
the
so
art
been
of
in many
points,so
much
involved
in
favorite
occupation of critics to
Dickens
and Thackeray, so very like
is
very unlike in general effect. There
a
this
difference
of
effect
"
matters
of
temperament,
the emotional
stops; it means
matter,
probably a
The
better
more
of Dickens
scenes
longer than
those
mechanical
feature; but
reader's
NOVEL
TWENTIETH-CENTURA
THE
150
of
are,
on
Thackeray.
it has
makes
psychology,and
powerful effect
stronglyfor the sense
a
times
merely
the
on
of the
dramatic
perform. If at the
to adjusthis mind
occasion so foreignto his own
to an
experience,by the time
the act is a third-waythrough he will be thoroughly "en
rapport";by the time it is half-way through his interest
will be profoundly engaged by the dramatic
fore
issue; and behe knows
it he will have forgottenthat he* is sittingin
his seat in a theater
in
he will be completely absorbed
in which
the scene
he is taking part. If the mere
passage
of time has this effect in a play,where
the spectator has the
powerful evidence of eye and ear to the present realityof
the average
minutes
about
to
forty-five
the spectator finds it a bit difficult
start
"
much
sufficient
testimony
certain
momentum
it be
must
more
of
length of
mere
time
so
in
story, where
imagination.
for
to
scene
work
up
it in
to
complete obliviousness
of being there with the characters
in an
a
sense
tioned
unquesNow.
have
of
a
chapter
generalized
Suppose we
narrative, coveringthe developments of a month
a year.
or
Bits of anecdote
to illustrate the doings
may be introduced
of the characters. They may
involve an
even
exchange of
remarks
on
some
particularoccasion. They may be very
well
they
are
chance
vivid
in less than
over
to
sense
us
take hold
of
in
page,
before
have
we
that
But
had
"
DICKENS
enough
the
history,it
as
temperature,
with
AND
or
which
THACKERAY
151
that
raisingof
pulse, that goes
personallypresent.
Other
the
things being equal, the longer the scene
is involved,
stronger the hold on the reader's imagination.Much
in that plausiblephrase,"other things
to be sure,
being equal."It is necessary, of course, that the characters
be sufficiently
and the situation should
to hold
interesting
attention, and this implies great imaginative power
our
the part of the author. Or else it impliesa dramatic
issue
on
so
strong, and capable of such extensive development, that
will follow the scene
with growing suspense.
the reader
And
this is the point at which
abatement
should
be
some
of the praisegiven to Dickens
made
artist in comas
an
parison
at
scenes
with
we
are
Sometimes
Thackeray.
he
presumes
is inclined to make
of
on
his
them
animating puppets, and
twice, half a dozen
go through their amusing antics once,
times too often. Tastes change with the age, and we
to-day
that an author get his effects more
demand
We
are
swiftly.
inclined
sometimes
to
ner
manprefer the brief anecdotal
of Thackeray's scenes
the elaborated
fullness of
to
power
Dickens's.
And
in
complain
the
suspense
considerable
makes
one
dramatic
enables
tremendous
issue
scene
reason
appeal is
and
that enables
the emotional
One
to
us
the
period on
that
and
scene
tension
inclined
are
attention
keep our
situation
same
than
more
time
and
continuous
and
which
keep up
without
to
of
ates
cre-
fixed for
feeling
anything
else that
maintain
ourselves
Now.
And
to
it is the
for hundreds
is of the
of the dramatic
we
fail in power
for want
issue. It is the issue which
forgetthe lapseof
us
issue alone
between
the other,
often
scenes
strain. It is the
the
in
and
and
case
that their
sharplydefined
one
means
an
present. When
essence
of pages
of drama.
ordinarilya strong
tenance
uninterruptedmainone
scene
is over,
PRESENT
DRAMATIC
is called
matter
singledramatic
for, a concentration
line
which
on
the
153
the
playwrightdepends for
his effect
I have
spoken
in order
of this
as
the
ideal of the
distinguishit
to
modern
wright,
play-
of Shakway
dramatists. But it
from
the
Englishplaywrightsof
unities. It
and
turies,
eighteenthcen-
following
theoretical
the seventeenth
the
the
was
the
playwrightsof
It had
nineteentli
century,
like
the
was
French
most
and
fluenti
in-
it is,on
dominant
whole,
the
natural
its
three
Augier
fils.It
Dumas
the
strategy of successful
common
and
that which
to
where
goes on
and
courage
in the world
of morals
and
honesty and
ners,
man-
to
politenesscome
in themselves and without
be admired
regard to the useful
they have served in social organization.So the
purposes
three unities are regarded as classic features of the dramatic
form, giving a touch of distinction to the play to which
they are applied.And it may even be that the play in question
is
not
otherwise
effective
particularly
as
drama.
day,
own
drama,
is
ing
their
by
of
tical
Thus
scenes
to
seem
linking
to
scene
of
rather
telling
that
has
be
largely
the
instinct
show
and
scene,
another
effect,
than
determined
it
is,
any
the
motived
subordinate
to
make
with
an
the
theoretical
their
method.
strik
more
by
the
emotional
for
to
which
nineteenth-centur)
disposition
fancy,
the
the
of
effect
an
But
in
length,
one
upon
continuity
who
considerable
at
follow
by
novelists
"dramatic."
tendency
to
me
producing
ir
who,
simplicity
formal
cases,
as
this
consideration,
in
the
many
readers
instances
novel
form
in
novelists
certain
beer
has
consideration
of
emulated
have
without,
felt
esthetic
purely
consciousness
the
in
present
our
this
that
fancy
NOVEL
TWENTIETH-CENTURY
THE
154
the
almost
sheer
to
prac
appeal
theii
develop
the
passages
successive
scenes
uninterrupted
genius
preoccupation
for
story
with
XIV
DRAMATIC
has
who
given
the
tendency
is Dostoevski.
led
more
once
making
the
a
to
the
clear
dramatic
number
carried
to
To
its
logical
author
and
in
earlier
incidental
which
the
is
Where
of
Brothers
these
of
author
Mitchell,
in
the
way,
other
not
and
a
the
when
ideal
having
have
in
sufficiently
in
come
chapters
in
possible
as
that
man
show-
as
the
brief
the
and
ment"
Punish-
the
ordinary
has
of
town"
story,
155
certain
whose
Captain
to
been
as
and
later
present
"The
passages
narrator
"
relation
Marlow,
Joseph
being
certain
ingeniously put
very
imaginary
an
of
with
story
Possessed"
well
as
"our
the
himself
"Crime
In
"The
Davidson
in
of
necessarily
as
matic
dra-
naturally
presence.
hands
that
Captain
persons,
In
consider
to
the
evidence
in
in
as
of
unlike
character
be
Dostoevski
gentleman
is
am
pushed
has
that
once
begin
to
introductory chapters,
anonymous
it will
than
of his
Karamazov,"
into
and
little
so
exposition,
exposition,
theme
I shall
it is necessary
amount
can
practice.
conscious
not
that
he
as
more
And
is
in
obvious
chapters,
author
he
work.
his
of
involved
This
follow.
that
convenient
most
little
as
Dostoevski's
discussing
reader
be
it will
mention
to
are
be
dramatic
the
reason
which
to
one
limits.
commentator.
labored
for
lengths
features
makes
this
examination
special
it will
distinct
with,
it is for
unusual
of
begin
And
ideal,
of
striking examples
most
the
novelists,
nineteenth-century
serious
ALL
DOSTOEVSKI
PRESENT:
to
the
Captain
Conrad.
acquainted
(in
an
"The
He
is,
with
Pos-
TWENTIETH-CENTURY
THE
156
sessed")on
NOVEL
of the occasions
many
he has
Where
recorded.
from
he has his information
personally,
reliable sources,
from comelse he has piecedit together
mon
or
man
rumor,
using his judgment and his knowledge of huof what happened which
to arrive at a version
nature
shall be least remote
is constantly
He
from probability.
is
what
between
is known
to be true, what
distinguishing
probably true, and what "people say.''His narrative is
and such as to give a faint suggestion
lively,
picturesque,
of complacent egoism on
the part of the writer. It is if
man
the translation
the styleof an elderlyclubone
trust
can
with a genius for gossip.
It is full of phraseslike: "I
know
for a fact," "I must
franklyown," "I may add here
for myselfpersonally,"
"I only learned
the other day to my
intense amazement,
though on the most
unimpeachable
authority ." It often reminds one of the styleof Defoe
in his incomparable"Apparitionof Mrs. Veal." In short,
been
not
present
"
"
where
his
he could
dramatic
expositora
Another
not
creation
on
has made
Dostoevski
his
own
of
account.
gle,
predisposingto drama is a theme sintreatment.
clear-cut,and callingfor a close continuous
That
this element
is notably present in Dostoevski
I have
shown
in Chapter VIIL
A recurringtheme
with him is the
element
effect of crime
is
state of his characters. This
spiritual
marked
to be most
during the periodjustpreceding
likely
and justfollowing
less
the crime, and is so powerfuland relentthat it will
has somehow
this makes
not
now
met
for the
Coming
dramatic
the
on
to
method,
go for
It
challenge.
of the dramatic
sense
the
an
until he
is obvious
how
present.
mechanical
specific
instant
under
of the
features
headings.I
do not, however, attach any magical significance
that
to
number, which might readilybe enlargedor decreased by
some
other
method
of classification. And
five
it will
a
way
be
of
served
ob-
being
DRAMATIC
involved
ways to
First
author
with
bring about
the
then,
the center
for drama.
first
result.
same
of
longer the
interest. The
of interest,the
singlecenter
and
in many
more
it makes
Punishment*'
virtuallywithout
out
200
363, if
"Crime
In
Raskolnikov
to
as
157
one
keepsto
DOSTOEVSKI
PRESENT:
we
Razumihin
is the main
present. He
subjectof
their discussion,so
that
involvingLuzhin, Sonia,
Katerina
Ivanovna
and
(20 pages),and others involving
Sonia and Svidriga'ilov
(25 pages).The first of these passages
Raskolnikov
in which
preparationfor a scene
nikov,
plays the principalrole; in the second we leave RaskolTo
shadow, Svidriga'ilov.
only to follow his spiritual
is in
all intents
and
purposes
Raskolnikov
is the
center
of interest
But
longscenes
Zossima's
at the Elder
together:for example, the scene
(70 pages)and that of the trial (120pages).And still more,
in which
there are
one
or
extremely long suites of scenes
is continuouslypresent and the center
other of them
of interest.
Mitya holds the stage during the whole of Book VIII
(100 pages),and then, after a brief interruptionto explain
the policegot on his trail,through the whole of the
how
book
next
(69 pages more). Alyosha,in addition to being
at Father
Zossima's,is the center
present through the scene
of interest throughoutmost
of the following
books III, IV,
are
THE
158
and
TWENTIETH-CENTURY
about
(inall
the
on
These
subjectof Smerdyakov).
of Dostoevski
belong
novels
nor
autobiographical
those
the
to
it would
genres,
NOVEL
be
find
to
novels
this does
Dostoevski's.
But
until it is considered
appear
accompanying features of dramatic structure.
My
second
limited
point of view
My
have
not
to
later
of it to
sort
which
third
Punishment"
the
in "The
is
"The
Moscow,
of these
within
novels
the
This
There
and
the
to
Karamazov"
is
there
where
Dounia
and
and
placeson
murders,
that
to
Raskolnikov's
he
house
is
burg;
Peters-
"our
the
to
neighboring
in the
town"
between
of Pavlovsk.
considerable
true
particularly
are
is such
the
and
number
burg,
PetersIn each
of
settings
particulartown.
whom
taverns
resort
summer
cityof
it is limited
Idiot," it is distributed
the
the
Dostoevski
of place.la "Crime
provincialcityof Skotoprigonyevskand
of Mokroe;
in "The
Possessed" to
village
provinces.In
with
is limited
Brothers
of
significance
which
matter
limitation
action
so
considered, and
chapter.
point is the
teenth
nine-
of
of interest. This
center
seems
point is
of
the stage
along
not
the
to
in the
on
full
the
position
ex-
Outside
biographical
genre.
hard
of
pages
neither
continuouslyas
10
Punishment."
her mother
the
woman
"
Sonia's, that
Porfiry's,
stay; not to speak of several
streets.
Raskolnikov
in the
and
Marmeladov's,
another, and
about
of "Crime
is
The
nature
of the action
perpetuallygoing
from
streets.
So that while
in the
dramatically
arranged.In
novels
of Dostoevski
all of them
there
are
dering
wan-
largethere
is
average novel.
In this respect the other
"
one
are
is very
in the
more
extremely
DRAMATIC
DOSTOEVSKI
PRESENT:
159
Such
continuouslyin a singleroom.
is the scene
at General
Epanchin's in "The Idiot" (PartI,
the convent,
at
Chapters II to VII, 72 pages);the scene
long scenes
the
played out
suite of
long
"The
Brothers
whole
of Book
bent.
is
But
him
the
lookingforward
time
a
of the action
little more
periodof
than
time
notable
events
still if
are
clouded
but
by
strongly
much
which
in
covered
time
the
Punishment,"
the theme
of
to
some
is
leaving out
professedlya mere
of
or
sixteen
days,
This is an exceptionally
short
fortnight.
in the older novel
for a book of
especially
a
"
we
the limitation
pages. And
take into
there
are
mind
account
only
intervals
two
the
on
brieflysummarized.
very
of
novelist
of time
of
days whose
claysof presented
unconsciousness
part of Raskolnikov
Of
is more
those
the
actuallypresented.Between
action
and
and
is limited
five hundred
over
are
"
of
amount
Epilogue, which
to
taken
even
significance,
again,becomes
taken along with other features
"Crime
brief
be
to
the
for the
its
it.
accompany
My fourth point is the
In
remarkable
sufficiently
singleplace.And,
shows
it is
greater when
account
in
scene
occupying
(the last one
chapters,120 pages).
XII, 14
itself,this feature
aggregate.
trial
the
and
Karamazov"
Altogether,Dostoevski
laid in
lengthof scenes
dramatic
Mokroe
at
scenes
which
are
nine.
"The
Brothers
the
entire
period of the
is less than
action, exclusive of the introductoryexposition,
But here again there are
intervals which
three months.
two
the author
a
period from the end of August,
passes over,
time of the murder, to the beginning of November,
time
the day of the
of the trial;and a five days'interval between
trial and that of the Epilogue.Of days actuallypresented
but seven
of nearly a thouand
there are
this in a book
sand
In
Karama/ov,"
"
DRAMATIC
reach
issue
at
decision, to
some
that
"
DOSTOEVSKI
PRESENT:
come
to
of all that is
settlement
take time
they cannot
161
for
sleepor
food.
They
sumed
champagne, which can be contime to
while they go on talkingand thinking.From
time they fall into the fitful sleepof nervous
exhaustion,
only to be haunted
by dreams which bring back the preoccupatio
of their waking hours. Very often they keep
going all night,like eight-dayclocks, so that the second day
with the first. In "The
continuous
Possessed"
is literally
four successive days thus linked by all-night
there are
sessions.
how
often they change their location
And
matter
no
the same
in space, these people carry with them
fevers, the
unsolved
and urgent problems.
same
has not
read Dostoevski
who
One
might easilyderive
of what he is like.
from this description
a quite false notion
live
to
seem
It does
tea
on
allow
not
and
for the
of interest he
is able
to
introduce
large diversification
the creation
The
reader
of this method
more
of such
while
emotional
will have
work
concentrated.
tension.
observed
togetherto
In
"Crime
how
make
and
the several
the drama
more
Punishment"
is the
pages,
center
but
features
it is
of
and
not
interest
NOVEL
TWENTIETH-CENTURA
THE
162
continuouslyis confined to
nine clays'
Idiot" it is not
time. In "The
merely that the
is the center
same
through a narrative of still
person
singleday of action in which
greater length,but that one
he
is continuously present occupies 176 close-printed
pages, that the settingis but three times changed within
that period,and that one
in one
singlescene
place is 72
there are
Brothers
where
Karamazov,"
pages long.In "The
he takes part almost
in which
three main
of interest, each
centers
one
in
turn
is followed
ter
length:Mitya occupying the cenof the stage, during two
vening
successive days and the internight,to the tune of 169 pages; Alyosha being present
of interest, through
and, for the most
part the center
all the
260 pages devoted
successive days.Sometimes
to two
in a singlescene,
gle
on
a sinleadingcharacters are assembled
day and in one
place,running up in one case to 70
through passages
of great
pages, in another
to
drama
is crowded
firstfour
To
the end
singleperson
this person
placeso
as
seven
of this
days,of
prodigious
which
have
may
story, it is a
stronglythe
good thing to
present in
for
center
the
to
sense
have
that
shall
is still better
narrowly
the action
absolutelycontinuous.
are
of the dramatic
a
And
120.
limited
in
time
of
It
be
providecontinuityof
effect. And
the better to secure
such continuity,
it is well
that the story should
be limited to a small number
of days
and that the whole
whose action is presented,
ered,
period covshould
be as short
includingintervals not presented,
as possible.
Naturally,there are many considerations which make it
impossibleto carry out this scheme with any rigorof logic,
so
that
we
must
add,
savingphrase,"other
to
so
each
as
one
to
of these statements,
thingsbeing equal."The
novel
the
has
DRAMATIC
plenty
too.
offer
to
serious
No
of
many
reasons
important.
PRESENT:
besides
drama.
novelist
has
fiction
dramatic
for
his
DOSTOEVSKI
as
effectiveness
is
drama
But
gone
163
far
so
to
Dostoevski.
this
good
the
meet
And
is
one
among
of
the
thing
tions
condi-
the
most
XV
DRAMATIC
PRESENT:
be
WOULD
hard
are
consider
his
from
of
some
of
parts,
thus
material
Vronsky,
limited
confined
or
If
attempted
more
The
method
labors
of
between
of
certain
that
of
points
relief
higher
main
of
the
culiarity
pe-
centers
of
dominant
through
of
time.
of
events
to
each
(Anna,
or
each
"
is
them
periods,
group
months
ciple
prin-
carry
main
Generally
three
of
of whom
one
"
eight
of
The
interest
characters,
and
into
novel
larger groupings
division.
main
six
his
chapter
experiences
not
reduce
the
itself, considering
shorter
the
by
period
the
to
he
or
center
part
will
ter,
win-
summer,
spring.
we
could
his
the
in
to
"
which
midway
divides
Tolstoy
three
or
in
out
account
comparison
consciousness
his
is
of
out
system.
that
chronologically
phases, massing
be
bring
to
throughout
present
and
(1847-48)
is indicated
Levin),
forward
during
Fair"
showing
under
(1875-76)
than
directions
other
principle.
Thackeray's,
serve
given
"
dramatic
Thackeray's
than
is
always
the
significant
is
in
Thackeray
position
com-
Dostoevski's
leaving
"
disadvantages
"Vanity
will
structure
with
while
of
methods
whose
contrast
Karenina"
and
with
It
the
"Anna
Dostoevski's
novel
of
of
neglect
in
Tolstoy
writer
it is worth
merits
shining
the
in
And
Thackeray's.
find
to
more
TOLSTOY
THACKERAY,
than
"Anna
dispersed
division
similar
parts
that
fewer
to
than
English
the
Karenina,"
character
for
of
the
164
is
"Vanity Fair/'
eleven.
novel
an
is
And
in
appreciably
indication
material.
this
we
This
of
becomes
the
DRAMATIC
still more
years
a
evident
when
in the
covered
each
is
day
one
In
we
of Dostoevski, of
and
days
in
another
of
the
number
like three
fourteen
lapseof
This
time
of
and
for
"Vanity
time
within
becomes
more
is given to the
significa
doings
days.
find, there is
approach
an
developingextensivelythe
of days that follow
groups
the
practice
vidual
doings of indicloselyon one
to
Thus
the first part is confined
sequence.
of four days,all in Moscow,
that we
so
dramatic
the
to
than
much
165
something
Englishnovel.
ask how
Tolstoy,we
that
greater average
succession
or
is
fewer
not
much
in the
division
when
of
consider
we
aggregate
and
Fair." There
TOLSTOY
PRESENT:
events
the
there
will be
which
occupy
two
from
75
Thackeray
With
I find
book
whole
of
groups,
to
the
90 per
is
case
only
or
one
three
cent
several
days, each
of
quite the
contrary.
occasions
on
which
In
he
the
motely
re-
Miss
Pinkerton's
which
heart
here
dramatic
In
covering
the
first unsuccessful
two
weeks
assault
on
in
the
There
some
her
and
of
seventh
where
school
makes
Becky
the
much
as
are
character
the
occurrences
of
those
rare
of
several
day'soccurrences.
that
occasions
days
are
in
reduce
the
Thackeray
developed at
acter
major char-
TWENTIETH-CENTURY
THE
166
we
perpetuallypassingfrom
are
character
one
NOVEL
another.
to
one
Thus
in
dramatic
in the book
"Vanity Fair," the most
with
Becky'striumph at Lord Steyne'sparty,
ending with the break-up of her manage with Rawdon
of
"
are
we
with
part with
ginning
beand
"
Becky, part
Rawdon
again;we
book
the
pass
is handled
in
undramatic
as
manner
as
possible.
The
of
want
naturallystill
stapleof the book
of interest is
steadycenter
more
"
effect from
than
refrain
to
steady center
It is necessary
from
recognizethem
as
characters
one
to
group
est
get the greatis necessary
to
person
enough
strong
centers
constituting
who
or
sceqe
of interest,more
shiftingfrom
have
to
"
so
another.
that
we
of interest, persons
Of
Sharp
and
Dobbin
major
than
and
Amelia,
Rawdon
characters
because
If, then,
through
there
imagination,and
acters.
them
major charin "Vanity Fair" but two, Becky
are
with
the possibleaddition
of Major
Crawley, admitted to the rank of
these
on
four
account
persons
were
followed
of them
to
us
as
steadily
were
variably
in-
part and
DRAMATIC
but
THACKERAY
PRESENT:
167
interesting
enough to stand by themselves, and yet
histories are
given in fairlyregularalternation with
not
their
Such
the old man,
the Osbornes
are
principals.
and
their son
married
Amelia,
Captain George, who
Georgie,togetherwith Maria and Fred Bullock; such are
the Crawleys of Queen's Crawley; the Bute Crawleys, rivals
for the favor of the wealthy Miss Crawley;
of the others
the old Sedleysand Jos; Lord Steyne and the Gaunts.
all these characters Thackeray seems
Toward
to feel an
since they are in his chronicle, he will
equal responsibility;
that
tell
of
"
there
what
us
is
be
to
point where
it comes
wait until
to-morrow
told of them;
and
he
will tell it
which
is gennaturally,
erally
he is saying about
his major
in the midst of what
portance
We
find them
characters.
amusing; we recognizetheir imsocial exhibits; we
as
regard them as acquaintances
what
and are
glad to know
happens to them. But
them, nothing that we
there is nothing important about
at
the
cannot
in
most
to
learn. And
it is
figuressuch
the
gossipinterests,for whom
are
constantlybeing asked to give way.
principals
the prinNot that there is anything so very urgent about
cipals.
of
These
of
not
are
figures tragedy,creatures
destiny.
Their
of
story flows on with the slow, equable movement
It hangs upon
thread and is not going
no
everyday events.
to be decided
by the fatal choices of a night.It is not packed
into the confines of a breathless week, but stringsitself
along diffusely
through many
happenings.
years of minor
is no
There
be solved, but merely the mild
to
mystery
question of what next. So that the reader suffers no great
as
these, who
hardship
or
interest
when
he is asked
in favor
Amelia
us
as
to
Mrs.
of
postpone
Bute
his interest in
Crawley
old
or
Becky
Mr.
Os-
borne.
In
hold
Tolstoy
upon
another
us
whose
in addition
to
each
that
case
of the
one
we
is
cannot
leadingcharacters
bear
to
equallyurgent.
the three
characters
of
takes such
leave him
except for
In "Anna
Karenina"
major
interest there
DRAMATIC
PRESENT:
and
historydetailed
light.It should
be
all the
conceded
TOLSTOY
family
that
169
skeletons
dragged
to
is in his element
Thackeray
of
in this kind
to
generalizationis
in which
those passages
before
understood
to
used
main
of
method
the
But
as
which
do
not
is
drama
writer
dramatic
The
is explainedwhat
story
begin. It
can
needs
is
sively
exten-
one
bridging the gulf between
another, giving an idea of developments
lend themselves
dramatic
to
presentation.
it is
And
means
any
of
means
and
scene
the
by
not
writer
with
penchant
the undramatic
the least
for
writer.
possibleuse
of generalized
from
one
period to
to
one
scene
another,
passes from
reference
another, with the slightest
to
what
was
going
in
narrative.
Tolstoy.
Each
He
on
part begins
new
the
in
winter,
one
the
held."
instinct of
period considerably
almost
out
invariablywith-
at
preceding,and
in the midst of
preliminaries,
the
later than
is the
"At
scene.
Schcherbatsky'shouse,
the end
of
consultation
"Princess
that
Schcherbatskyconsidered
of the question for the wedding to take place
it was
out
had been travelling
for
before Lent." "Vronsky and Anna
three months
ried
together in Europe." "Levin had been marthree months.
He was
happy, but not at all in the way
find ourselves planted solidly
he had expected to be." We
was
being
of the
in the midst
new
scene,
in the mind
perhaps of
one
of the characters.
The
reason
events
dramatic
is that he
occasions
might put
manages
stand for the
it this way
"
that he
little occasion
so
to
mass
make
the
of minor
chooses
to
to
marize
sum-
largesingle
events.
We
represent only
those
NOVEL
TWENTIETH-CENTURA
THE
170
dramatic
as
significance;
if he could pay alwaysin largebills and let the small change
that of
then, comparing his procedure with
go. And
Dickens
and Thackeray, we
might say that Dickens deals
large
largelyin small change, which he treats as if it were
bills
that is, he erects
each minor
into a major
event
for
dramatic
occasion. Thackeray too deals largelyin what
Tolstoy would be small change, but he does not treat it as
sions
largebills neglectingto erect it into major dramatic occa-
that have
occasions
major
"
"
or
scenes.
of small
amount
Thackeray an enormous
change. His "Vanity Fair" is an entire composition of little
ing.
happenings illustrative of greed,snobbishness, social climbThere
of these little happenings that not
so
are
many
could be properly presentedscenically,
a quarter of them
and
Thackeray does not seem
willing to leave any of
them
But if they are all to be included, a largenumber
out.
of them
must
necessarilybe presented in sketchy
There
is in
summary.
These
another.
coupleshad
two
young
The
marriages of
both
father
his
by
trembled
friend
rather
Crawley, on
Unable
were
tales
to
relate
to
all Rawdon's
whom
make
Captain Dobbin;
result
an
of
one
their pects
prosand interest
with
for the
to
discussed, and
in life canvassed
on
either
plentyof
that
and
to
Osborne
young
Miss
communication.
house
in Park
his
her
Lane
out.
fection
af-
money
for which
the greatest
are
spirits
sometimes
at
still.
stand-
SUMMARY
It often
sheer
seems
bulk
NARRATIVE
171
if
overwhelmed
Thackeray were
multiple historyabout which
as
of the
by
he
the
feels
to
on
declared
They
the
at
Stock-Exchange;he
his house
formal.
house
The
and
his
protested;
were
furniture
of bankruptcy
act
of Russell
Square
seized and
have
we
attitude
It is Osborne's
the
toward
bankrupt
and
us
the barest
with
toward
the
that
all
and
love, her
brutal
that
was
between
over
and
letter from
final award
as
came,
her mother
palelyand
of that
the
had
the
it did
was
only
long gone
and
is
her
.
before.
of ruin,
over
faith
in
in
a
at
so
the
all
declaration
between
the
few
an
took
confirmation
world"
curt
end"
as
her
when
her
the
lines
that all
nature
much
Amelia
the
bankrupt man
and
told her
were
shock
.
calmly.It
had
give
have
we
announcement
of such
been
families
not
ruined,
Square
George"
her and
rather, expected.
presages which
to
happiness,her
John Osborne
But
scenes.
affair.
creditors
and
all
as
of the facts:
statement
and
scorn
savageness
in breaking the heart
When
of
the form
meetings of
the
At
in
were
away,
his
situation
from
absent
was
gagements
en-
the
parents,
news
of the
very
dark
Amelia
The
letter;
the
not
is lavish of
trouble
show
to
with
impress us
more
At
times
feel
we
of selection.
of
reality
their
if
Thackeray
were
as
if he felt it necessary to
time. In Chapter LVII
characters
his
he
gives us
much
so
simply incapable
from
day to day as
of their
moment
of
sort
take
not
case.
for every
account
does
would
which
scenes
the
follows
He
the
us
he
their
Os-
in evidence.
condolence
phrasesof
old
received
letter is offered
the
even
ing
pretense of show-
no
she
when
occasion
the
on
author
leysin
is
perfectlygeneral.There
It is all
borne's
NOVEL
TWENTIETH-CENTURA
THE
172
diary
of the
their return
of Dobbin
and Jos Sedley on
voyage
India. Not
that anything happens that is worth
cording.
re-
ocean
from
The
his
on
chapter the
has, for
some
he
get them
thing
same
is done
good
purpose,
feels he has them
Each
turn.
chaptergivesus
first day in London,
next
minor
story
at
for
his
on
diaryof
and
the
tivities
ac-
following
Thackeray
of
group
hands; and
disposingof
of the story
the end,
in
Dobbin's
Jos. When
brought
without
division
gether,
people to-
he
each
cannot
in
one
be concluded,
must
what
by telling
happened
to
everybody.
This
stream
in
author
seems
at
times
to
be
along on the
directingthe story
carried
traveler
scientiously
con-
SMALL
CHANGE
173
This is
and the pursuitof pleasure.
sight-seeing
Tvhat makes
slow reading of so much
of Thackeray.
eray
It is true that, even
in such generalized
narrative, Thacksometimes
This
be entertaining.
can
ularly,
appliesparticin "Vanity Fair," to whatever
concerns
Becky Sharp.
He is so genuinely interested in this plucky and unscrupulous
adventuress, and in the means
by which she manages
in
engage
make
to
her
of her
way
methods
in the book
even
of the
One
is entirely
taken
with
up
outline
an
ment
state-
ters
longestchap-
historical sketch
"
and
Major
and
"
at
form.
Fred
Glorvina
who
were
O'Dowd
Maria
much
Bullock, the interest is certainly
to
Osborne
mild
too
the tiresome
to sustain
present-dayreader
of trifling
detail offered us in the non-dramatic
mass
"Vanity Fair" is like a great sheet of drawing-paper
filled from
sketches
rim
in
to
"
rim, from
of human
of space.
much
and
landladies
common
to
corner
crowded
figures,
They
are
that
exercises
theyare
corner,
close
in
with
charcoal
together for
drawing
and
have
all in illustration of
omy
econ-
this
com-
theme.
mon
NOVEL
TWENTIETPI-CENTURY
THE
174
the lover of
But
for
and
grouping, for subordination
organic principleof composition.
It is worth
while
in
spacing,
for some
perspective,
picturescries
this connection
to
for
out
consider
what
here
again
his practice
with Tolstoy's.Thackeray's chapto compare
ters
the average three or four or five times as long as
are
on
Tolstoy's.Tolstoy'schaptersare almost invariablyconfined
to one
occasion; and very frequentlyseveral chapterswill
be given to the development of successive phases of the
the other hand, are
occasion. Thackeray's chapters,
same
on
almost always omnibus
casions
affairs,in which many
separate ocare
briefly
disposedof.
which
It is difficult indeed
to be sure
rative
portionof the narshould be defined as constituting
occasion, where
an
much
is told in summary
so
implying many occasions, and
in
where
the actual bits of scene
are
so
deeply embedded
Thackeray
does
with
this viscous
mass
of
take
the
chapterslike
his
generalized narrative.
and
XXIV
XXV,
and
try
to
count
now
the
we
But
in which
and
then
number
we
suppose
do have
we
at
some
of such
ticular
parsions,
occa-
two
THACKERAY'S
CHAPTERS
175
might
out
as
There
a
stood
main
two
are
Jos),and
Crawleys
those
clustered
and
the
about
Bute
narrative.
for
cluster of
the
is nothing
there
of
favor
the
is broken
scenes
bits of "occasion"
And
the Rawdon
rivalryof
Crawleys
the
up
embedded
to
in
the
connect
but
of scenes
groups
all take place at
are
to
be subordinated
altogether.He
down
the curtain
much
material
not
to
seem
at
effectively
to
this instalment.
ambles
does
He
cover,
which
and
or
seems
so
to
be
the end
may
be
eliminated
concerned
of the
much
copy to
live from hand
to
act.
turn
to
bring
has
He
so
for
out,
mouth.
He
along pleasantly,
taking his time, plucking here
and
flower
there
thing
One
leads
wholesome
to
another.
herb.
If
character
is mentioned,
his conscience
troubles
him.
"Our
historyis destined
and forward
in a very irresolut
chapter to go backward
manner
our
seemingly,and having conducted
story
shall
tomorrow
to
presently,we
immediately again have
that the whole
occasion to step back to yesterday,
so
of the
tale may
get a hearing."I have italicized the final phrase.
that the whole
concerned
of the
too
Thackeray is much
in
this
XVI
DRAMA:
SUBJECTIVE
I
r
the
"drama"
words
leave
out
those
words
of
definition
with
they
the
that
are
strikingly
in
of
course,
"of
or
having
is
the
qualities of,
add
word
appropriate
vivid;
"Vivid"
excitement
further
"That
drama,
unexpected
In
plot,
all
that
resolution
on
this
is, the
make
action;
which
one
Dostoevski
of
and
full
account
conjunctions,
of
or
events
action,
movements
mind
Tolstoy
are
a
or
appropriate
laid
177
look
we
for
matic,"
"drathe
to
action
or
ture,
ges-
denouement."
features
on
of
and
complication
of
the
gestures
objectified. Now,
sufficient
If
is
striking
of
movement,
synonyms
framework
of
action."
of
whose
the
But
with
surprise.
emphasis
the
objective
is, the
to,
qualities
the
if
as
or
which
external
means,
explanation
"having
with
dramatic
the
that
states
further
suspense,
the
notes
more
appropriate
as
esp.
notations
con-
out
come
confusion.
from
drama,
incident,
is
story
The
"Dramatic"
in
people
under
issue
content
is,
that
action.
drama;
free
two
or
the
of
drama."
simple,
most
play,
the
the
to
or
primary
be
moment
"dramatic."
expressed
of
find
we
to
for
means
confuse
the
For
and
dialogue
pertaining
or
is
drama;
of
adjective,
everything
dictionaries
what
form
is
ignore
connotations
the
drama
using
am
that
senses
used.
for
may
likely to
the
the
far
we
that
dominant
commonly
are
"play."
in
in
certain
"drama"
of
readers
some
"dramatic"
account
its synonym
So
to
and
as
presented
occurred
have
MUST
JAMES
provision
also
story;
by
there
of
of
means
is
plot
in
for
the
NOVEL
TWENTIETH-CENTURY
THE
178
enough
remains
are
of these Russians
and
gesture
so
much
positively
terest
in-
objectivedrama of plot
subjectivedrama of spiritual
in the
is not
in the
as
who
states.
with
Smollett
Scott, or
or
Balzac, Zola,
with
even
of such slight
motivation
seems
Hardy, in all of whom
importance relativelyto the hard facts, the irreducible
objectivecircumstances, which make the substance of the
or
narrative.
And
yet it is Dostoevski
"dramatic"
ideal
in
I choose
whom
the
than
rather
novel
illustrate the
to
of
any
these
or
and
grouped
in
some
rare
and
centered
and
cumulative
cases,
such
in such
power
of drama.
the
In
vast
Hardy
the
defeat
the
So
that
our
Balzac, drama
is
an
is
too
But
pactness
com-
"Ivanhoe"
little form
his novels
occasional
it is all
give the
to
as
way
is
dramatic.
"Ivanhoe,"
as
and
effectively
happy
accident
Humaine.
In
expositorysea of his Comedie
tanglements
"unexpected conjunctions,"the complicatedenresolutions
and surprising
of plot,too
often
dramatic
for which
devised.
they were
purpose
ideal
best example of the essentially
dramatic
in the novel
is found
to
be
writer
who
is
more
than
ordi-
DRAMA
SUBJECTIVE
with
narilyconcerned
Another
the
of his characters.
states
spiritual
of confusion
source
179
tive."
"subjec-
problems
more
he
because
writer
conduct
discusses
brought
Thackeray, Meredith,
so
of
"Death
would
Hero"
the
because
novel
his
readers
the
still
up by his story; and
Wells. Richard
Aldington's
be in this
author
with
sense
devotes
againstthe Victorian
But, generallyspeaking,this kind
satirical tirades
tive
highlysubjec-
whole
way
of
to
pages
of life.
his
which
subjectivism,
tinctly
into the story, is disideal in the novel. It is
of the author
But
limited
is
no
back
can
author
of
the
these
last
novel
the action
drama?
subjective
"
and
"
itself.
Stage drama
the abandonment
novels
at
is dramatic
is it
not
the
all,is it
not
is
There
processes
that is the
lying
first
of soliloquy,
disappears.If
vestigeof subjectivity
novel
But
with
to
of drama
and
there
talk of dramatic
that
the
talk of
we
than
of action
the words
to
condition
to
motives
necessary
justin proportion to
we
to
are
cede
con-
its objectivit
feature of
prime distinguishing
is there to explain?And
might
NOVEL
TWENTIETH-CENTURY
THE
i8o
be
that the proper line of the novel would
in its sharpdifferentiation from the objective
techniqueof
not
conclude
one
drama?
There
the
be
can
narrator
between
playand
and
more
has
words
and
largerand
devoted
be
to
eral
gen-
tended
has
novel
on
to
larger
the mental
less
proportionately
their
to
gestures.
here
we
of
important distinction
most
what
in his
to
come
states
methods
the
that
subjective,
more
proportion of space
But
it is obvious,
survey
grow
"
determines
"
the
doubt
no
presentingmental
states.
tween
be-
the undramatic
and
may
be drawn
must
the author
Whenever
of
his characters' states
expatiates
upon
method, since we are
mind, he is followingan undramatic
then conscious
of the author standingbeside his characters
own
person
is divided
on
which
describe
effort is,in
his words
mental
so
far
the
mere
process.
as
He
be undramatic, and
he
But
is
agent in the
is capableof
and
wholeness
He
is
even
none
the
is
simply
of mind,
without
the author
who
of mind
in
state
author
present,
comment
to
or
choosing the
question,but his
is
the dramatic
ideal, to make
uncolored
medium
renderingthe
does
authorial
the
of which
"
less the
his
for
characterize
not
he
it
would
reproducesit.
author,
character's
the character
capable,like Dostoevski
that
"
indispensable
an
subject.Being
to
them
he follows
rendering of
visioninghis
of characters
between
mind
the author, he
with
is himself
or
Thomas
clearness
incapable.
Mann,
of
philosophyof life,simply
of mind
of
certain
ber
num-
DRAMA
SUBJECTIVE
words.
He
is
his characters
and
warmth
181
ceiving
granting the specialabilityof the author for conand
putting into words the mental states of his
But
by
the dramatic
author
between
of interest
and
is, in
ideal,
nated
is domi-
does
He
undramatic
are
the
which
make
the character
wish
not
to
be
sayingclever
wishes instead to read himself right
of the character, to identifyhimself
into the consciousness
him
in impression,
with
feeling,outlook, to reproduce
of tone
the character's reaction
with absolute
to
fidelity
sistently
everything in his experience.He wishes to give,as coninside rather than an outside view
as
an
possible,
of things.And
it will be realized that this is to make
the
narrative highlysubjective.
and at the same
the narrative subjective,
It is to make
dramatic.
time it is to make
it,in a very significant
sense,
of direct presentation,
dramatic
method
is the method
The
of being present, here
and aims to give the reader the sense
in the scene
is why those elements
and now,
of action. That
caught standingapart
thingsabout him. He
from
he
any distinction
sion
might lead to a divi-
which
them.
between
as
obliterate
to
character
far
so
obviously a
But
us
certain
amount
order
Some
and
description
to
to
be able
know
to
what
accomplishedin
aware
and
the characters
to
and
author
explaining
and characterization
description,
things:exposition,
by
and senauthor, psychological
timentalizin
analysis,
philosophizing
about
want
of
and
they are
the
events.
of
sary
expositionis necesknow
in
thingswe must
at
which
characterization
vizualize the
an
we
are
settingand
are
necessary: we
the characters
playwithout
intervention
present.
thingsare
on
the part
NOVEL
TWENTIETH-CENTURA
THE
i8s
of the author.
There
to
are,
be
sure,
distinct limits
to
what
can
be done
the
and that is what makes
through these objectivemeans,
cruder
and
thinner
a
play,generallyspeaking,so much
of life. Everything
for the thoughtfuldelineation
medium
conventionalized.
has to be so rigorouslysimplifiedand
word
of words
One
stand in the play for the score
must
intention.
which
the novelist may
wiselyuse for the same
And
it
be
must
connotation
as
word
as
silver dollar.
in
unmistakable
The
meaning
and
presented must
types
such
with
as
subtle
in favor
can
be
at
intellectual
of the drama
thin
once
medium
effects. But
it remains
by
the
that
true
said
comparatively
fact of its complete and
mere
inveterate
objectivity.
Thus
we
are
brought back
subjectivedrama in the novel.
that immediacy of effect which
to
eye
and
of
ear.
It
must
the
to
seeming paradox
our
The
novel
derives
be
content
can
never
of
attain
from
pensation,
imagination.By way of comit may
more
cover
infinitely
ground, may go in
for comment
and explanationwhich
not
are
possibleto the
of intellectual
stage play.The novel has, accordingly,
largemeans
appeal specialto itself. It may have a richness and
subtletyquite beyond the scope of drama.
and explanationtend to weaken
aginativ
the imOnly, comment
the story one
appeal;they tend to remove
degree
farther from direct experience.The
novelist is thus landed
immediacy
appeal to
CONSCIOUSNESS
DRAMATIZING
in
dilemma.
How
losingthat
intellectual
out
with-
"dramatic"
he
can
183
is
peculiarto
his
form?
is
There
solution
one
for this
which
problem
has
been
seized upon
by novelists with the passingof
of the characters as
the years. It is to use
the consciousness
the author
What
for explanationand comment.
a medium
and
more
more
in
us
matter.
the aim
is of the
of the author
novelist's
mind
That
is
problem
of his character
the
author
and
actuallythere.
The
the character's
mind.
In
been
who
so
at
to
a
present what
and
have
we
sense
has been
of action
in the
going on
that
given moment
ourselves
scene
is
shall forget
of
being
transferred
to
what
situation, and
if
is
easilylodged
people disagreeabout
powerfulmeans
with
in
our
him,
the
of
lating
trans-
general dramatic
imagination,especially
confess
their
uncer-
INTRODUCING
upon her at the time
visit to friends.
made
a
had
Milly Theale
recent
making;
a
a
she
when
Boston
to
up
visit
on
and
they were,
as
that her
understood
was
185
came
friends, such
Boston
it
and
CHARACTER
THE
of
them"
to
that
there
that
enough,
in the
this
give; but
important
truth
of life,or
discipline
the
under
give. It was
recognized,liberally
too
things"perhaps even
manymany
were
could
York
New
couldn't
York
New
to
not
was
that
as
such
some
of assistance.
measure
forget"for
the
had
moment
what
had
ference
dif-
no
most
reallyto
was
do,
to
feel your
not
make
to
you
of death,
could
grave. Boston
to
else could, and it had extended
situation
felt
was
the
nor
her
fine
infinitely
first
sight of
and unexplained: the
slim, constantlypale, delicatelyhaggard, anomalously, agreeably
of
than
not
more
angular young person,
two-and-twenty
of
whose
her
hair
in
somehow
marks,
was
ceptionally
exsummers,
spite
reel even
it innocentlyconfor the real thing,which
fessed
clothes were
whose
to being, and
remarkably black even
die meaning they expressed.
for robes of mourning, which
was
New
York
York
New
It was
hair, it was
a
mourning, it was
it set
vibration
confused
history,
York
New
up
multitudinous,
yet, but
as
own
of
the
every human
that
appendage,
required the
had
York
of romantic
a New
legend of affecting,
greater stage; it was
in
isolation, and beyond everything,it was
by most
accounts,
respect
of New
the
to
York
rich, and
was
of money
so
She was
possibilities.
mass
in
was
particular
piledon
the
alone, she
strange"
girl'sback,
was
combination
now
she
obeying the
it"
in itself
Susan
to
nature
no
one
had
her
quite the
instinct
would
seeing Boston
to
finest
conceal
understand.
moment
of her
seeingher,
She
.
set
stricken,she
was
Mrs.
Stringham's attention.
engage
privatelysettled it that Boston was not in the least
of
was
ing
see-
life in
couldn't
plain
ex-
Now,
NOVEL
TWENTIETH-CENTURY
THE
i86
readers
many
will
think
that
necessary
have been
formati
in-
models.
do
the
veyed
conregard to Milly Theale might
shorter paragraph,or that in a paragraph
in a much
information
of this length much
more
might have been
conveyed. And this is perhaps the place to state candidly
that Henry James is not a popular writer, and that a large
number
of the most
and
even
discriminating
intelligent
readers remain
incurablyimpatient of his way of tellinga
his later novels, simply
at
story, and after a trial or two
decline to give further time to him. They find him
fussy
and
long-winded. And there is no use trying to convert
into devotees. Other
them
readers, like myself,while extremely
fond of Henry James, are equallyfond of novelists
metrical
who, like Hardy for example, proceed on lines almost diaopposed to those James follows, and we do not
in
wish
to
set
up
condemn
not
unlike
either
one
him, any
Baudelaire
The
of them
exclusive
as
novelist because
more
because
we
than
admire
admire
we
we
another
the
condemn
We
very
poetry of
that of Lamartine.
attention
to the
more
why I give so much
of James than to that of Hardy is because he repremethod
sents
certain procedures which
been
have
gaining ground
or
fortyyears, because he has had
during the last thirty-five
such
reason
an
incalculable
influence
on
other
novelists
in
the
of
than any
technique,so that he occupies more
other
a
pivotal position in the development of the
novel. And
then, in spiteof his eccentricities,
twentieth-century
matter
his
excesses,
illustration of certain
his mannerisms,
he
is
remarkable
of esthetics which
one
no
principles
afford altogetherto ignore.Thomas
can
Hardy may be in
certain ways the finest English novelist of his time, but he
might have learned a great deal from Henry James.
of Milly Theale, we
Returning to the characterization
that James vouchsafes
note
small number
of
a
relatively
items of information
about her. They could all be
concrete
summed
she was
pale and slim; she had
up in a sentence:
A C TERIZA
CHAR
TION
187
strikingred
them
and
He
quantity.
capacity,a
in
limited
point
hair
the
facts
cease
knows
low
to
of
reader
After
a
saturation-point.
knows
that
He
register.
has
certain
what
is
their number,
important than the facts themselves
their size and specific
gravity is the impressionthey make
determines
the impresthe reader's imagination.What
on
sion
for the reader is not merely the facts but the way they
the meaning they carry.
are
lighted,
more
"
"
And
James
lightingthem
is
to
be
has
discovered
within
from
romantic
heroine
the
the
not
effectiveness
enormous
story itself.
merdy
Milly
because
Theale
of her
liness,
love-
of
loneliness, and
of
of
character
about
whom
he
wishes
to
trace
sort
of
i88
glamorous margin
clearingup
And
on
from
it is
Moreover,
of haziness.
of the
one
thingsshould always be
a later point in the story, if only to
the bait of curiosity.
that certain
NOVEL
TWENTIETH-CENTURY
THE
at
with
has
for slow
fondness
expositionand
food
wish us to gobble our
characterization.
does not
He
and risk an indigestion
of mere
tion
knowledge. In this connecis a little puzzledby his discipleship
of many
one
years
is
factual of novelists,Balzac. One
to that most
objectively
leisurelyunfolding of facts, both
and
led
even
wonder
to
it is
whether
not
in
tion
fascina-
of the
case
of
of reflection and
It is the very
appreciation.
oppositeof the method
and
much
too
information.
of
ponderablefacts
feel that
object is
Our
which
in
history,
can
we
to
in
never
have
In
fiction,
know.
our
objectis to
the
reflective
emerges
feel and
process
for the reader
out
some
of
which
item
of
from
time
time
to
objectiveinformation.
3
This
as
for the
principleholds
for characterization.
is
James's method
given occasion, brooding over
character,on
in which
finds himself.
he
antecedent
it
general expositionas
were
by
circumstances
accident.
Whatever
comes
given fact
out,
we
is referred
introduce
to
the situation
learn
in the
well
about
the
beginning,as
to
"
or,
better,
EXPOSITION
189
background of the
person'sthought. James's effort is to give it for the reader
and implied in the menair ot something known
the same
tal
it has for the character. Perhaps no better
process which
example of this can be found than the opening paragraph
Ambassadors"
of "The
(1903).
alluded
to
first
Strether's
in the
it is there
because
"
he
question,when
the
reached
hotel,
was
his
secret
however,
principle,
desire
to
thus
led him
to
on
Waymarsh's
him
operated to make
disappointment.They
all respect
shouldn't
as
of
the
much
so
would
this
there
would
two
be
first "note"
dock, that
had
of it,
enjoyment
still wait
could
without
old
was
other. The
been,
wholly
men,
principleI
with
the
it would
be
to
the
find
comrade's
he
have
just
embarked
dis-
newly
most
instinctive"
into his
separation,
trifle bungled should
fruit
of
himself
ing,
look-
ness
face, his busi-
simply
to
countenance
the
at
presence
few hours his
solutely
ab-
not
dine
that, delightfulas
sense
after
dear
Strether
prompted
feel he
enough of each
operating had
see
mentioned
sharp
to
himself"
to
for
postpone
now
with
had
that
arrange
steamer
as
for
the
of
begin with
We
who
he
landed
was.
in
Waymarsh.
landed
one
in
of the
We
begin
England,
We
himself,
Strether
are
England,
the
at
not
but
thingsthat
with
the way
thought
told
we
in
infer
determined
with
not
he
of
an
account
felt,when
first
his friend
meeting
so
many
words
as
much,
since
his
he
of
We
feeling.
that
that
are
he
was
not
THE
igo
NOVEL
TWENTIETH-CENTURA
we
simply infer from
Waymarsh was;
Strether's feeling that there was
something about him
it disagreeable
made
one's first impression
which
to have
of the Old World
spoiledby the sightof him. We are not
this
who
told
from,
he came
of person Strether was, where
like back
his life was
there, nor
why he had
told what
what
sort
come
abroad.
of these
to
of time
course
about
told much
never
any
learn all that
we
mostly by
know,
thinks
Strether
are
we
in due
But
matters.
need
we
himself
the author
By
from
and
which
so
itself between
established
soon
and
him
reader
The
learns what
knows
author
say, in Walter
story
it and
is there
Scott
but because
happens to
This
"The
Lambert
be
Massachusetts,who
a
Newsome.
certain
"
to
whose
is
has
a
come
know
to
give it
thinkingabout
Strether
Ambassadors"
of
needs
he
because
not
him
to
"
as,
certain character
the
view
magazine
abroad
matters
we
are
editor
on
an
the
let
us
in the
in
question.
followingin
of
Woollett,
errand
half
in be-
SUBJECTIVE
she thinks
he
it time
as
if there
were
of Woollett
is "no
better
his
"
"
If
liaison.
Such
to
contrary
in
the
not
the system
it is
which
the
so
"done"
at
the
are
all unless
from
what
him
and
other
if
are
Strether's
of
most
the
and
for the
Gostrey stands
"Woollett"
for
more
tone
to
is
that
ten.
is writterms
themselves
to
the
of the occasions
all
his
subject
of the characters'
to
them
in
his
in conversation
putting
life.
mean
is the
of
tion
exposi-
before
the
advantages
so-called
ponderab
im-
reaction
subtle
vulgar
abstract
inefficient method
the
his
of book
who
person
consider
"allusion"
concerned
"
aginatio
the im-
implied in his
thought he is forever
self
imagined tellinghimare
actuallycomes
people.
story
It
exposition.But
is entirely
terms
and
any
not
us
exposition is taken to
the ponderable facts. But
we
Paris.
in the
leave
is certainly
a slow
This
if what
dpes
must
thoughts,or
reader
primary
it is done
from
between
on
be
cannot
who
author,
sort
they present
Strether
he
either
facts
this
but
consciousness,
own
abstract
up to us. They
all the time. In his
things which
And
and
in which
alludingto them,
to
understanding
opened
process
seems
to
loose from
him
pry
which
of Lambert
by
He
to
on
reason:
terms
consciousness
mental
nothing but
be
bald
these
for this
And
on
try
and
and
case,
the
inherited.
has
offered
idleness
in the
can
charge of
in that business
is successful, the
he
them
state
are
to
he
Mrs. Newsome.
shall marry
the facts to be set forth in the
are
Strether
to
is
embassy
it
191
take
to
which
woman
she should
than
back
coming
was
largemanufacturing business
has shown
no
signsof interest
prefer the life of cultivated
looks
JAMES
DRAMA:
to
and
the
is that he
life;whereas
more
son
rea-
Maria
liberal way
of
XVII
POINT
earlier
AN
the
among
dramatic
The
elements
the
Now;
of
limited
In
of
like
novels
to
be
in
generally
the
point
its truth
that
anything
us
know
process
is
just
of
how
he
coming
is
place
it
as
to
a
engaged
of
point
of
idea
esthetic
to
know
part
in
he
his
the
setting
193
be
not
which
forth.
he
the
story
restricted
writes
If he
present,
not
an
relates
he
this
and
did
as
voucher
is the
meaning.
was
whole
Thus
ing
purport-
of
He
he
action,
the
"Green
narrative,
knowledge,
things
of
and
other
character
of its
when
came
the
character.
the
in
interpreter
took
incorporated
which
the
now
person
the
necessarily
must
this central
participant
and
drama,
the
"Kidnapped,"
central
first person,
of
ter
"cen-
distinguished.
be
Gold"
the
by
view
and
eye-witness
for
of
of
the
implies
cannot
of
Arrow
the
dramatic
the
in
as
the
outcome
tion
limita-
the
particular
Esmond,"
"Henry
composed
in
The
Here;
restriction
idea
one
technique
"The
Mansions,"
so.
interest.
the
cases
elements
two
of
dramatic
this
or
logical
of
attention,
finally,the
center
many
the
is
something
play.
effect
the
the
its full
this
novel
the
in
present
the
of
concentration
the
in
secure
place,
realization
dramatic
to
is listed
view
of
discussing why
produce
of
And,
to
for
were
particular people
carries
the
the
concentrates
here.
present
make
we
to
to
limitation
these
point
dramatic
tends
interest"
upon
view
desire
JAMES
restricted
impulsion
the
to
time
of
to
It is time
the
equivalent
in
that
fundamental
is
VIEW:
the
chapter
ideal.
general
OF
lets
very
witness
personal experience
any
the narrative
when
Even
character
one
holds
identifyourselves
with
with
the hero
of
share
is
the
time
length of
eyes, we
to which
have
we
him,
children
as
We
fairy-story.
point of view,
his
given in
center
see
tendency to
identifythemselves
strong
things through
him;
is the
Such
at
with
case
"Crime
and
by hope
disapproves;
Punishment."
and
view
pens
hap-
sense
some
his
restricted.
moment
of it in
most
point of
it is his
and
What
NOVEL
TWENTIETH-CENTURA
THE
194
have
We
the
is in
"Crime
Punishment"
and
"The
story of
business
young
of
one
our
of
Frenchwoman
standing among
in
strange
battle
who
men
like
wishes
noblesse, but
the
dark
finds
with
repugnance
to
into
at
the
same
time
himself
gaged
en-
relations,
an
"business."
ble
invinciIt
is
an
charming comedy of
theme
of James's the conthat ever
recurrent
trast
on
American
and
European attitudes and stylesof
effect there is nothing
In general qualityand
absorbingstory, and
manners
marrying
is the
a
marry
and social
her
in
to
personaldistinction
in
that
(1877).This
American"
rare
old
the
about
"
of
behavior.
I have
"THE
AMERICAN"
195
American"
is
good
as
"Crime
as
James
here
and
fails
an
Punishment."
show
to
point of
view
like
But
that meticulous
which
he does
toevski,
Dos-
concern
in his
show
later novels.
In each
the book
case
particularmoment,
involved.
In
as
"Crime
and
the authors
mony
approach the situation with all the cereof the expositorymethod,
in which
be
to
we
are
from
without
of the
regularlyinformed
by the narrator
time and the placeand the physical
action or attitude of the
yet unnamed
author's business
as
In
"The
individual, whom
give us
to
American"
general account
of
four
good
many
And
throughout the
from
half
and
with
thingson
page
solid pages
sort
which
book
of
there
his
never
are
was,
of persons
in generalto blocks of information
assimilate
it
to
to
physicalappearance
includinga
reflected.
scattered
passages,
to
the
himself
to
little attempt
be
devoted
are
he
man
he had
then
of.
account
ChristopherNewman,
an
it will
to
tions
descrip-
of persons,
given in the lump,
the
specialmental
TWENTIETH-CENTURY
THE
196
for the
manages
certain
most
avoid
to
part
ment,"
Punish-
and
Dostoevski, in "Crime
of Newman.
process
NOVEL
passages of this
the craft, though
to
expedientslong known
often used by novelists dominated
more
by the dramatic
ideal. A large part of the necessary expositionof this sort
is conveyed by means
of letters received
by Raskolnikov
other character in
and by narratives made
to him
by some
sort
by
the
course
of conversation.
keep
to
When
it
occurring
passages necessarily
which
devoted
the book
to the
are
through
of
the
central
closelyidentified
be
very
emotional
excitement
we
with
So
of the
him.
book
contagiousis
that
of view
of Raskolnikov.
of the author
which
he
closer examination
On
behind
his character,
the character
does
the
pression
im-
the
point
is aware
one
ready to explainthings
understand.
not
the
have
w,e
and rigorously
from
alwayspresentedstrictly
not
to
up within
of fact, the mental
matter
feel ourselves
character,
being shut
of
a
those
to
comes
there
and
reflections
As
more
character.
central
here
"It
not
was
that
of
understood, but he felt clearlywith all the intensity
sensation.
." The
had
cared
to
indeed.
think
." The
.
been
Dostoevski
"
author
would
this
who
been
dispositionto
frequentlyenough
make
would
alert. It is
but
"
to
it is
have
go
a
the
if his
not
"If he
been
amazed
state
of mind
thinking faculties
marked
behind
feature
the mental
distinguishhim
shibboleth
distinction.
explainswhat
have
little more
of his character
writers
makes
little,he
of his character
had
author
from
those
of the consistent
of
process
itself
later
point of
view.
Henry
James
had
American,"
been
he
are
took
many
of the uniform
writing-novels
for
more
than
dramatic
in "The
partial
anticipations,
of his later novels.
subjectivity
POINT
there
But
that
is also
become
shall
we
with
one
...
better what,
know
to
with
him."
had
fallen
out
mere
or
gave
do; he
to
his
at
go.
to
was
spirit
"
hurt
them."
here
touches
had
of
and
annoyed,
yet
it
of will
"
what
it
course
it aloud
he would
he would
of the
suddenly
had
charity
in the background
was
say; but
let the
pretend to
he
what
Christian
was
matter
lous,
partlyincredu-
Whether
the
said, was
need
supposed
remembered
he
as
ner,
man-
his hero.
be
biographer may
groan
behind
hadn't
fallen, and
have
point,
openest
disagree with
to
he would
I don't
going
in the
does
not
his
to
of his revenge.
human
weakness
want
as
having meant
of his
last
he
"He
meant
often
full license
in love, but
fall
to
this he
flattered himself
"He
of the author's
aware
197
much
JAMES
VIEW:
OF
have
Newman's
Bellegardes
said he didn't
interesting
points
of psychology the difference between
the feelings
of which
is conscious
in taking a certain positionand
the
a
man
fundamental
to
him, which
motives, generallyunknown
lie behind
the conscious
feelings.
James, however, was not
do anything with
this
to
American,"
prepared, in "The
with
consideration, and he did nothing more
interesting
it than to touch upon
it in the passage quoted. It was
not,
within
it seems,
his province. It is interesting
be reto
minded,
in the passage quoted, that James was
of
as
aware
the frequent contrast
between
what lies in the foreground
and
the background of the spirit.
But
it is significant
that
such reminders
confined
to his earlier novels.
are
By the
time he came
"The
to write
Spoilsof Poynton" (1897) he
had learned that his forte was
for psychological
not
analysis,
for the detection
of what
lies in the background of the
human
but rather for the dramatic
spirit,
presentationof
James
on
one
most
"
mental
them.
states
And
beautiful
as
the characters
his great
concern
of point
consistency
themselves
came
be
to
of view
are
"
not
to
conscious
of
maintain
to
allow
the
least scratch
stain
or
must
comment
the
on
subjectivemirror.
taken
be
not
"undramatic"
of
of the
polishedsurface
This
NOVEL
TWENTIETH-CENTURY
THE
i98
to
be
absolute
an
statement,
himself,
tell you
to
to
no
it is he
author, what
as
wants
you
see.
The
obvious
most
during
which
observation
our
of
the view
to
the
shows
view
in which
way
considerable
is
of what
singleperson.
point of
the length of time
is going on
is confined
Such
is
stretch of time
for
concern
limitation
of view
of
intensifying
the effect analogous to the lengthy development of
of a singleday, the limitation of place,and the
the events
continuityof action. And it may be said broadly that this is
the great distinctive feature of the novels of Henry James.
over
But
even
novels
the
there
so,
like "The
Dove"
is
obvious
Bowl"
Golden
(1902) on
an
the
one
means
distinction
(1904)and
hand, and
between
"The
those
Wings
of
like "The
Maisie Knew"
(1897),anc* "The
Spoilsof Poynton," "What
Ambassadors"
tioned
(1903) on the other. In the three last menis maintained
without
a singlepoint of view
virtually
interruptionfrom beginning to end. In "The Golden
and "The
the story is built up
Bowl"
Wings of the Dove"
of largeblocks of narrative, each told from
the point of
view of a singlecharacter, but with these characters taken
in alternation.
persons
The
reason
In
whose
each
of these books
view
is followed
at
there
one
enough. The
are
time
very
ent
five differor
another.
pointof
these
MULTIPLE
POINT
VIEW
OF
199
stories
character, as
one
shows
different
it in
is its spectrum.
But
that is not
a
different
the
to
each
case
It is necessary
The
know.
for
the matter,
is
in each
and
off from
shuts
case
seen
facts which
all, he
know.
not
be
must
above
he does
what
consider
colors
"
"
reader
things; and,
of these
by another. There is in
there are facts
something does happen.
the story-teller
to
present at any given
just those
moment
which
of what
much
story
to
succession
will better
vision
angle of
of them
one
only way
it and
plays upon
different characters
vision, an
light;the
metaphor
of this method
after another
kept
made
be
must
the
in the dark
be
must
He
wishes
he
kept in
as
reader
to
to
certain
curious
about
to
as
suspense
be directed
of the characters.
one
about
wonders
the
views
thrown
has
darkness
has
situation
wonders
upon
the
into which
viewed
from
looks
through
his vision
familiarized
this
angle,he
and
the situation
new
areas
penetrate. When
cannot
himself
moves
sees,
curiosity
certain points.Then
he
eyes of another; lightis
through
on
placesformerly dark; but meantime
developed,has altered; and there are
thoroughly
"The
he
that person
about. His
what
sees
thus directed
are
suspense
or
whatever
He
to
with
a
new
the
ground
of
he
as
positionand
quadrangular
"THE
it appears
the author
once
view
vision of Mrs.
the full
of
implications
fullythan he
more
husband,
with
the
whom
of
the other
or
one
100
Maggie's father.
And
more
to
Assingham. Only
the situation
desires. Mrs.
she discusses
for what
is
so
put
at
the
develop
enlightening
Assingham and her
persons with
and occupying
things,are
legitimateconcern
But
they are
very favorable
post of observation.
in the drama, they are not "in the know."
All
is watch
more
without
do
pages
us
he
can
rangular
quad-
of them.
than
of
finds it convenient
angle of
us
to
entire book
one
point of
the
to
201
as
is,however,
BOWL"
GOLDEN
going
on,
not
tors
ac-
they can
help us watch
of the problem and
and speculate,
to define the conditions
direct our
interest to the significant
points.
tion.
They help also to delay the progress of the illuminaThere
of things
is a very real and ugly fact at the core
here. But it is a fact born of a phantom. And
the phantom
is one
of those shadows
projectedfrom the minds of men.
This apparitionJames wishes to conjure slowly with slow
"misty mid-region" of shadowy
strange music, in some
and
adumbrations,
before
and
swell
grow
fascinated
eyes. It is one
lettingit
our
that would
shrink
turned
rudely on
too
of the Prince
and
the
relativelyoutside
do
nothing
in
But
but
the
becomes
which
married
who
partialand
one
has
of
shut
view
of
speculateand
most
woman
and
never
in her
things
daylightwere
Mr.
in upon
Verver
to
"
itself
"
the views
inside
we
views
given
are
Fanny Assingham,
who
can
wonder.
second
and
grees
de-
of those
if full
slink away
it. And
so, in addition
Charlotte
each
insensible
by
and
up
but
to
interestingto the
daughter,generous
author.
and
of
things
It is the
candid
soul,
camped in
losingher husband,
life
the
man
she
adores, and
that it is
NOVEL
TWENTIETH-CENTURY
THE
202
existed
between
how
and
Charlotte
great
she
of Charlotte,
before
growing
isolated
and
She
watch.
little gesture of
restlessness and
than
more
even
strained
re-
peration
des-
herself
by
return
the silent
a
the
watch
can
only
to
macy
inti-
an
Amerigo
awareness;
way
time
same
understand
her
watch
find
unmistakably
brings them
the
that
even
can
accident
curious
had
her
know
not
It is this
watching
and
tense
of
all.
save
tireless
Indian
an
the
watching, like
in the
forest, attention
sleepless
ceaselessly
strained
rustle
slightest
or
"
"
only
main
technical
effects in Conrad
certain
to
by
means
limitatingof
observation
consciousness
of
which
and
Poe.
over
long
the
And
stretches
is the
to
the
half one
is in the second
Maggie. There
interruptionto Maggie's view. James was no doubl aware
that there is a limit to any reader's capacityto remain
shut
the narrow
circle of one
person'sconsciousness.
up within
realized that our
have
He
must
imaginationslanguish if
confined
too
long to the flat two-dimensional
plane of the
from
that we
time to time the outside
crave
subjective,
view
of
and
character
which
give body
to
sixtypages in which he
of Fanny Assingham, so
to
serves
it. There
shows
us
that her
furnish
is
one
of
nearly
POINT
her
final
certainty
then
But
do
not
emerge
given
pages
the
is
not
again
till
this
to
of
always
point
addition
of
of
in
which
view
is
that
will
James's
of
center
be
featuring
over
is
her
interest,
the
husband,
even
The
of
the
point
of
subject
gie
Magit
when
likeness
with
apparent,
once
300
with
Moreover,
followed.
at
Maggie,
have
we
she
and
ture.
gesand
book.
Maggie.
Assingham
the
of
book,
the
view
pages,
present,
of
of
of
Mrs.
method
Dostoevski's
half
the
of
end
and
speech
in
mind
the
to
the
203
forth
return
point
15
between
her
special
we
the
exception
discussion
again
in
Altogether,
bodied
be
may
JAMES
VIEW:
OF
of
view.
is
to
the
XVIII
POINT
T,
AMBASSADORS,"
HE
from
beginning
first
therefore,
It marks,
carried
been
had
limit
extreme
is
to
from
chapter)
and
ton"
short
the
point
the
furthest
respectively, in
of
Screw,"
162
of
be
their
call
plot; they
Screw."
them
The
So
novels.
"The
Turn
cover
more
not
perhaps
calling
It
is
Spoils
after
therefore
"The
clear
venient
con-
include
spatially
is
novel,
long enough
they
like
with
Turn
"The
Screw";
ground
may
we
363
immediately
the
anecdotes,
mere
very
"The
were
Moreover,
of
Poyn-
and
265
story.
magazines.
the
more
they
involve
and
rally.
tempo-
Turn
of
conscience
the
call
novels.
fact
borderland
know,
are
in
only
volumes
two-
indeed
are
Knew"
separate
them
than
They
Maisie
serially
appearance
characters
more
in
short
long
of
Spoils
of
device
this
applied
edition.
thinks
very
"What
published
to
"The
"
York
one
had
the
"
full-length,
James,
New
no
it is
and
Poynton"
to
which
long;
pages
the
method
These
with
go
this
as
the
person.
far
James
Knew."
novels
pages,
the
however,
Maisie
same
so
is
novels
in
publication (1903)
tendency
shorter
in
as
its
is told
variations
which
to
distinct
story
the
of
view
point
of
the
that
slight
Ambassadors"
"What
novels,
for
of
dramatic
Already,
technique
same
(except
the
in
James
date
in
said, belongs
end
"The
novel.
volume
of
the
at
of
concerned.
I have
as
OTHERS
AND
JAMES
novels
the
among
group
VIEW:
OF
from
of
the
is
matter
between
James's
the
they
novel
preface,
that
804
transition
are
and
"The
the
pieces, on
short
Spoils
story.
of
the
We
Poynton"
POINT
VIEW:
OF
POE
205
started
was
This
out
be
to
story and
Maisie
"What
Knew"
the
are
products of
and
"The
period (between "The
Tragic Muse"
Awkward
Age") during which James produced no novel on
the grand scale, but in which
he was
ing
as
busy as ever turnit is a significant
short stories. And
item of history
out
the single
that at least the first of these novels in which
maintained
was
originally
point of view was consistently
ten-year
intended
be
to
is reminded
One
commonesf
the
short
story.
singlepoint of view-i^-xwie_of
that the
of the
Features
short
ample,
ex-
famous
of the stories of Poe
evefy"one~ofThe^iriore
is strictly
Found
in a Bottle,"
limited in this way (e.g., "MS
ders
Murof Usher," "The
"Ligeia,""The Fall of the House
in the Rue
Gold
Morgue," "The
Bug," "The Black
of Amontillado").And
the same
Cask
Cat," "The
thing
is
for many
Maupassant and
true
written
is
matter
fours
romantic
novels
that it givessuch
romance
the
an
of adventure.
the
air of
intellectual
The
first person
as
on
narrative
this
all
dozens
of
writer
to
authenticity
interest
are
terferin
incapable of insjin^lyj)ecause
So that, so far
identicaijwi^
of technique is concerned, these stories are
with "Robinson
Crusoe," "Kidnapped," and
like
masters,
listed above
of other
reason
famous
Kipling.
however,
Note,
he
mance
ro-
for the
his record.
in character
and
ciety
so-
incumbent
more
by
an
him
to
cultivate
the
semblance
truth. And
this is
on
story
of
told
in it.
206
THE
TWENTIETH-CENTURA
Sometimes
the
story is
NOVEL
complicated and
impossibleto make any
people that it is
many
witness of all that occurred.
often
romance
in
"The
method
Master
such
of
the
is used
of Ballantrae"
he,
story told
person
writer of
editor, has
as
by relaysof
Woman
and
so
series of documents,
in "The
one
the
cases
people,which
brought together,having
This
In
the device
to
resorts
involves
so
"Dr.
nesses.
wit-
in White,"
Jekylland
Mr.
Hyde." And the authors of these stories have used the most
the manner
of the
cunning ingenuity in differentiating
several narrators,
and
of arranging them
in that sequence
which
will best contribute
timed
to the gradual and
lease"
"reof the wonders
and mysteries
which are their subjectmatter.
Stevenson
eclipse
"
the
Victorian
be
seems
same
writers
have
led
their
but
rejection
by present-daycritics,
something scarcelyrelevant to a judgment of their art.
cheerful
who
believed in God, and our
They were
men,
highbrow critics prefer a gloomy outlook and religious
to
unbelief.
Stevenson
for
is quitegenerallyregardedas
achievement
Stevenson
one
sense
and
from
so
into
rare
the
of
But
blent, and
consider
mere
what
traordinary
ex-
style is
boyish tales
It is
literary
masterpieces.
result of wide
sources.
writer of storybooks
lifts the
style,for it is the
literary
devoted
care, and compounded
many
of elements
these elements
have
the
been
product is so exactlysuited
and spirit
to the requirements of the
story, that to
is to give it the highestpraise.
literary
Sometimes, in his essays, Stevenson
is a bit
an
of
in
ing
read-
derived
so
in
fully
skiltone
say it is
self-conscious,
STEVENSON
a
bit
JAMES
207
precious;he
refinements
which
them.
"modesty of nature"
The
quaintness is
to
of
Lamb
has
too
of
gentlemen
the
the
old
roguery
matching
great regard for the
true
the
school.
trained
men
elegantplainnessis
But
flavor, the
that
in
of
all, throughout
above
connoisseur
literary
idiomatic
and
let himself
of adventure,
school
coloringand
without
century
the
AND
is enchanted
with
in
crispvernacular
to
so
completelyin contrast
phrase and turn of expression,
nineties
of those eightiesand
in
the prevailingmanner
English fiction the smart, the turgid,the sentimental, or
the simply vulgar and flabby and is gratefulto Stevenson
of literary
for the long discipline
study which enabled him
of the clear sparklethat it
to English prose some
to restore
the
nervous
true
"
"
romantic
the
before
had
started
movement
it off in
the
of
nine
death
years
Stevenson's
later. He
praisefor
Master
of Ballantrae"
was
forever
his
confided
and
later
for
his achievements,
and
"Catriona"
sending books
to
reader
his letters
of
are
example in "The
("David Balfour").
Stevenson
in Samoa,
cluding
in-
that he
to Stevenson
books, and it was
his intention, after completing "The
1888
own
in
Tragic Muse,"
time. This
enthusiastic
an
full of
He
was
was
to
to
write
prove
period, the
POE
tery, of
And
AND
JAMES
209
and
terror
that
the short
made
often
so
in
ton),
(forexample, by Clayton Hamilof the defining elements
of the genre
that one
is
VPoe had
a
highly romantic^imsinglenessof impression.
agination.But he had likewise a~sEarpIylogicalmin3,
of mathematics
and the law, and
trained by the disciplines
with great deliberation
he always set out
to produce a particular
regard to
story
effect. Every
is familiar
one
atmosphere of horror
build
up step
calculated
best
by step, by
their
reader's
sensibilities. And
element
in
securingthis
it is
which
mystery
the selection
make
to
and
with
of
some
gruecould
he
just those
items
the
specialassault upon
evident how
important an
effect
^
wishes
He
to
never
blur
the effect
the
to
of his morbid
monster
relaxation
by
change
of
interest centered
at
any
moment
focusTHe
may
imagining, to permit
of his terrified
concern,
and
some
upon
so
spring
no
to
ment's
mo-
hold
Gold
"The
Bug"
In stories of this
of
the
mystery
and
Murders
"The
in the Rue
Morgue."
should
made
be
by gradual degrees,and
the reader's
"
than
he,
the order
to
whom
detective
makes
his revelations
in
Henry James,
which
the
followed
the middle
els
nov-
periodof short-story
writing,
NOVEL
TWENTIETH-CENTURY
THE
210
from
of
the mind
one
or
of the characters.
more
the
stories of
obscurity.
Mystery stories,I
for the
most
of fact in
questionsto be resolved are not so much matters
of interpretation,
the objectiveworld
matters
as
tion.
appreciaAppreciation,not by a mere
professionalauthorknows
who
one
everything,has known
everything from
but by some
the beginning,and has nothing to learn
one
closer to the story, some
one
(inJames) actuallywithin the
in the very process of learning,
be shown
can
story, who
little by littlewhatever
of coming to understand
it is that
"
has
a
technique which
cultivating
of
Thus
in
"The
Ambassadors/1
novels
full-length
view
is maintained,
an
been
the
cialty
spe-
romance.
the
errand
hitherto
of
James
Lambert
the
in which
Strether
remarkable
most
the
has
of
singlepoint of
come
abroad
exercise of his
on
faculty
AMBASSADORS"
"THE
and
interpretation
for
Chad
home
he
first
he
hitherto
by
man
still
with
crude
measures.
one
of the
each
In
is divided
which
the
is
at
thing
of decided
person
conscious
that he will
once
disadvantagein dealingwith
in all
worldly
difficult when
Chad
And
ways.
he
the
meets
of birth, breeding,
person
situation which
be
can
"
crude
twelve
books
into
which
the
novel
provisionof objectivefact
Strether is to exercise his facultyof appreciation.
reallyimportant thing,to which the author gives
there
is of
When
Paris.
to
the
at
rather
at
more
success
opera, he
the callow young
box
armed
well
so
holding
It is not
sensibility.
met
But
is
for
the
constant
so
but
considerable
is
who
woman
on
at
becomes
his task
him
in
Strether
fine and
so
some
left home,
bring
to
acquaintance
understanding of the forces
he
is
first condition
the
he shall make
Chad,
distinction; and
find himself
get
kept
encounters
when
was
and
man
struck
once
but
Newsome,
of the young
which
have
task
His
appreciation.
undertaking is that
in this
2 1 1
course
of
the front of the stage, is not the facts but what he makes
There
obthem.
is, for example, the all-importantfact jectivel
"
considered
Chad
and
words;
surround
his
own
evidence
it would
such
be
a
thing
matter
he
is
whether
put
never
cannot
with
the
utmost
or
it is
not
explicitlyinto
characteristic of Lambert
thoughts.When
which
tween
preciserelation subsistingbe-
de Vionnet,
Madame
The
"guilty"one.
of the
"
Strether
discretion
even
to
in
by accident he is presentedwith
ignore that the relation is not
shock
it is clearlya considerable
his New
to
"platonic,"
England prudery or idealism. But this merely confirms
in his conviction
him
that Chad
ought to stay. Strether
Madame
de Vionnet
has been too busy "appreciating"
and
for this little discovery
what she has done for Chad
of fact
him againsther.
to turn
"Nuns
fret
pleasureof
not
at
their convent's
the
narrow
room."
It is the
specialconditions
under
which
is
he
to
within
richness
by
story of Chad
the
sonata
In
"The
undertook
James
to
present,
and
Strether
Lambert
form
by
or
de
Marie
"the Sonnet's
it
Mrs. Newsome,
not
was
that
Vionnet
between
relations
the
nor
all its
out
Ambassadors"
and
Newsome
work
to
conditions, whether
those
the
plot of ground."
scanty
of
limits
the
constituted
they are
NOVEL
TWENTIETH-CENTURY
THE
212
Franco-American
nor
societyin
with
Paris:
which
he
elements
these
it
was
the
out
measures
that is
to
enter
exact
of each
amount
of
cates
composition,indi-
into the
in {he ness
their emergence
consciousof Strether, controls everythingartist-wise in the interest
the
exact
degree of
is after. And
of the effect he
the
is
That
kind
by
appreciationin
of excitement,
sort
one
of reader.
part readers
and
crave
of
is after is
the
mind
of
Strether.
Lambert
most
excitement
growing
the effect he
It is not, however,
of novels
demand
is the
situations
least the
and
crave
and
emotional
sufficient for
the
sort
demand.
tain
cer-
excitement
they
aroused
danger or sufferingfor at
or
predicaments putting a
of the urgent necessity
because
of
difficult
making a choice between
involvingextreme
principalcharacter,
emotional
in books
even
for
like "The
more
than
James's want
the crude
His
obvious
is
excitement
the over-elaboration
of
truth
primarilya
He
popularity.
of the human
world
of
style,the
son
rea-
of sentiments.
Perhaps
the
MATHEMATICS
SENTIMENTAL
best definition
can
is intellectualized
make
of sentiment
This
intellectualization
emotion.
idealized
or
we
213
tion
idealiza-
or
tion;
impliesa very great degree of abstracof the mere
the rulingout, almost completely,
it means
passions.
appetitesand undifferentiated
James rules them
of his world partly,
doubt, because of a certain overout
no
of the emotions
of
fastidiousness
taste,
New
old-maidishness,
England
counts
point in tryingto deny, and which acvery largelyfor his rather exaggerated dislike for
Flaubert, Zola, Maupassant, and other artists whom
as
artists he could not help but admire.
the whole
that is not
But
powerful,and
story. Another
for rulingout
the cruder
this time purely esthetic, reason
appetitesand passionsis simply that they tend to upset
mathematics
which
those finer equations of sentimental
it is his delightand specialty
to work
clusions.
through to their con-
which
is
there
no
is the
Mathematics
of tables and
tangiblerealities
it, the
arrived
have
we
numbers
which
the
is,as I
chairs. Numbers
consideringthingswithout
derstand
un-
relation
at
themselves
have
been
subsumed
in
gory
cate-
the
from
and when
we
qualities;
get to algebra,
still higher degree of abstraction, in
a
their individual
to
be
until
to
of
art
abstraction
of
art
to
resort
which
it becomes
for Professor
Whitehead
necessary
the Deity as the Principleof Concretion
out
with-
we
does
should
have
no
actualitywhatever.
go so far with
but he does like to conceive
James
number
not
of
beings,without
us.
too
much
world
in which
if
they
interference
from
behave
as
matics;
mathe-
were
the
tain
cer-
rational
freakish
of casual
cross-currents
motivation
people
his sentimental
which
He
in
is like
infantile
appetiteor subconscious
wilder
everyday experienceconfuse and bewho
wishes to carry on
his
a physicist
or
of
magnetic disturbances.
passionswhich
can
be
NOVEL
TWENTIETH-CENTURY
THE
214
and
social motives
intelligible
and brings them
sentiments, that is to say
togetherin a
field free from magnetic disturbances, where they can work
out
together the equation constituted by their opposing
forces.
or
collaborating
Of course
this is,in some
degree, the procedure of all
tion.
artists. The
difference is in the degree of abstracliterary
It must
be acknowledged that it is very high in James,
described
in
of
terms
"
"
and
that
Sacred
in novels
Fount"
is almost
Golden
it is so
high
Awkward
and
Age"
"The
intellectual. What
keeps it from
exclusively
books
like "The
Spoils of Poynton" and
in
such
like "The
being
"The
ment
poignancy of the heroine's predicaand the intimacy with which
made
to realize
are
we
it by the handling of the point of view.
In "The
Spoilsof Poynton" the heroine, Fleda Vetch,
is a homeless
and refinement, who falls
taste
girlof unusual
in love with
man
a
already engaged to marry a
young
rather
Mona
common
woman,
Brigstock.Owen
young
is heir to the beautiful country place of
Gereth, the man,
for the precious
is particularly
notable
Poynton, which
and his
objectscollected and housed there by his mother
dead father. Mrs. Gereth
tests
highly approves of Fleda, but deher prospective
and cannot
bear to see
daughter-in-law
her mistress of Poynton and its "spoils."
she secretly
And
transfers the finest piecesto a more
humble
country-house
of her
is the
Bowl"
own.
There
Fleda
finds
herself
in
the
her, she
must
not
Owen
manages
to
convey
that he
more
determined
of their
tion
conversa-
realizes the
superi-
"THE
POYNTON"
OF
215
Fleda
orityof
SPOILS
with
deed,
in-
that
his
to
transfer
his affections.
realizes that there
Fleda
holds
on
of
return
be
way out:
will cease
will
to
insist
the
on
This,
Mona.
simply give up
beautiful
Gereth
if Mrs.
one
Owen
long enough,
and
the spoils,
feels,would
Fleda
is
culties;
of all their diffi-
solution
it would
Gereth.
Owen's
toward
both.
them
dilemma
tighta
the
between
honor
the
on
of
dictates
or
more
sway
that Fleda
But
in
as
any
hand, and,
one
passion.If she
the other
on
been
had
would
hand, the
mite
mere
and
once
finds herself
Vetch
found
herself in,
woman
ever
young
of
complicated and irreconcilable demands
as
if the
actor,
So
simple
less clever
an
been
given slightly
have
cleared
up
at
over.
with
heroines
of
and
they
have
think
to
it out,
from
of the enemy.
moment,
moment
This
is what
predicamentslike
to
to
Fleda's.
of loving
impelled to givean instance of a manner
different as possiblefrom
Mona
It is a
as
Brigstock's.
tribute she owes
her pride,her self-respect,
which
to
is
all the poor girlpossesses.
about
She
feels
The
line which
to
Mrs.
strategy. She
to
keep
from
Fleda
Gereth
has three
Mrs.
takes
at
once
callingfor
secrets
Gereth:
which
her
leads her
into
lation
re-
desperate displayof
she is bound
in honor
Owen's
in-
POINT
dramatic
of
passages
his
resourcefulness
get
himself
in
are
the
to
he
the
he
accident,
the
James
vigilance
So
and
that
is, after
And
in
story
talk
which
the
It
the
which
word
is
reproach
the
of
which
lightning
but
that
for
is
There
death.
relentless
from
perils
flash
the
the
climb
way
which,
for
of
being
work
like
we
is
stress
we
of
the
laid
the
strain
in
whose
character
such
unemotional.
fiction
like
"The
that
of
his
upon
of
well-written
on
"intensity"
emotional
which
of
Spoils
intellectual
directly
word
kind
some
of
to
not
use
has
intensity
in
analogous
as
when
factors,
using
of
his
to
same
all,
intensity
an
romance.
fall
suspense
the
his
gropes
through
to
to
conscious
stairway
where
ingenuity.
there
Poynton,"
to
quality,
same
uncle
providential
share;
show
Kidnapped"
devilish
vaguely
breathless
we
to
order
in
the
"
in
tower,
destined
same
view
of
point
the
was
his
ruined
until
in
gap
enson,
Stev-
upon
moment
have
chapter
by
murk,
define,
cannot
that
James
sent
the
the
in
step
reveals
in
in
place.
that
as
being
stairway
step
tight
in
world,
Balfour,
dark
the
Dumas,
called
is
of
spur
217
in
Hugo,
hero
the
the
passages
moral
David
of
out
There
where
on
JAMES
in
romance,
Scott,
Cooper,
VIEW:
OF
of
cast
the
mental
sentiwe
are
tion.
connota-
saves
it
from
XIX
POINT
OF
W,
This
esthetic
than
difficult
to
which
the
of
in
execution
engraving.
It
his
down
it
is
of
point
such
matter
of
an
in
drawing
"The
of
her.
is
and
her
the
vivid
mother
friend
and
by
the
motive,
It
who
the
the
actuality
as
of
of
and
seen
present
to
be
reckoned
218
grosser,
questions
scene,
and
of
commonness
method
take
before
with.
on
our
and
most
al-
is derived
Fleda
people
itual
spir-
Brigstock
actual
in
this
heard
the
to
quality
these
triumph
finer
Mona
aroused
philistine
way
impressions
they strike
Gereth
the
on
their
vitality of
persons
forces
of
disgust
the
great
seldom
are
little
have
we
gross
is the
portentously
very
like
perspective.
realize
to
sentiments.
the
merit,
Fleda's
Mrs.
intention
of
our
the
of
ment;
arrange-
If the
laws
from
of
of
and
dump
to
artistic
an
derive
made
are
'painting
pattern
the
we
refinement
content
not
one
of
of
of
presentation.
reactions
crassness,
the
is
medium
we
from
is
assumption
very
arts
and
analogies
those
ideal
an
in itself is
and
impression
The
the
Fleda
the
appear
altogether
of
that
that
conscience
involving
who
except
robust,
more
author
Poynton"
through
perceptions
though
of
characters
It
in
observance
or
Spoils
all the
prized
of
help
the
It
chapters,
preceding
implies
heap.
successfully realized,
In
with
system
the
of view.
narrowly
more
purposes
art-criticism.
is
as
implies
implies
accurate
serve
view
point
restricted
the
in
except
staple
definite
to
discussed
any
describe
are
with
is made
technique
STENDHAL
JAMES,
yet done
not
HAVE
VIEW:
in
her
taste
the
ground.
back-
that
acters
char-
nevertheless
eyes,
loom
OF
POINT
Owen
thanks
himself
is a
he has been
with
limned
219
distance; and
the middle
figureof
Fleda's attentiveness
to
JAMES
VIEW:
yet,
the least
to
and
all firmness
is
see
how
his mother's
to
view
his character
mere
in the
out"
"comes
of these
course
own
"stunning"
of
one
with
persistent
urges
most
our
every
more
way so much
than any picturecan
kind
specialbeauty
the natural
The
will
to
is but
matter.
our
the
make
representations,
of that Nature
preferthe
much
we
more
yet it is
her. And
artificial
whose
there
approached. And
be
never
are
product
to
remind
us
in that
admiration.
beginning
"
But
or
selection
elements
of
and
the
literalness of
else the
degree of
the
can
skill involved
to
arouse
to
much
so
thing.
mere
serve
make
of artificial medium,
in which
moods
beautiful,
decadent
that
reproduction
end
"
involves
of
the
high
elimination, of rearrangement
of
within
the
agree
art
subject,of composition
NOVEL
TWENTIETH-CENTURA
THE
220
ject
of a given subby interpretation,
by positivemodification
in the interest of some
unifying and enriching idea.
this expresAnd
like a picturefor its expressiveness.
We
siveness
is traceable not merely to compositionin the larger
but to the details of technical procedure.We
take the
sense
brush
keenest pleasurein the mere
stroke of a Van
Gogh
of applying thick masses
in painting in a sky,his manner
of oil which
to the object pregivesparkleand animation
sented.
into the terms
of
The
painterhas translated nature
has enriched
it,has brought to it an
art, and in translating
increment
of pleasure.
But, if our
the
analogy
is
of fiction,we
art
to
must
be of any
in connection
use
to
return
the
primary
with
fact of
between
nature
and
art
that lies
the heart
at
of
our
It is obvious
from
remove
sort
the author
that the story which
tells is at one
call reality,
what
and givesus a different
we
of
pleasurefrom
observation
that which
of life. But
if the author
made
statement
the direct
an
so
extension
from
his story
arranges
the point of view of one
entirelyfrom
has
derive
we
of
the
ciple
prin-
ness
specialconscioustion,
principleof selecAs in the author's
composition and interpretation.
of his subjectwe
have the pleasureof recogniz-
THE
MEDIUM
OF
ART
221
enhanced
ing the originalreality
into it or by the mere
process
intensification
an
art
an
that is
two
at
it.
from
removes
in
glamour
I say, what
call
we
what
to
into
initiation
what
we
think
may
about
them.
in
But
brief
these
days, into
physics is sufficient to show us that of the primary facts
know
themselves
we
absolutelynothing. A physicalscientist
like Eddington will tell you that scientific knowledge consists
metaphysics
"
or
even,
"
of
series of formulas,
mind,
human
which
serve
all of them
very
controlling certain
of
will
what
happen
well
processes
certain
under
is
of
the
nature
creations
the
practicalpurpose
and
predicting
circumstances,
closed
of
but
that
circle, entirelydistinct
from
how
at
much
true
more
least, there is a
terms
matter,
for
approach to
describingthe phenomena
and
temperaments
near
the effort is
to
of individual
universal
which
little as
In
science,
agreement
form
its subject-
possibleof
Whereas
in
investigators.
make
as
on
the
art,
of one
kind or
always been conventions
another, a premium has been put on the individual
quality
of the interpretation.
In all art, the great thing is not
curacy
acmuch
fullness or richness in the rendering of
so
as
while
there
have
NOVEL
TWENTIETH-CENTURY
THE
222
solution
should
mixture
of elements
saturated
should
be
so
not
over-saturated.
perfectthat
of the distinction
complete obliteration
and
but
have
we
between
The
a
objective
subjective.
Of
course,
be obtained
result may
by
that of James. In James the
similar
directlyopposite to
process
objective
human
nature
"
two
beautiful in their
esthetic conventions,
we
may
call them
"
MAUPASSANT
AND
JAMES
in reflection,perpetually
conscious
the situations
to
of which
they form
823
of their
a
own
reactions
part.
appreciateeither of these
kinds of art, to accept its conventions.
We
are
obliged,in
stantly
conJames, to grant the existence of people who live more
and consciously
by reflection than our Aunt Dinah
Ned. They are given in an unusual
Cousin
or
our
degree
the social situation,the relation in which
to broodingover
they stand to the other characters,watching from moment
this relation
the subtle changes that come
to moment
over
We
and
obliged,if
are
as it were,
affect,
we
to
are
in the sentimental
world.
And
if it
derive
may
by
happens that
so
from
such
medium
chosen. We
flavored
and
We
are
range of
minutest
of
thing,we
fered
that supreme
pleasureofof complete immersion
in the
narratives
sense
are
tinctured
confined
we
plunged deep,deep
fluid, and
soak
it in
in this
richly
at
every pore.
the character's
within
long and strictly
vision that we
to have
an
intimacy with its
grow
features which
becomes
for us an imaginativepossession
never
to
so
be
lost. We
are
absorbed,
to
of consciousness,in this
world of illusions,as we
are
special
absorbed
in the world
created by great actors, by George
Arliss or Emil Jannings.And
into the
when
out
come
we
rub our
we
tain
daylight,
eyes almost in pain,and it takes a cerlength of time to adjustourselves uneasilyto what
call "reality."
we
The
world
of
realityis
the
world
of
newspapers
and
window
It is
world
of irrelevant facts
not
un-
And
framed, unlighted,uninterpreted.
printedbooks are
full of matter
from
the world of facts,big facts and little,
POINT
VIEW:
OF
STENDHAL
225
that
or
in love-affairs with
but
woman
with
aristocratic persons
the need
to
prove
of his
the prestige
tance
something of first-rate imporin normal
psychology,almost altogetherneglectedin
of amorous
fiction,which prefers
to indulge simplerviews
personality
"
sentiment.
realist in
well"
with
He
may
James, but
have
we
Stendhal
And
other
has
in which
sense
is,moreover,
He
there
the
will
be
in many
he is not so
ways
fine
a
an
him.
We
even
seem
to
know;
know
know
we
do
what
what
not
he
than
much
greater writer
artist.
of fiction. We
understand
personage
know
what he stands for and can
give a
we
force.
known
of him;
is
not
convincinghistorical figurerather
we
He
too.
apply to James.
and he writes
personality,
term
great romantic
matter
he did and
perfectly,
count
acsatisfactory
what happened to
thought.But
feel that
we
him
have
him
we
do
lived with
not
him.
This
partlydue
inforce
NOVEL
TWENTIETH-CENTURA
THE
226
which
have
not
made
been
tion
Renal's convicintimate. Speaking of Madame
sufficiently
of sin, followingthe illness of her child, he says:
This
great moral
which
united
crisis
Julien to
the
changed
of the sentiment
nature
his mistress.
His
love
longer
no
was
enough by Julien.Their
be loved
air of
The
de Renal
happinesshad
not
was
times
at
to
the
crime.
author
is
concerned
more
make
to
us
Understand
the
into
the
window
of
Madame
which
present the
statements
which
describe
Renal
him
to
From
be
sent
this
away,
moment
enough
Renal,
given him
alternation
of
after
up for
between
Julien and
Madame
explain it. When
his departure before he has
take
to
urges him
satisfied his pride,he realizes what
de
had
of mind
state
and
de
to
shame
poison his
was
it would
whole
be for
life.
of celestial in the
tion
posi-
There
is in all this
quite hostile
to
warning, from
pertinentto
seems
vision, even
amount
one
of the chief
by
particularfireside
to
deep, has
of
historian, ready
which
unlightedplaceswaiting for
the
Now,
are
limits
no
securingintimacy.It
is like the
with
yourself in
to
feel
is
of vision
limitation
the
One
home.
at
from
sciousness
conone
pass so cavalierly
is that he has never
penetratedvery
can
another
shut
never
one
his
you shut
choose
you
where
pass,
character
to
There
which
Stendhal
why
reason
no
to
information
piece of
of illumination.
curtains
of
view
point of
his chronicle.
means
feels free
is the omniscient
He
temporary,
due
window
the
give any
to
moment
any
theoretical
and
literary
dramatic
intimacy.
air of the
an
227
the purposes
of
without
saying that Stendhal
It goes
without
JAMES
AND
STENDHAL
himself
in
cozily,
very
up
of
one
any
them.
he
which
strictness with
James it is not the mere
limits the point of view that givesthe effect of intimacy.
It is the depth of penetration,the densityof the medium,
the degree of saturation
of the facts. So complete is this
In
in
saturation
effectiveness
given an
on
the heroine's
into
at
every
window
be
given
he
renders
that in Stendhal
Stendhal, the
by
to
state
as
grains of
ladder, and
hero
fact
climb
must
impress us.
The
of frenzied
passion or
must
of
icy
of great quietnessmay
with which
breathless importance by the fidelity
James,
their
situations
to
significance
yet
"
finest
sense
is made
Strether
are
of actions
involved.
the persons
incident
is the simple,unmelodramatic
and
There
the
in
moment
indifference. In
in
In
time
be
great
as
scale.
sensational
minutest
the
that
James
between
by which
highly theatrical
the nature
to realize finally
"
Chad
and
Madame
de Vionnet.
Lambert
of
the
timacy
in-
Spending
two
can
bear
quiet afternoon
but
one
For
interpretation.
Strether
it is the
reso-
doubts
of
lution
he
together
this
of
And
him.
recognize
maintained
hesitation
been
the
the
him;
of
on
when
moment
should
they
values
carefully
so
importance
an
had
there
whether
to
scale
takes
author,
ting
chat-
embarrassment
seen
as
in
the
had
during
beautifully,
cover
had
others
this,
the
by
nothing
sensational.
of
short
Here
again
it
for
the
tone
in
what
gives
its
by
whether
we
experience
the
effect
secured.
the
are
thus
trick
for
to
is
us
but
by
its
restored
turned.
to
us
is
shades
are
truth.
the
for
the
sponsible
re-
and
expression
often,
in
and
experience,
which
largely
amplifying
some
of
for
or
like
shades
art
an
that
is
any
grateful
more
is
finest
point
fineness
its
It
finest
these
them
method
subjective
peculiar
recover
merely
the
Well,
music.
can
is
reproducing
for
process
which
of
instant
that
been
the
that
knew
to
there
repressed
behave
all
dinner
But
encounter.
Strether
that
their
over
and
harbored
has
characters
The
months.
many
NOVEL
TWENTIETH-CENTURA
THE
228
gratifies
We
amount
delicate
do
an
us
art
not
know
not
of
life,
human
stroke
by
THREE:
PART
Little
THE
as
have
to
two
been
in
and
would
restrain
have
for
restrained
down
as
an
dance
in
chains.
essential
"HENRY
of
in
the
treatises
rule
FIELDING:
Tom
for
have
and
nature;
other
no
good
the
not
which
than
purpose
the
and
imposture,
rules
which
or
genius,
excellent
most
truth
his
all
time
many
established,
mitted
trans-
by
supporters
thus
sidered
con-
and
merit,
observed
be
great
and
serve
chief
critics
these
encroachments,
these
foundation
commonly
the
essentials
authority;
writing
curb
his
the
ignorance,
by
dental
acci-
perhaps
were
were
constitute
To
successors.
least
author,
great
to
gave
which
circumstances,
in
NOVEL
WELL-MADE
to
manner
same
as
had
dancing-master,
on
that
that
art
every
man
"The
Jones,
laid
it
must
History
a
it
Foundling"
of
XX
VARIATIONS:
w,
HAT
call
tendencies,
of
sort
ideal
absolute
with
in
(1923).
tended
of
most
spite of
the
In
author
one
tendencies
new
the
The
author's
picture
is almost
of
novel
tone.
universal,
the
them
to
the
himself.
at
of
his
lacked
in
evidence,
factors, in
is
he
other
an-
in
from
tell
to
even
relating
of
death
the
he
how
us
with
Thackeray
the
of
of
dryness
outside
the
nett,
Ben-
panoramic
wherever
hesitate,
not
Arnold
of the
contrast
virtue
by
the
strongly
more
like
equivalent
characters
reader,
novelist
of
out
the
realizes
strikingly
does
himself
keep
one
modern
individuality.
Povey.
man.
But
I have
vein
He
feels
interpret
toward
Samuel
his
thinks
he
and
always
of
exception. He
been
hold
greatness
embraced
little. I have
was
and
I liked
without
in
them
Povey,
the
remarks:
Samuel
honest
his
After
author
He
is the
that
observe
fit, to
as
contemporaries
true
1895-1925,
Joyce's "Ulysses."
certain
on
to
exceptions.
Thackeray,
It is
be
disposition
work
all his
and
strongly
in
which
others.
by considering
whose
its
in
toward
of, say,
work
is still
will
"Fraulein
like
ideal
the
epitomized
stress
found
never
Schnitzler
less
and
mind,
in
well
perfectly represented,
characteristic
America,
certain
on
the
none
the
and
England
perhaps
of
novelette
is
It
is
element
every
some
bear
reader
It
its "dramatic"
with
novel,
the
let
construction.
it be
Else"
well-made
merely,
form,
unless
in
is
the
BENNETT
of
often
He
respected him.
that,
glad to think
and
him
displayed,
which
a
runs
cause,
through
lost
it, and
laughed
was
at
to
very
the
end
the
every
died
servant,
obsoul
of it.
EXIT
Even
Buck
of
simplicity
in "The
her
Good
the
sentimentality,
and
is the achievement
matter-of-
the grave
censoriousness
Without
Occidental
of
morals
the
biblical
(1931).The
Earth"
stylecorrespondsto
manners
233
in this kind
remarkable
more
of Pearl
AUTHOR
out
with-
and
delineates
Christian
the
peasant, following
Chinese
tone.
does
the
arises from
moral
human
this
author
indicate
And
moral.
that it transcends
the bounds
of
so
race
if
versally
uniand
creed.
These
of
about
books
distinguished
two
current
them
tendencies
in the
along with
plot as the
Even
so
tive
representa-
is
"
them
principleof
evidence
in that there
more
nothing peculiar
"modern'*
or
perimental
extechnicallynothing specially
to set
The
the
are
the
common
is
selectiveness
characteristic work
that
complete
basic
late
off from
as
element
1905
alteration
of form
academic
of novels.
run
again everywhere
of
in
It goes
in the conception of
1895-1925.
in the
critics
novel.
were
still
talking
of "Tom
tells
us:
"Tom
it is
one
TWENTIETH-CENTURA
THE
of
the omission
with
The
best.
hinge, is put
explaineduntil
six
Nor
out
not
pertinentas we
to help towards
seem
somehow
then, it
the
the
is
be cleared
fore
up beepisodesof the story which
various
much
consider how
we
chapter of
the seventh
the end.
chaptersfrom
third
in the
us
first book"that
not
before
the very
all the complications
become
which
birth, on
of Tom's
mystery
chapters,it might
few
NOVEL
begin
read
to
to
them, always
turn
the end.
of
good composition is to
have a complicatedtangleof mysteriesto be "cleared up,"
which
is propounded early and
central mystery
with one
it has long
the end. Now,
not
disposed of till very near
been a puzzleto me
why "Tom
Jones" should so often be
cited as the supreme
example of this art when we have so
novels which
all the preanswer
nineteenth-century
many
scriptio
and which, in the matter
of complication and
better. What
about
"Guy
go it decidedly one
suspense,
So
and
Mannering"
White,"
seems,
be said
Nothing
even
ever
What
"Ivanhoe"?
"Dr.
or
essence
about
"The
Woman
"Desperate Remedies,"
it is
that, while
thing
some-
for the
"firmly composed,"
simple
reason
knows,
in
God
keeps
the last
chapter,it does
in
genius of Hardy even
happen to displaythe special
of composition.Hardy's genius for composition is
art
master-mystery
"The
in
any
discover
an
the
these
were
of
Return
this without
"Jude," and
identityof
in
to
of the
of
the
his
being obliged to
characters
cupboard
rightfulheir to his
preferredin
see
this respect
no
to
reason
or,
at
"Tess"
the
played
disand
conceal
the
the
inheritance.
in
not
last moment,
the suppressedwill which
old
plots,and
Native,"
its
Such
tricks
stores
reas
poser
comnineteenth-century
why Fieldingshould be
the author
of "Bleak
House,"
INTRIGUE
''Great
We
Expectations/'and
past
are
do not
like
occupy
the
on
335
of
"Tale
the
Dines
of
an
earlier
who
men
COMPOSITION
with
themselves
the invention
Cities/'
Two
the
S. S. Van
and
time
our
here
not
are
Wallaces
of
AND
Edgar
day. The
men
novelists of the
these
and
of
men
plotswhich
"
and
in the
sensational
in event
but
on
the interest
take
we
character.
"
And
it is the
that
is, upon
is
of
one
ever
increasingemphasis on
and
mystery
complicationof plot.It
within
intimatelyrendered
character
in hand
intrigue..
varietyof intriguewhich
chology
psy-
yet
involves
does
with
not
"
the
sarily
neces-
siderable
implies a conthe assemblage
acters
of charlargenumber
whose
fortunes are closelyrelated, and so theybelong
together,but who take turns in holding the center of the
the subject
the other becomes
or
stage, as the story of one
of the moment.
is the type of story favored
Such
by Trollope,for example, in the famous cathedral series.
In "Barchester
deacon
Towers"
(1857),we begin with ArchGrantly,the gentleman among clergymen.We turn
next
to Mr.
Harding, his father-in-law, recentlywarden of
Hiram's
Hospital,and Harding's daughter, the widowed
the
covers
of
one
book
of
Eleanor
NOVEL
TWENTIETH-CENTURY
THE
Bold;
then
to
evangelicalDr. Proudie,
the bishop's low-church
the
and
bossy wife;
chaplain Slope,
Proudie's
his
and
is
who
in the diocese.
then
Enter
to
Mrs.
next
of Ullathorne;
Stanhopes; the Thornes
named
I have
and the high-church Mr. Arabin.
only the
count
principalsin this drama, and have therefore left out of acother interesting
the Quiverfulsand many
figures.
of
The
one
questionsat issue are threefold: (i) Which
Bold?
shall marry
Eleanor
several eligible
men
(2) Who
shall
shall be appointed to the vacant
wardenship? (3)Who
dean? But the dramatic
be made
oppositionsinvolved are
than is implied in this simplified
much
more
numerous
of the issue. Taking into account
clesiastic
statement
only the ecintrigue,there are (i) the opposition of the
the strugGrantlyitesin general to the episcopalparty; "(2)
gle
the bishop and
his wife; (3)
for mastership between
and
Mrs.
add
Proudie
that between
we
Slope.And when
and the many
the complicationsof the love-story
ways in
which
the church
it interlocks with
plot,and attempt to
dramatic
situations resulting
of minor
estimate the number
from all his, we
get into the higher mathematics.
the
family
And
of the
note
that the
story is very
well
told, very
well
told
indeed
of story-telling
accordingto the principles
practised
in this school. Trollope has much
eray
than Thackmore
sense
for the dramatic
handling of individual chaptersand
suites of chaptersdeveloping a singlesituation. The
two
rival
chapterspicturingMrs. Proudie's reception,with the arof the Signora Neroni
and
the jealousrage of the
bishop's wife, and several other chapters involving the
Mrs. Proudie
and the chaplain,
strugglefor power between
between
Mrs, Proudie
and the bishop,
or
are
equal in sheer
comedy to anything in Thackeray and superiorto anything
in him
(or even
one
not
pronounce
As
for firmness
"Barchester
of
position,
com-
Towers"
INTRIGUE
TROLLOPE
IN
237
of
the largenumber
Jones/'if we take into account
deftness
threads of plot here interwoven
and the extreme
of their interweaving,
without
any touch of sensationalism
or
mystery, but all within the "modesty of nature"?
But it is this very art of interweavingthreads of plot
this cunning joiner's
work
which
to seem
came
antiquated
in the period of the well-made
worthy
novel. To writers like Galsand Edith Wharton,
like Ellen Glasgow and Somerset
that Trollope has laid his emphasis
seem
Maugham, it must
much
too
on
plot for plot'ssake, and too little on
thicker
character, on the feelingof life itself which comes
will
and thicker with the emphasis on
character.
No
one
zations,
and glitter
of Trollope'scharacteriquestionthe brilliancy
his generalobservance
of the truth of human
nor
nature.
Only, it is character seen, for the most
part, from
the outside, and in its relation to the comparativelyartificial
mechanism
of plot.And
with the distribution
of interest
of principalpersons, it is virtually
over
so
largea number
force and massiveness
impossibleto attain that emotional
which
is a great feature of Maugham's "Of Human
age,"
Bond"Tom
"
"
of
"Giants
Miss
Sinclair's
in the Earth,"
not
"Women
in Love."
around
Olivier,"
"Mary
to
mention
"The
or
Rdlvaag's
of
Man
erty"
Prop-
one
grasp
on
life and
manifestations, have
for
center
of interest,and
to
men,
human
almost
who
nature
took
is in
ists,
naturalmuch
so
in its
invariablythat
most
tense
in-
French
and
their
Maupassant, with
crowded
narrow
of action.
thinness
relative
NOVEL
TWENTIETH-CENTURA
THE
238
Zola
of detail, has
canvases,
tional
unfailingsense for buildingeverythinground one emois made
to circle round
center.
Everythingin "Nana"
of corruption.
that nodus
that magnificent courtezan,
The
whole
is felt as the story of the
epic of "L'Assommoir"
an
Gervaise.
laundress
the
from
a
reference
to
The
point of
his love
whole
view
"Lourdes"
cycle of
Pierre and
of the Abb""
for
the
is presented
de
crippled Marie
given
Guer-
saint.
and
same
America.
It is worth
principleof
show
made
while
giving some
composition works
wide
novel.
period we
Thackeray
Arnold
Bennett
discussingof
are
and
Old
Wives'
very
with
long space
Dickens.
Tale"
and
in novelists
out
the
formula
this
who
new
wise
other-
of the well-
In
the
of how
the
of
novels, "The
Clayhanger series,he
covers
their whole
They
are
from
variation
examples
are
lives with
not
absorbed
eventful
particularly
for the
things.The
them.
married
most
lives. The
part in what
life of Constance
infinite small
free for
are
characters
little
relatively
Baines
was
which
left her
never
besiegingcares
anything but a sort of profound contentment.
allows
Sophia a
somewhat
romantic
one
of
mind
nett
Ben-
experiencewhen
BENNETT
ARNOLD
she
runs
with
away
romantic,
239
later there is
Scales. And
Gerald
being buried
at
thing
some-
strange
life rather
with
normal
our
and
erotic adventure.
than
we
in the house
our
all but
in
are
wealthy people,and
another's
one
all of
we
house.
own
us
as
it
such
was
Edwin
was
awkward
bears
fashion
tendency
The
Clayhanger children,
obstruction
father becomes
weak
tables
and
are
their
to
whose
get
for his
father
who
man,
ther
fa-
ties.
activi-
own
inevitablywhen
turned
old
helpless
to
it is likely
to be with
lifelong
tyranny.
a
all have
we
way. In some
with the
an
with
stages: that in
and
mothers
our
dren
chilbringingup our own
close for
Quarters are necessarily
average
consists of two
features
growing up
are
experience.The
in its obvious
which
this is in accordance
And
must
his
give
of
the power
keys to his son and make over
signingchecks. This part of die story occupiesthree fourths
of ''Clayhanger."
It is only in the fourth part that a loveup
his
to him
affair is
introduced, and
the book
The
is the
second
more
of husband
of-war
one
family life
novel
romantic
third, "These
and
but
wife.
theme
of
of the
Clayhangers.
of the Clayhanger series is the somewhat
Lessways,"but the
story of "Hilda
deals with
Twain,"
between
another
the unromantic
It is
two
simply an
people who are
each
of whom
of the
account
genuinely
to
wants
relation
It is a
have
his
fond
tugof
own
way.
it presents another
while
Bennett
is in these books
intrigueor
melodrama,
of Meredith, Hardy,
that he represents
life
and
or
as
sober realist,
with-*
without
Conrad,
the
we
being dull
ments
poetic ele-
must
and
not
clude
con-
placid.One
BENNETT
ARNOLD
So Edwin
of the
development.One
of time. This
issue of
within
and
the
over
with
is associated
is
drama
some
few
the
taken
days or
its
at
few
excitement
height and
It is the
weeks.
tone
fatal
and
continuous
that concentrated
not
is that
its
in the reader,
and
themselves
and
career
of Bennett
specialties
241
lapse
the
over
played out
slow-growing
of
sentiment
that comes
only with a sense
penetrating
at
recurring periods
continuityof lives encountered
of years. It is likelyto run
a long course
strongest at
times when
death
of the characters
in the
the
Tale"
there
Baines
Povey; and
of Gerald
death
in the second
book
some
one
regardtheir
to
of Mr.
in the fourth
of
career
Thus
generations.
is the
Wives'
Samuel
the others
causes
of
perspective
the
to
in "The
Old
and
Mrs.
Baines
of
the death
book
the end
witness
we
lives
literal dimension
cumulation
of
time, with
that makes
feeling,
story and givesthem
reality.
chronicle of "The
than
more
Baines
Old
fortyyears,
to
her death
than
the
look
in
its
of
people of the
and
of solidity
The
of
periodcovered
panoramic
effect. But
us
their
Wives'
from
incremental
constant
Tale"
covers
the sixteenth
compositionin
Bennett,
of Constance
longer
might
one
books
even
period
year
is even
This
fifty-eight.
by "Vanity Fair." And
Arnold
the
incomparableair
at
of
with
intimate
so
in
like
those
THE
242
NOVEL
TWENTIETH-CENTURA
extensive
Muir
(as Mr.
calls
He has
to its definite conclusion.
stages it will move
sharp a sense as Eliot,James, or Zola for the "discriminated
what
occasion."
often conceived
chapter is most
by him as
for a particular
of his drama.
And
act
scene
or
cessive
chapterhe distinguishes
clearlybetween the sucA
the vehicle
within
the
of
moments
which
as
action, the
the
successive
tableaux
make
separate
Old
Wives'
or
This
is his method
It is evident
and
tableau.
that he exercises
"Hilda
fastidious
in
"The
Lessways."
in the opening
care
jective
closingof chaptersand sections. He is a very obwriter compared with James, mostly occupied with
action, movement,
For
event.
this
it is even
reason
vious
ob-
more
definite
that he
occasion.
be
It may
this and
between
that
the
weeks
or
be
going.If
rather
such
than
way
much
hymn
that
it is
no
act
or
an
tervene
in-
attitude
which
is
of what
the
to
new
it
has
scene
be recorded
is phrased in
spoken word, the first sentence
to plant us
as
ever
situation,howfirmlyin the new
later it may be in time. "Mr. Povey was
playing
tune
one
an
have
preceding chapter,and
brief account
to give some
necessary
passed in the interval. But first he will set
may
years
on
should
the harmonium,
go
to
it
having been
chapel.""Constance
decided
stood
at
the
SECTION
AND
CHAPTER
243
in the parlour.She
many-paned window
large,
"Then
she was
lying in bed in a small room,
it was
heavilycurtained." "They had
The
value
the
as
scenical
mechanical
minor
the
in
to
little events
sailles
Ver-
to
section
each
tinct
its dis-
in
lustra
il-
Bennett
points of story-telling,
of form
neatness
of the novel
that
was
inant
dom-
in his
of novel
stowed
period.And the care beof composition is made
to
it is the objectof this type
effect of many
produce through the cumulative
followingone another steadilythrough a long
of years.
course
When
turn
we
to
largeroutlines
the
note
giving to
been
cause
be-
Frensham."
the Pension
component
for
concern
feature
serve
is used
care
same
obscure
Peel-Swinnerton
"Matthew
there."
long dining-room of
in the
sat
dined
had
and
stouter."
was
number
of characters
of social
There
diversity.
division
of
Old
in
than
Wives'
of the
Tale"
"Vanity Fair,"
much
and
story,
we
smaller
much
less
is less
complicationof issues,and
of passingconstantlyfrom
the author has not the necessity
of characters to another
to
set
one
keep going his various
threads of plot.
And
within
his compact
even
family group, Bennett
has taken pains to simplifyand
keep separate the several
lines of action. This
he has accomplished notably by his
to
each
book
the
book
have
story into
of the
the
matter
four
books
and
appropriateto
his allocation
it. In
the
first
in the same
simple group, all assembled
house:
Constance, Sophia, Mrs. Baines, Povey. The
center
of interest is not
the
here, but on
absolutelydetermined
it is felt to be Sophia,because
whole
it is between
her and
Mrs. Baines that the issue is most
sharplydrawn, and she
is the young
to whom
our
sympathies go out most
person
strongly.If this book is entitled "Mrs. Baines," it is more
that she has no part in the later books
by way of signalizing
the marriage of her daughters is the end of her. In the
"
we
the
book
second
her
to
is
center
is
fourth
book
clearlyConstance,
her
and
husband
brought togetheragain in
first and
The
age.
four
of these
novel,
one
dramatic
in the
is
as
and
thing to
great
of Constance
and
in
that each
ordinary
sense
for
of chronicles
of
alternatingthe
second
o[
twenty-fiveyears
them
then
their
solutel
abthe
But,
one
some
indeed
during
meet
laid
third
the
old
Thackeray.
is that, instead
note
the
their
an
many
more
of Dickens
the
between
are
considers
one
long
as
books
impressed with
compositiondisplayedby this writer
chronicles
and
books
is all the
manner
The
fourth
Bursley;the
one
and
second
book
exceptionSophia. In
center
the
tion
rela-
in her
third
the
In
son.
without
absolutelyand
center
NOVEL
TWENTIETH-CENTURA
THE
244
the
but
years: it was
of the material
all these
nature
The
arrangement.
artificial distinction
which
is that
answer
the author's
not
we
can
determined
make
no
nique
tech-
this
such
between
reader
certain
of "The
of Constance
one
Old
and
cannot
of Bennett's
That
the
and
Wives'
of
human
for different
typicalpatterns.
What
life arranges
schools according
first
impresses the
Tale"
Sophia
long middle
question that
but in the
and
mass
flowingsharplyapart;
was
a
leading feature
in writingtheir history.
years
this
artistic motive
original
separate followingof Constance
and
Sophia
BENNETT
ARNOLD
than
more
the
their
itself
hanger"
the
life
period.
in
Baines
The
again,
book
than
the
her
series
from
fourth
the
time
the
the
extended
dramatic
careful
meetings
twice
of
that
view
of
of
in
chronicle,
principle
of
of
Hilda
the
first
"Clayhanger,"
"Hilda
Lessways."
have
composition
a
and
length,
at
we
technique
Edwin
in
now
and
author's
between
Edwin
same
chronicle.
recounted
Hilda
maintenance
the
the
Constance
their
of
"Hilda
persons,
like
of
including
of
two
"Claywhich
is
part
of
"
1892,
together
the
keeps
is
novel
second
these
book
are
point
from
an
series,
feature
marriage
the
the
the
The
Clay-
he
average
to
through
along
that
is
their
of
life
of
1872
Hilda.
remarkable
most
in
from
with
carried
are
Sophia
second
Edwin
third
the
In
married,
time
of
covering
Lessways,"
before
longer
meetings
several
this
that
first
The
the
meetings
time
"
covers
his
distinct.
and
separate
is
identically
several
the
during
Tale"
by
almost
actually
were
concerned
stories
clear
follows
there
Wives'
Old
made
is
Bennett
here
characters
"The
of
accident
Here
and
plan,
same
books
happy
series.
hanger
in
middle
the
through
345
limited
the
Here
striking
stance
in-
which
center
scribes
preof
terest.
in-
XXI
GALSWORTHY
VARIATIONS:
identified
widely
which
than
is carried
of
period
is
the
of
English
been
leading
Other
famous
land's
"Jean
Recherche
under
the
Roger
Martin
in
in
28);
in
later
Danish,
"The
O.
Undset's
series
Son
E.
and
"The
Martin
In
his
"Kristin
Avenger"
with
England,
besides
translation
English
Things
Past"),
of
Lavransdatter"
series
and
Norwegian
with
Father's
in
Swedish,
(1925-
in
the
"Giants
God"
of
queror
Con-
Norwegian,
and
(1920-22)
Axe"
the
Reymont's
"Pelle
(1919-21);
in
of
Lowenskolds"
Nexo's
"The
Gray
"Books
1924-25);
the
"Ditte"
"The
Ladislas
Polish,
translation
the
la
with
beginning
"Their
"A
beginning
(1925-27);
series
Proust's
in
with
Rol-
Marcel
of
Andersen
and
century.
Couperus's
Ring
has
Thibault"
Louis
(English
beginning
Rolvaag's
ending
volumes
(1901-1903);
(1906-10)
Sigrid
"Les
in
which
series
Romain
"Remembrance
Dutch,
Lagerlofs
in
(1913-26;
novel
one
French,
(1904-12),
Card's
three
Peasants"
Selma
title
in
are:
gether
to-
example
twentieth
early
perdu"
temps
Souls"
"The
the
examples
du
Notebook");
Small
of
lijik
which
novels
for
prising
com-
Comedy,"
monumental
most
predilection
general
translation
the
up
long
novels
six
Modern
stories
chronicle
covering
The
"A
more
even
of
sort
novels
of
and
short
Christophe"
du
the
with
series
Saga"
feature
period
same
Galsworthy.
several
that
John
make
another,
the
Bennett
Forsyte
with
of
through
years
"The
with
writer
English
LNOTHER
ending
and
in
her
with
English,
the
Earth"
(1924-31).
Bennett
and
Gals-
SEQUENCE
NOVELS
247
"The
Patriot," "The
and
Sinner,"
"The
of
Method
Scientific
of the fundamental
the various
works
Miss
Age."
Kerr
makes
mudi
most
characteristic
of
these
products.
Another
general feature of all these sequence
that, while they cover
a
long period of time and
include
largenumber
separate novel
and
justas
each
is limited
in the
novel
of characters
novels
in the aggregate,
specialdramatic
has its own
tend
issues involved;
is
to
each
of characters,
so
that,
GALSWORTHY
JOHN
as
Couperus takes
Later
In
up the
the other
Lilt" and
the
of
case
that when
sequelof
249
Souls" in "The
"Small
novels of his
tetralogy.
in
Property"(published
1906),he had not conceived the idea of the "ForsyteSaga"
of
This definitive study of the rich bourgeoisie
as a whole.
London
followed immediatelyby the "Country House"
was
Patrician" (1911),
(1907),"Fraternity"(1908),and "The
studies of the squirearchy,
the professional
class,and the
and making up altogethera kind
aristocracy,
respectively,
of social survey of the well-to-do classes in England.At that
his
been
to make
to have
period Galsworthy'sidea seems
rather than to specialize
in extenso
study of Englishsociety
he
in
intensively
was
not
"The
wrote
the
manners
Man
of
and
of the
customs
It
Forsytes.
publishedseveral
other
Summer
Forsyte,"which
Jolyon Forsyte and Irene; not
second
novel
of
1928 appeared
the
takes
series,"In
"Swan
Song," the
until
up
1920
of
appeared the
Chancery";
sixth and
Indian
chronicle
the
portant
im-
and
last
one
not
till
of the
series.
It would
indeed
impossiblefor Galsworthyto
of the novels beginningwith the third.
in political
with events
other things,
have
been
greater distinctness
with
case
"The
well
of
Man
unified
and
House";
of
the
NOVEL
TWENTIETH-CENTURY
THE
250
is,I think,
it is
ones,
the less
none
by itself.
of
true
especially
that
true
stand
"In
Chancery"
and "To
Let." In the second series,"A Modern
Comedy,"
feels that Mr. Galsworthy is carried forward
one
more
by the
momentum
already acquired than by any powerful creative
impulse; each book follows immediately on the year in
which
the action is placed,as if the author
somewhat
were
keeping his chronicle up to date.
hastilyand perfunctorily
more
father. There
is some
effort
of
reappearances
financier and doting
givedistinctness
to
to
each
book
of
Man
Property" is a study of
engaged
in
later novels
big
business
and
oppositionto
Beauty
of
manners
which
the
possessive
spirit
ily
typicalEnglish fam-
finance.
Here
and
in the
of possessionis
spirit
the
Forsytesdo
not
set
in
take into
in their
account
in
comes
life. In
to
"The
Irene.
They were
understanding that
explicit
Forsyte,the solicitor,and
married
without
if they did
not
love, on
hit it off he
the
was
not
to
the
hold
course
exists and
her
FORSYTE
bound
by
the
SAGA"
251
marriage tie.
when,
But
in
and
agreement
what
preciousof
The
"THE
her
bound.
It is
not
form
in him
of that
to
linquish
re-
most
all
things,property.
is brought to a head by
springs
Irene
and Soames's
architect, Bosinney. This
up between
artist is, like Irene, unaffected
by the Forsyte scale
young
their
of values. He has been engaged by Soames
to build
Hill. He is a man
house at Robin
of originalimaginanew
tion
the
and taste and is carried away by his desire to make
house a thing of unusual
ably
new
beauty,so that he considerexceeds
the amount
for the
agreed on with Soames
of the building.At the opening of the story he is encost
gaged
to
June, the daughter of Soames's cousin,
marry
Jolyon Forsyte,but the intimacywhich developswith Irene
in their consultations
the house leads to their falling
over
in
matter
love. Soames
of the house
not
in
been
would
with
for the
the
no
more
doubtless
than
have
a
met
the
extra
cost
stealingof
quick by
ruin
him
to
brings suit against Bosinney, determined
financially.
Of the concluding events
I will mention
of the drama
down
by a bus while
only the death of Bosinney, run
wandering distracted in the London
fog. The
story all
around
house
the building of the new
Robin
centers
at
the growing realization by the Forsytesof the
Hill and
existence of a passionwith which
they are unable to cope;
the action takes place from June 1886 to December
1887,
the house
is
covering roughly the period during which
building.
"In Chancery" takes up the story of Soames
and Irene
in the years 1899-1901.They have long been livingseparate
but
not
divorced.
Soames
cannot
with
which
effort
has turned
Irene
win
to
NOVEL
TWENTIETH-CENTURY
THE
252
her
has
least in
story is
Soames
that
one
formulation:
affections,succeeds
merely
in
this
characterof
dramatic
The
common.
whom
driving her
in his wife's
into the
of
arms
Jolyon.
In
"To
Let," while
and
Soames
and
Irene
Jolyon
wife, and
Jon,
the
of Irene
son
old
historycome
marry so much
The
dramatic
the
of Fleur's
between
determination
his
not
But
the
in
spite
let any
to
to
mother.
character
that each
Forsyte Saga"
sharplydefined
by
againstthe feelingof
It will be evident
"The
the
without
ugly
generationbrings about the grievous frustration
in the followinggeneration.
up
as
dentally
Jolyon, acci-
and
are
one
of the novels
is distinct
and
which
of love
make
independent
does
not
and
mean
GALSWORTHY
JOHN
that
exhibits
Galsworthy
in
novel
well-made
toward
attitude
the
253
is that
Forsyte clan
of the
completeness.His
of a sociologist
or
their
anything like
the
tendencies
dramatic
of some
anthropologistmaking a study of the manners
tired
he is never
primitivepeople.Author and interpreter,
of pointing out
the characteristic
manifestations
of the
and indicatinghow
typicalthey are of
''possessive
spirit"
the British people or of human
kind in general.
of his main
One
intentions
of types included
under
modifications
the many
which
is
to
the
illustrate
the head
of
versity
great di-
Forsytism,and
the passage
of Property" his scheme
about
come
of time.
with
after
the
other, take
the
Mr.
had
single person
like those
scenes
But
with
dramatic
all
writer
Forsytesin
the
central
various
tend
there
general composition of
from
"The
theme
branches
which
Man
of
to
build
up
of
the
stage.
an
plays.Through
the
group
abatements
these
in the
of
the
on
might expect
one
or
ment.
mo-
at
Galsworthy never
marked
predilectionfor
a
of the
center
author
is much
his narratives,
is
who
all the
of
comings
Property" one
Soames's
relations
to
so
famous
and
never
his
as
as
goings of
forgets
wife.
The
of the
often
been
pointed out
what
of
peculiarmethod
Irene and Bosinney,
method
that Mrs.
Whar-
follows
ton
Age
be
with
regard to
of Innocence."
the
NOVEL
TWENTIETH-CENTURY
THE
254
These
characters, who
most
the
whole
lovers, remain
whole
.
lovers
aroused
Mr.
"Saga," only
opaque.
This
Irene
is
in "The
Olenska
the Countess
are
presented
never
are
of the
to
meant
Forsytes.As
Bosinney, the
and
two
The
clearly deliberate
he
lated.
retwo
will
get them
in the observer
Galsworthy
the method
his intention
has
of the restricted
in this book.
managed
point of
sort
view
and
feelings
of reversal
very
suitable
of
to
followingthe story
through the eyes of the two most sympathetic characters,
the lovers, he follows it through the myriad eyes of the
turbing
all centered
the two
mysterious and disphilistines,
upon
persons. It is an excellent device for unifying the
diverse material and givingit pattern. And
it was
probably
the best possible
for making his study of the natural
method
historyof the Forsytes.
In the two
later volumes
the pattern is greatlysimplified
by virtue of the fact that he has set the Forsytes so
firmlyon their feet in "The Man of Property" and has no
further need
them
for characterizing
in detail. But here
which,
again we have to deal with the principleof contrast
Mr.
Schalit has pointed out, is a leadingcompositional
as
device in Galsworthy. Contrast
pondence
and, we may add, corresof themes,
or
parallelismof themes, repetition
and the use
of symbolic themes.
Winifred's
reluctance
to
divorce Monty, her Forsyteinstinct for holding on to him
of Soames's
to something that is hers, is the shadow
as
feelingabout Irene, and her suit for divorce is the parallel
of Soames's. Jolly and Val reproduce two
peculiarblends
of Forsyteand non-Forsyteas well as repeatingthe SoamesInstead
of
GALSWORTHY
JOHN
255
in
Jolyon feud. And of course
Jolyon,from Jolyon to Soames
to
the passage from Soames
of interest,in the
as center
to
is the clue
This
alternation
is
the
to
is
being followed.
unity of effect of
the whole.
The
characters
diverse
of
blocks
between
not
tion,
rela-
the Soames-Annette
complicatedintrigue,as
in Dickens, but between
mens
finelycontrasted or graded speciof true
Forsyte, mongrel Forsyte,and non-Forsyte
humanity, considered always by reference to the Forsyte
diverse
carryingon
of life is
And
public affairs by
take such
vivid
the
Boer
War,
interest. The
in which
and
the characters
toward
the
by the Forsytestoward
principleof suzeraintyinvoked
the
in South
Africa
in his relations
The
symbolized
British attitude
privateproperty,
the
to justify
invoked
by Soames
Boers
war
in
of life.
view
in
action
is the
with
lines of "To
same
as
are
even
that
Irene.
Let'*
simpler than
those
of
elaborate
much
system
could
of cross-reference
displayedby
Mr.
Galsworthy
and
and
in the
And
implication.
refinement
of touch
development of
his
method.
What
is
the relative
probably more
want
urgent, however,
of force, depth,and
is
to
in
solidity
signalize
his effects
JOHN
life of little Johann,"
which
in the
GALSWORTHY
or
the
recounts
There
257
experienceof
Hans
tain"
Magic MounCastorp lost
is
merits
in him
are
emotionally.He is
human
but
feeling,
he
deep waters.
His characters suffer, like well-bred
mental
people, from sentiwhich
real enough in their way.
are
deprivations
But they remain
well bred in the very core
of their being;
they suffer the mild pains of the well-to-do. They do not
to have
seem
come
break
up againstthe stony walls which
the hearts of common
people.They do not feel the pinch
of life as Edwin
Clayhanger feels it,or Esther Waters, or
Michael
Henchard,
or
never
ventures
Kristin
Lavransdatter.
is
Nor
in
conscious
one
Galsworthy of
of their intellectual
hard
anything so
and
the sheer
weight
which
of realistic observation
measure
NOVEL
TWENTIETH-CENTURY
THE
258
has looked
Mann
Thomas
long as
at
chapter of "Buddenbrooks"
typhoid fever take the following
beginning,
course,"
or
of
"Cases
as
looked
Bennett
in
He
Forsyte houses,
deftness
of
Hardy
of
much
does
somehow
one
which
similar
dimensions
looked
Maison
regarded the
Balzac
draftsmanship.But
of three
sense
with
printing-machine
in which
way
in considerable
describe
various
the
the old
at
not
have
descriptions
Tale."
Galsworthy does
make
one
visual
see
not
which
have
in
indicates
in
imagination.No scene
as that moonlight scene
in ''The
fakir exhumes
Master
an
author
his work
is
intenseness
so
minated
vividlyillu-
in the Adirondack
of Ballantrae"
in which
of
the
ness
wilderIndian
No spot of
body of the buried master.
earth is so magicallyset before us as the stretch of road to
Casterbridgefollowed by Fanny Robin on her way to the
poor-house,or the interior of Captain Anthony's cabin in
"Chance."
of that power,
Galsworthy has none
possessed
by Hardy and Dickens and Victor Hugo, of followingwith
intent curiosity
the movements
of a figureseen
in a landscape.
He has not
the facultyof bringing all the powers
of
vision to a focus upon some
singlespot or figurethus made
the
of
energies
imaginative
the reader.
CENTER
OF
INTEREST
259
tional,
genius is a mystery. These various faculties emoto
intellectual,imaginative are not to be reduced
less
the mechanical
of technique.But there is nevertheterms
relation between
creative geniusand the methods
some
which
it follows to attain its ends. And
parative
Galsworthy'scomof force is associated with his inability
to rewant
gard
for any length of
or
objectsteadily
any person, place,
Now,
"
"
time.
the
longest series
of
and
Victorine's.
And
again,and
the
not
"
London,
with
firm, and
in die Board
the chairman
This
his
Gradman
man
of
Room
joint-stock
company
with
of the board.
is
perfectlytypicalof Galsworthy'sprocedure.His
characters never
can
place or in the presstay in any one
ence
of
of one
forever
are
people.They
scurrying
group
about
like ants.
This makes
restlessly
impossibleanything
like a reallyconstituted and
And
well-developedscene.
since he is forever passingfrom one
character
to another,
be nothing like that continuous
there can
followingof a
singlecharacter which we have throughout "Clayhanger"
or
Very often,
chapter
"
true
moreover,
that he chooses
in "The
Man
of "The
Old
it is in
to
of
Wives'
Tale."
midstream
change
"
horses. This
Property,"which
within
is
the
larly
particu-
remains, in
spiteof everything,probably
novels.
Over
and
the
most
in individual
over,
important of his
chapters,no sooner
is our
asked
are
we
NOVEL
TWENTIETH-CENTURY
THE
26o
transfer
to
another, with
for
a
necessarily
example Chapter XI,
ner
of a dinbegins with an account
house, includingSoames, Irene, Bosinney,
the
objectivelyfrom
dialogue rendered
It
"June'sTreat."
Soames's
at
to
force. Consider
loss in emotional
entitled
it
than
character
one
and
June, the
point of view of an imaginary observer. There follows an
from
account
June's point of view of her attending the
coldness of
theater with Bosinney and the unaccountable
her fianc",culminating in his refusal to take her on Sunday
house. The
reader is ready to give his whole
the new
to see
heart to June in this pitiful
situation, when
suddenly the
from her and Bosinney to persons so entirely
author
turns
place
strange to us that it is with a great effort that we can
read of June:
them at all. We
The
house
could
one
think
man
see
had
mercifullydarkened
been
her
trouble.
himself
from
immune
Timothy's, how
had
they
in this world
Yet
observation.
for
crisis,and
no
Forsyteslet
no
of
In
the third
row
second
were
seen
ried
daughter, with her marwatching. They reported at
June and her fianc" at the
theatre.
follows
There
half
ladies, presumably
back
a
on
page
the
of
the
conversation
followingday. We
of
then
these
come
to
June and follow her in her disconsolate return
her grandfather's
house. Then
than a page is devoted
more
Old
the chapter ends
with
to
Jolyon's reflections. And
June. "And
upstairsin her room
June sat at her open
window
where
the spring wind
after its revel across
came,
the park,to cool her hot cheeks and burn her heart."
to
This
to
touch
may
on
But
be
convenient
DISPERSAL
INTEREST
OF
261
make
there
is
not
place that
and
person
occasions.
And
the
and
often
one
to
person
scene
same
constant
so
supposed to
thoughtsof others
when
even
shift
another
excursion
be
may
the lives and
deeply,into
one
such
more
or
one
remain
we
from
away
interest us
the
most
quite other
on
technicallywithin
as
of observation,
center
or
from
with
Dickens,
powerful of
of
one
all
masters,
assembled
windows.
This
but
any
of innumerable
like the
method
of the
Tolstoy, or
most
small
bits of colored
bits
glass in
has
who
story that
sparkle.Mr.
readers
But
depth
and
time.
moves
Galsworthy
as
any
has had
novelist
cannot
but
forward
with
liveliness and
and as astic
enthusimany
of equal distinction
in our
as
method
of
the old
fragments
Gothic
Eliot, Flaubert,
think
vigor of conception,a
certain
of temperament
reflected from
the
characters, so that they constantlymake
languid paleness
author
one
his
upon
think of the
of smart
mannequins displayed in the show-windows
department-stores.
I find myself drawn
in spiteof myself to breathe
the
word
"sentimentalism"
the
honesty and
in this connection.
fineness
of
spiritof
I do
not
tion
ques-
this writer,
nor
TWENTIETH-CENTURA
THE
the
does
not
go
of
kind
motives
the
Irene.
one
He
wonders
against
the
does
It
the
one
from
in
whether
corrosive
has
his
action
an
in
the
deft
colors
of
nice
human
time.
facile
are
There
simple
want
of
analysis
action.
of
this
And
Galsworthy's
stroke,
brush
such
too
stays
people.
imperfect
conception
and
It
deep.
it
But
goes.
from
results
involved
detects
of
it
as
very
view
which
forces
certainly
go
of
range
far
so
not
thoroughness,
and
sort
portraiture
sentimentalism
intellectual
the
is
of
his
far.
very
within
consistently
is
of
truthfulness
NOVEL
as
will
but
stand
XXII
VARIATIONS:
objection
HE
his
of
narratives
massive
of
and
of
Mrs.
interest.
of
clear
of
was
this
us
loyalty
to
the
could
trace
it is in
the
rare
creature
is
ideal
for
husband
the
and
element
or
worn
of
mirror
shoddiness
takes
more
in
her
both
are
of
whose
It
touch.
for
is
he
who
character
of
him,
quality; something
shabby;
of
steel
Niel's
disillusionment
of her
character
nature.
trayed
por-
eyes,
appreciation
was
the
ably,
prob-
it is that
Forrester's
her
felt,
is
work,
shown.
Mrs.
"
he
"That,
of
single
which
delicacy
through
"value"
growing
more
and
stance
circum-
always
weakness
Herbert,
become
never
pleasure
the
him.
piece
and
long
over
new
(1923),
best
her
tive
narra-
significance.
Niel
railroad-builder
And
we
to
Lady"
Lost
worthy.
Gals-
small
interest
each
that
in
the
almost
humanness
young
part,
have
charm
much
so
and
power
Gather
"A
of
center
some
from
them
of
But
is
there
observed
fragment,
of
whose
is also
her
that
new
things considered,
most
her
each
In
have
assemblage
single
Willa
of
novelists.
saves
we
its increment
with
makes
which
tem
sys-
Lewis,
Sinclair
mentioned,
which
the
extent,
Hamsun,
authors
than
rather
units
contemporary
it is the
that
so
Forrester
the
the
effect
around
novels
There
in
often
adds
Knut
that
simply
not
considerable
composition
Most
stretches,
to
is
small
many
powerful
of
units
of
of
Bennett,
scrappiness
all
is,
speaking,
principle
of
This
other
generally
center
up
scenes.
many
The
built
UNDSET
method
Galsworthy's
to
are
Arnold
SIGRID
place
of
Thus
as
what
the
cus."
Damasthat
the
love
for
Niel
book
is
SINCLAIR
full
implicationsof
steadilyin force and
There
is
have
Babbitt
toward
There
is
he
So
sees.
365
that the
thing grows
momentum.
less
even
plot,we
what
LEWIS
of which
place of
In
attitude
forms
he
of
part.
XXII,
"
which
ends
is of
He
to
Citizens'
him
revolt.
enough
and
Babbitt's
trace
League.
He
the furtive
than
with
thingswhich
sort
is
too
of
finds
that
not
course
strong
againstthe organized
Club
his wife
pleasuresof Bohemia.
cringing submission
and
means
Good
to
more
And
to
the
an
the story
order
of
It is this
gether
continuityof theme and issue which, taken towith the singlecenter
of interest and the consistency
its
of tone, give to "Babbitt"
its bold and simple outlines
the head
of continuity,it
effect of composition. Under
should
be remarked, further, that Mr. Lewis
is capable of
book, the first seven
devoting one
quarter of the whole
chapters,to a singletypicalday in the life of his central
far as I know, in the
character
so
something unparalleled,
work
of Galsworthy.
of course
the other
It may
be urged, on
hand, that
lacks the live effect given by the variation of
Lewis's work
of Galsworthy'smethod.
And
I do
coloring,the nuances
not
pretendthat Lewis's is the ideal way of presentinghu"
"
TWENTIETH-CENTURY
THE
266
that
nature;
man
of Thomas
it has, for
Mann
or
NOVEL
example,
Emile
the
and
depth
is
Zola. There
timacy
in-
often
too
generalizingof
burlesque.There is too much
incidents
and
the subjectby the author. The
characters
often have the effect of cleverlychosen
documents
or
too
exhibits. One
feels this most
stronglyperhaps in "Arrowsmith"
for ballyhoo in
(1925),where the author's scorn
scientist
admiration
science and his deep-felt
for the true
in
call for a treatment
less "smart"
and topical,
and more
the key of imaginativewriting.
portance,
imBut one
cannot
deny the truth, the representative
of these
documents;
can
nor
one
deny Mr.
the
Lewis's skill in arranging his material
to have
so
as
fullest effect in the forum
of publicopinion.
the
in
of
note
work
as
fine
an
instance
as
we
find of
genius
positive
Her
is SigridUndset.
cite of
can
of
feature
story-telling
technique so characteristic of our time that it
is worth
a special
sponds
chapter.It is a technique which correof regarding life. The
to a specialway
story-teller
is inclined
broad
and
number
to
massive
of critical
of small
of life
conceive
made
up
not
culminating in
movements,
but
scenes,
as
rather
of
an
of
few
limited
infinite
sion
succes-
is rather
on
the
feel and
texture
of life under
tain
cer-
conditions.
In
"Kristin
breadth
of
Lavransdatter"
movement,
an
(1920-22) there
is
an
epic
encyclopedicinclusiveness
of
SIGRID
family life
UNDSET
in its broader
267
aspects, extending
to
comprehensive
of
want
is no
survey of a whole social order. There
distinctness of outline and intention; at times the effect is
sharplydramatic,
of
boldness
death.
of those
in which
is built up
Kristin
the
"
suspense
is
But what
of
art
of the
modeling
worked-up
of life and
matters
in the
with
the
over
the
most
able
remark-
come
out-
and
adequacy
but
scenes
the
fine
of the narrative,
the bulk
situation
of
varietyof documentation,
of the rapidlysucconcreteness
ceeding
minute
intimacy and
picturesof her life as
of the house.
Very
suited
well
mother
wife and
and
intention
author's
to the
mistress
is the
tions
long chaptersdivided into many smaller secseparatedby double spacing.
of
in the opening chapter of "The
Mistress
Thus
first see
we
Husaby" (the second book of the trilogy),
Kristin arrivingby boat at the landing-place
at Birgsi,
pale
and
strain of pregnancy
and woebegone with the double
the following morning
then
travel by sea, and
met
by
Erlend's friends and trying to disguiseher illness and low
her riding across
In the second
section we
the
see
spirits.
use
of rather
her husband's
hillside toward
livelyyoung
into
Then
men.
the house
where
shows
three
her
follow
we
she is
escorted
home,
to
her
be mistress. The
days later,after
the
her
this theme
husband's
to
is made
kinsman
further
Ulf.
There
in
Then
Erlend
come
the
In
contrast
the
tion
sec-
the arrangement
dramatic
the more
the
the
with
following
conversation
follows
accidentallymakes
fourth
household,
new
of
specification
of the house.
that in which
dramatic
troop of
departure of
section
guests,
the
by
section
and
with
voted
deduct
con-
sections:
discoverythat
Kristin
is pregnant
her by showing himself
and
angers
concerned
than happy in the prospect
more
at the scandal
268
THE
of their
visit
TWENTIETH-CENTURY
having a child;
and
those in which
neighboringestate,
with
ending
their
NOVEL
and
he takes
they quarrel on
reconciliation
and
her
the
to
way,
turn
companionable re-
home.
Thus,
in
perhaps a
twelve
score
life of these
several
over
another
sections, are
separate
of distinct
weeks, and
in the
others
of
course
in the
moments
passionatelovers
one
"
brieflytouched
early married
of them
some
distributed
followingrapidlyupon one
day'shorseback excursion
"
which
the
developscenically
that is
to
strained
emotional
situation
life
togetherand gradually
disclose the first rift in their happiness.Each distinct
picturedrives in its little golden nail, as James would say,
and the drama
and depth of significance
grows in intensity
with every lightdeft touch of the artist'sbrush.
Some
attention should be given to the practice
of punctuating
the narrative by double
spacingbetween the sections.
Such
punctuation, so important in this kind of composition,
is entirely
wanting in Galsworthy.And this fact sets
him apart from
the largenumber
of novelists of our
time
who
have
made
There
which
use
of it.
several
are
of
indicatingthe sections
with the passingfrom one
ways
chapter is made
or
one
up,
of
view
to another.
point
regularlyused by SigridUndset
of Hamsun
and
("Early Autumn"),
Willa
writers. In Mr.
serves
the
Edith
is
Wharton,
Sherwood
The
more
casion
oc-
double-spacing
occasional
of Louis
Anderson
of
ture
fea-
Bromfield
("Many
riages"),
Mar-
Cather, and
Anderson's
other
many
contemporary
"Dark
Laughter" a line of dots
in Aldous
ter
purpose;
Huxley's "Point Counit is a line of asterisks. Where
the division into
same
Point"
sections is
as
more
type of characters,char-
who
acters
its
live
269
greatlyin
definite
and
neat
SECTIONS
OF
USE
increment
of
each
section
brings
objectiveincident
or
drama.
vices
deof separateness are
essentially
intended
for the greater convenience
for punctuation,
indications
such
Now,
of the reader.
And
if
of Marcel
we
Proust,
is that,
example, difficult reading,one obvious reason
diversified by
in a narrative
very little brightened and
dialogue,he has made the least possibleuse of paragraph
division, lines of dots, double spacing,or any other major
mark
of punctuation;and the result is a certain Teutonic
of page after page of unbroken
ens
frightsolidity
prose, which
the most
enterprisingreader.
But the matter
to
disposition
goes deeper than that. The
take advantage of these aids to clearness is indicative of a
for
certain
fastidiousness
order; it often
pointsof
the
writer
has
much
concerned
in
with
of
very
contact
indicate
to
with
common
bility
still,
a sensi-
clearlywhere
the musician
they
concerned
to
exact
fact of
and
contact
transition
devices
tends
to
that indicate
make
the
serve
obto
legato.
the
points
writer
more
tive.
pointsin the narraIn order that the several moments
shall produce the
effects in combination,
it is important that each one
surest
should infallibly
effect with distinctnes
particular
produce its own
and the exact
degree of emphasis assignedto it.
The
point of higheststrategicimportance in the section
sensitive
is
to
likelyto
the
using the
fall
and
the
preciseness
with
render
The
pointsof
and
neatness
finished phrase.The
perfectly
of the
between
contact
like the
for
makes
and, further
arrangement,
the attraction
to
which
taste
impliesa superiorconcern
of classification and
are
of
be
values
strategic
the
end.
What
of these
is said
but
explicit;
we
know
how
there
be
be
may
very
rather
implicit
often, in books
as
in life,
the
the
to
stressed.
disguisedand unlittle thingsthat give one
a
thingsappear
significant
most
In
clue
NOVEL
TWENTIETH-CENTURY
THE
270
life there
are
importance
many
of remarks
thus
of
demure
most
aspect:
tation,
something in the inflection of the voice, an instant's hesileft unfinished.
a slight
gesture, the sentence
the French,
Many skilful novelists, especiallyamong
make
frequentuse of the line of dots followinga statement
writers like Sigrid Undset
indicate a pause. And
are
to
It is instinctively
of the value of double-spacing.
well aware
brief a pause
accompanied on the reader's part by however
does well to place at the
the author
for reflection,and
so
end
which
word
some
like
he would
to
have
sink
into the
reader's consciousness.
is, moreover,
There
an
esthetic
gain
in the
two
are
related, they
have
intimation
thing is now
closelythe
are
with
the
impression of startingat a
the cumulative
effect of one
thing added
itself flows in to give an air of finality
Time
to
to another.
And
still further, this little device may
the past experience.
and
lend a specialflexibility
mobility to the narrative.
the intimation
With
given by the break, the author may
transitional phrase,and,
often dispense with an elaborate
that
stroke, with some
generalizingstatement
by the same
the concreteness
of his pictured story.
down
would
water
forward
the action
with
And
moves
so
crispnessand
this
slightpause
later point,with
and
sparkle,
No
with
we
ever
accelerated
sufficient illustration
of
motion.
these
effects
be
can
given
extensive
detailed comment
quotationand more
than is here possible.
Instead, something may be said
in generalcompositionalscheme
of the breadth
made
sible
posdetail may
be
by this technique.Many an exquisite
in which
worked
would
perforcebe excluded from a chapter
line of a single
designed to trace the broad unbroken
without
dramatic
more
scene.
There
is here
room
for many
circum-
UNDSET
SIGRID
stance
which
which
is full of
first blush,
at
subtle
irrelevant, but
seem
establishingharmonic
overtones,
of the
relations
into
might,
271
rarest
place with
effect.
Erlend,
at
love
of his unabated
his
on
how
In
he would
case
has
he
Kristin
now
might
in the
As
cut
chance
in the
basking
round
came
on
house
his staff,with
looked
pursed
every
other
hand
Kristin
note.
Her
women.
smile
this
the ideal
the
it with
beautiful
any
and
but
way
the
of
he
which
has
set
evening,
hasty movement,
days ago, at
many
a
was
blue
warm
air.
his
Geirmund
limping,dragging himself
his eldest
on
stood
a
so
the
They
remind
us
love. She
general terms,
lightest
conveying to
bird.wThe
copy
off, amidst
stress.
us
nor
And
the
does
to
of
.
some
The
wish
bear
down
thinks
thor,
au-
and
acuteness
not
she
too,
well-nigh
enough.
of the
He
boy,
could
is clear
along
shoulder.
son's
little way
fair as she listened
intention
point,wishes to
qualityof Simon's
of it in bald
it of himself
had
stood
about,
troop of them"
High above them, in a birch-tree,
corner,
one
was
thickets.
Not
.
mimicked
up, stopped, and
his mouth
and
whistled.
bird
And
us
the
in
again at
open
midday sun.
into
robin, piping out
woody
saving
There
man!
with
the
in
so
believe
section
pain
Easter
sat
him
lived.
now
sitting
himself
going
he
wedded
could
the
gave
that he
wet
memory
was
and
been
he
springsnow,
trill in
to pipe and
starting
out
ing
mus-
by Halfrid,
have
"And
.
follows
." Then
witless but
been
has
himself
busied
have
Jorundgaard, a widow
about, maybe, rueing that
scious
acutely con-
at
so
become
for Kristin. He
been
not
naught
own
when
time
the
in
included
tiny section
chapterwhich
with
Cross/' is
"The
in
Such,
to
tell
upon
of this
impression desired,
XXIII
THE
OIGRID
made
UNDSET
with
novel
of
long lapse
dramatic
while
from
the
the
dramatic
have
we
and
greater
of
the
ideals.
Her
books
of
that
found
in
James
of
of
Kristin,
of view
observed
of
is
there
ilk.
considerable
narrative
the
his
and
number
large
very
the
limited
neatly
for
room
are
with
type,
admit
has
part
view
from
biographical
not
well-
way
long
or
do
and
limitation
characters.
is
presented
like
nothing
and
by James
the
of
many
followers.
back
Coming
but
observe
a
time
the
and
place
this
of
coming
(1906)
covers
(1920)
as
the
to
the
spring.
"The
time
period
from
the
period
It
the
June,
or
to
be
of
slightly over
whole
April
one
"unities"
autumn
or
observed
action
month.
the
of
novels,
worthy
Gals-
domination
of
one
erty"
Propcery"
Chan-
"In
(1921)
is
years
if
Man
of
series
and
of
as
the
Let"
(1907), Galsworthy
strictly,the
twenty-eighth
the
spring
however,
House"
more
of
the
all, and
October
to
books
from
should,
Country
still
later
in
"To
years,
May
thirty
"The
half
last
years,
under
While
and
two
the
cannot
we
series
Forsyte
more
tendency.
as
the
of
with
and
year
the
In
grows
much
of
one
novel.
more
in
observance
time
fashionable
to
each
the
limitation,
tendency
narrower
in
of
matters
growing
and
narrower
were
of
these
to
limitation
the
to
us
inclusiveness
point
rigorous
to
special
episodes
And
his
its
which
issue
historical
taken
years,
panoramic
Her
has
chronicle
the
of
distinctly
UNITIES
is
year,
similarly
from
that
had
fined
con-
and
fined
con-
autumn
already
limited
in
his
taking place
tween
be-
third
lowing
fol-
of
the
274
THE
Many
period
of
NOVEL
TWENTIETH-CENTURA
the
of
novels
shorter
than
the
Hergesheimer
in
average
are
limited
to
Galsworthy: "Java
"
"
Wind"
down
(1917) brings us
weeks, while
(1932)
to
"Nocturne"
(1917) offers
is confined
to
the
"Ulysses,"though
to
the
events
novel
Phil
week.
Fair"
Stong's"State
Frank
in which
two
Swinnerton's
the^entire
action
singlenight,thus anticipating
"Ulysses"(1922).
most
unusually long book, is all
of
events
Joyce'sperformance
confined
than
more
less than
somewhat
to
in
a
of
twenty-four hours,
and
has
sumably
pre-
novelists. Mr.
practiceof many
Bromfield
advertises this aspect of technique in the very
title of his "Twenty-Four Hours"
(1930).Virginia Woolf
in "Mrs.
other
Dalloway" (1925) follows Joyce, among
things,by confiningthe action to less than a twenty-fourhour day.
influenced
Rex
Stout, in "How
considerable
the
Like
historyin
God"
(1929),while
he
cludes
in-
musings
retrospective
of his central character, yet limits in a particularly
curious
the occasion
which
all these musings take place.
on
way
is climbing the stairs to an apartment
The
man
on
an
per
upfloor. The
indicated by passages
are
stages of his ascent
in italics at the head of each of the sixteen chapters,
with
what happens on
his arrival briefly
disposedof at the end
of the sixteenth. The
body of each chapterconsists of that
during a small stage in his
part of his historyreviewed
Thus
the whole
of the story passes through his
ascent.
a
the
THE
mind
UNITIES
275
stairs. It is
very
the culmination
writing.There
as
of several
is first the
often
so
tendencies
in
illustrates
novel-
current
ward,
tell the story backAnderson's
in Sherwood
tendency to
in Conrad,
as
"Many
"The
caught
in the
top of
Professor's
House"
Professor
Peter,
St.
demic
commonplace and of acahis
dwell
routine, lets his mind
frequentlyupon
childhood
and other more
romantic
periodsin his life.The
colorful circumstance
most
of all was
his acquaintancewith
Tom
and it
Outland, inventor and amateur
archaeologist;
is his retrospective
lead
which
Outland
musings on Tom
of the young
man's
to the introduction
diary,giving an
of his discoveryof a lost Mexican
account
pueblo on the
three
desert
books
web
of domestic
into which
otherwise
somewhat
making
of the whole
the
Moreover,
keep
her
of
current
Miss
way
and
past in "Shadows
not
on
composition of
Harlowe"
so
an
successful
the Rock"
orthodox
"
of the
second
It
of
the
crosses
of vivid color,
charm.
considerable
enables
the
the whole
give to
reality.
is
its band
story with
within
to
Gather
is divided.
it is introduced
"Clarissa
the
constitutes
the novel
drab
story proper
Richardson's
months,
This
mesa.
the author
limits
twelve
since
"
calendar
air of compactness
in her
evocations
(1931).There
to
is here
and
of the
a
very
information
historical
of biographical
and
large amount
much
it is conveyed not
so
to be conveyed, and
through
retrospectionon the part of the characters as through
the Rock,"
on
straightexpositionby the author. "Shadows
however,
belongs to the specialgenre of historical novels,
of noveland is not to be judged by the ordinarystandards
is able
that she
set
of
sort
realitythat
Madox
Elizabeth
to
associate with
we
(1930),that
has
Roberts
be
must
contemporary
been
this kind
something of
do
NOVEL
is the almost
writing.It
to
TWENTIETH-CENTURY
THE
276
in
able, in
"The
judged again
Great
as
life. If
lesser way,
Meadow"
very
special
achievement.
In
when
three
few
only a
covers
weeks'
time,
that
so
"Many^ Marriages" is
striking
example of limitation in time. In all these
the dramatic
the tendency is to make
books
the
present
which
is the culminating moment
of the
here-and-now
for the earlier stages, given in
story a sort of framework
And
the most
formal and deliberate example
retrospection.
Like a God."
of this techniqueis "How
curious example of a similar techniqueis ChrisAnother
topher
the Left"
on
Morley'sfanciful invention "Thunder
of this story is a children's birthday
framework
The
(1925).
another
"
"
"
at
party
seaside
the children
resort.
makes
In
wish
the
course
before
of the party
blowing out
one
of
the candles
of the
into
same
man's
estate
place.The
grown-up
the end
that the
inserted
some
body
twenty-one
years
later and
in the
gatheredtogetherfor a picnic.But in
return
we
to the original
birthdayparty and realize
inserted narrative is a mere
of the fancy.The
flight
narrative covers
less than two
days'time, and the
children
UNITIES
THE
framework
here-and-now
277
the
only
of the
hours
few
dren's
chil-
party.
Mr.
actual
Morley, however,
here-and-now
the
the first
not
was
to
make
point of departurefor
some
fanciful
to it. In Cabell's
"Jurgen"
flightfrom realityand return
to his
(1919) the middle-aged pawnbroker, coming home
wife in the evening after puttingup the shutters of his shop,
of the great god Koshchei, who
made
incurs the gratitude
all thingsas they are, by having a kind word
to say for evil
and is rewarded
that is,for thingsas they are
by being
restored to the vigor and intellectual curiosityof youth.
And
so, transmogrified
by the fine shirt of Nessus, he is
permitted to go through a great variety of adventures
in the long run
do not give him
which
a good time, but
him
Lisa and all
make
to his scoldingwife
glad to return
"
"
the
comforts
of
use
and
wont.
His
to
imaginary return
Martin's
imaginary promotion
of the
have
an
air of romantic
rather
close resemblance
books.
ferent
dif-
in the
In
aginary
"Jurgen" the imadventures
of the hero are supposed to occupy
just
while the framework
here-and-now
a twelvemonth,
brings
him back to the same
evening on which he set out.
have
been
What
we
discussingso far is the aggregate
time
of action
whole
in
covered
within
story
these
but
covers
close succession
novel
two
as
whole.
As
for continuities
limits, it is obvious
a
few
weeks
there
that
is
where
likelyto
be
a
a
of
length.In
days to which
day, that
Wind"
"South
are
many
stances
in-
several
of the volcanic
there
chapters.In "Point
first twenty-four hours
the
occupy
attention
through the first twelve chapters(155
than one
third of the book.
or
more
my edition),
less than
pages in
It is stillmore
day
less
or
NOVEL
TWENTIETH-CENTURY
THE
obvious
have
we
action
which
follow
Mrs.
that where
extreme
an
noted
we
seven
Dalloway
in
the
hour
by
length that
such
of Dublin
panorama
with
one
the
We
the
up
twenty-
life,these episodesare
another, and
it has
Dostoevski.
hour
while
of her exposure. And
number
of major episodeswhich
four-hour
of
novels
hours
a
each
is
one
and
massiveness
tinuous
con-
developed at
solidityof a
story by itself.
As
in Paris
or
Wind"
on
of
parents
on
at
the Left"
their
in and
about
the house
of Martin's
"Many Marriages"
its little village
of Wisconsin
resort;
summer
and
and
Laughter" each in
Indiana, respectively.
Very few of the novelists I have cited in this chapter as
novel except
examples of the "unities" suggest the well-made
and superficial
in such mechanical
ways. Mr. Douglas
in "South Wind," and, followinghim, Mr. Huxley in books
like "Crome
Yellow," "Antic
Hay," and "Point Counter
"Dark
Point"
with
are
concerned
not
so
much
have
with
They
are
dramas
people's
interested
as
in people
books
the web
gest
sugot
UNITIES
THE
What
rhetoric
and
futility
of
One
is
tenuous
the
their
of the
his
in
of
while
are
novel.
novel
seriously
strings along
has
pointed
out
has
the
has
proper
sufficiently
literary
from
in
stem
from
been
only
tion,
tradi-
main
novelist
if
people,
as
Love
and
in
the
and
(1816)
one
and
genre,
wit
Hall"
one
grow
of
Thomas
he
much
not
The
"bourgeois"
when
very
do
they
which
France,
they
one,
people
And
character
silliness
of
"Headlong
Anatole
with
each
of
them
dialogues
(1818).
of the
tree
little
neat
fine
inception
taken
reminded
Abbey"
suggested that,
and
representative.
life.
daily
exigencies
is the
plots
kinship
the
special variety
romantic
"Nightmare
for
regard
the
constantly
and
Peacock
he
which
of
urgency
talk, in which
of
due
for
or
and
stress
pattern
with
opinions
utters
the
is
like
they
and
heat
living, the
actual
279
its
has
always
the
way
of
satire.
it
When
a
radical
the
a
that
novel
literary
revolution
methods
of
well-made
it is the
and
of
the
to
paradox
of
which
well-made
in
against
time
in
type
place,
it.
the
of
ideals
was
of
of
was
novel
that
the
to
is in
as
of
the
much
Indeed,
of
time
tendencies
greater
main
the
heritage
limitation
the
no
unlike
so
supplanters.
the
But
observance
characteristic
carried
which
reversal
regarded
and
situation
novel,
type
be
must
one
novel.
books
of
primarily
as
widespread
in
place
successors
the
them
complete
such
have
we
procedures
well-made
the
and
essence
its
the
a
and
technical
consider
to
involves
of
novel
that
from
have
predecessor,
its
unities
the
the
against
reaction
of
shall
we
following,
main
the
from
departure
his
and
Joyce
to
comes
tremes
ex-
protest
POINT
OF
VIEW
281
stairwayon
which
is thus rendered.
reminding
chain
of
the
In
inner
this
discourse
is
He
of all he
talkingto himself, as
has been through
of
"
it were,
the
long
it is his
to
causes
And
character
himself
And
have
we
of the characters
of
Sherwood
Anderson
there
is
point of
view during more
than half the book is unbrokenly that of
John Webster, the maker of washing machines, who feels
impelled in middle age to leave his wife and his native
and to explain to his daughter the reasons
for the
town,
failure of his married
life. During the latter half of the
book there is one
clearlydefined passage of about ten pages
in which
follow the thoughts of his wife, who
is being
we
abandoned
and whose
sensibilities have been outraged by
the brutal unveiling of her most
privatelife,and several
distinct passages in which
follow the thoughts of the
we
daughter,who has been converted to her father's way of
in the second
viewing things.But for the most
part, even
half of the book, it is the thoughts of the man
which
are
tirely
being followed, and the book closes with an account, enfrom his standpoint,
of his departurewith the woman
Natalie.
Quite similarlyin "Dark
Laughter" the main
the
body of the narrative is given through the impressions,
musings, the retrospectionof Bruce
Dudley, a factory
worker
in Old
Harbor, Indiana, beginning with the first
five books (129 pages),but with other largeblocks assigned
to the pointsof view of Bruce's
employer and his employer's
wife. In both of these novels, the author
is virtually
nowhere
formati
of inas
commentator
or
independent source
over
long space.
In
"Many
Marriages"
the
TWENTIETH-CENTURY
THE
*8s
The
novelist
the limited
techniqueof
work
each
has
who
NOVEL
constantlyresorted
most
point of view,
consistentlymaintained
most
and
who
the
to
has within
the limitations
sumed,
as-
it is
Joseph Hergesheimer. In "Linda Condon"
through the impressionsof Linda that the entire story is
given to us; in "Cytherea" through those of Lee Randon;
in "The
Bright Shawl" through the imaginationof Charles
Abbott, an old man
sittingin his chair and recallingthe
Not
of his youth in Cuba.
adventures
merely is each of
is
own
to
it
able to
by this central person. If the reader is occasionally
in certain of the characters
not
appreciatequalities
quite
understood
by Linda Condon, say, so young and inexperienced
as she is,if some
thingsare passedon to us over her
that is, of
she takes paVt,
in the dialogue in which
head
of enlargingthe scope of this
a recognizedmeans
course,
enlargement has often been made by
technique;the same
James,
Maisie
More
"The
and
notably
in
his story of
little
girl,"What
Knew."
however,
interesting,
Black
Three
Pennys"
makes
Hergesheimer
use
of
than
any
of these
books
are
Three
Black
points of view. In "The
but sucnot
cessive
Pennys" (1917)it is,more
strictly,
alternating
pointsof view that are offered. What Hergesheimer
takes for his subjecthere are three successive periodsin the
historyof a family of Pennsylvania iron-founders, with
of the family,the last two
episodesin the lives of three men
and
limited
descendants
Black
of
Pennys
the
because
first. These
of
an
three
ancient
in several
Pennys
Welsh
are
called
strain in them
generations,
showing itself
in a disposition
and a want
of conventionality.
to solitude
"Opposition'stheir breath." They are quite different in
The
first is young,
the second
age and general condition.
The
first is closely
middle-aged,the third an old man.
which
crops
out
once
"THE
bound
become
from
with
up
a
the influence
and
more,
with
of
later
give us
in these successive
As he
dies there he
followed
A
or
one
sensations
of his
ways
of
feeling the
So
essence,
story began
"a
sees
pattern of
is
who
ancestor
remote
in many
avatars.
the
the author
old
the
in
die
to
tranquilsky," which
the
exorably
past in-
"the
"
to
"
rendered
one
effort
some
generationsof experiencesand
And
name.
to
is
erary
lit-
and still
the pattern of the future"
of the
of mystic sense
a kind
successfully,
same
altogether
become
and
character
utmost
far
there
But
heredityin
business
into
more
relivingby
stone
the
artistic dilettante.
woven
from
with
has
second
man;
his connection
stress
283
family iron-founding;the
the
big business
and
PENNYS"
BLACK
THREE
an
bore
has done
his
continuityof experience
that if the three episodesare
view
of three
sense
that of the
one
may
Black
different
say
men,
that it is
Penny,
that
is
throughout.
somewhat
similar
method
by Hergesheimer in
his most
Tree"
book
"The
Limestone
recent
(1931),in
which
he presents ten separate episodesfrom the "saga" of
certain Kentucky families of honorable
and bloody memory.
Each episodeis given from the point of view of a character
closelyassociated with its main action. It is a striking
of the degree to which
evidence
Mr.
Hergesheimer is
committed
that he should have appliedit to
to this method
narrative
of events
a
so
solidlyfactual in character, in
which
there is little occasion
the impressions
to dwell
on
of the person chosen for mirror
is something a bit quaint and
is used
chronology
than
mere
the
order
occasion
helpsto
or
event
it determines
whim
the author's
each
in which
out,
comes
the
place and
of the time. It is an
the
NOVEL
TWENTIETH-CENTURY
THE
284
example
of the value
in
of this method
form.
short-story
dramatic
of
most
charming, and most
interesting,
all Hergesheimer'snovels is probably "Java Head," a story
in the eighteen-forties,
and seaport of Salem
of the town
justas the carryingtrade is leavingher for Boston, with the
of steamboats
for sailing-schooners.
substitution
In this
novel
Hergesheimer's handling of the point of view is
is divided
The
curious and delightful.
book
into ten chapters,
of these chaptersis confined
and each one
to the point
Most
of view
given
The
of
from
different
story is told
to
render
impressionsof
These
that
person, except
that of Gerrit, the most
forward,
straight
the character
are
persons
not
of them
important
but
of each
the action
twg
character.
the author
chapter in
are
has
terms
aged
man-
of the
chosen
each
of the
one
and
hypocrisies
Edward
Dunsack,
devious
crazed
ways
of the land;
by opium,
scrupulous
un-
enamored
luxurious
and
sophistications
ways of the Orient;
Nettie Vollar, an
child, rebellingagainst her
illegitimate
view of her as a sinful creature;
Taou
Yuen,
grandfather's
Gerrit's Manchu
wife, gorgeouslypainted,polite,
superior,
full of Chinese
and high philosophy.
superstition
It is a picturesque,and at moments
an
exciting,story
that Hergesheimer tells through these so various recorders,
of the
HEAD"
"JAVA
and
it is
technical
feat of
no
285
thus
order
mean
keep
to
consciousness
in the story without
any undue
What
the varying media.
they do is to lend each one
us
of
interested
the
which
he precolor of his temperament
to the chapterover
sides,
is like some
beautiful fan of manythat the whole
so
colored
leaves.
after all, the
But
than
dramatic.
work,
large stress
The
careful
that
is made
is
There
and
here,
charming
of the
in all of
Hergesheimer's
picture.
period,setting,
as
costume,
upon
seasonal
nautical
rather
effect is decorative
dominant
element
notations, the
and
much
colorful
of the
cargoes,
like the
the
"
"
Griffith. And
H.
D.
the characters
in the last
and
"Linda
inspirationthat
altar
Lee
Love
"
of
It is rather
Condon/*
Hergesheimer
of his Platonic
Randon
conception
burns
the
life of wife
with
love
and
tive
decora-
stories
incense
shadowy
terestin
in-
most
are
analysis,
regarded simply as
in colors.
arrangement
Still less dramatic
is the
"Cytherea"
themselves
lyrical
before
that
like
the
unfits
children,
or
enables
for
Dodge Pleydon to find in Linda the inspiration
his career
Of the same
as a sculptor.
qualityis that passion
for patriotic
service that inflames Charles Abbott
in Cuba,
under
the symbol of a brightshawl.
The
which
Hergesheimer ascribes to
very inevitability
Three
the passionof love in "Cytherea" and "The
Black
it an
for drama
unfit motivation
Pennys" makes
strictly
With
all
realism
of
external
the
circumstance,
speaking.
these characters
the social
the moral
want
actualityof
bound
characters in James, who
and solve the
to meet
are
problem of conduct. There is here no psychologicalmystery,
"
no
situation
with
elements
"
unsolved,
no
game
of in-
TWENTIETH-CENTURY
THE
286
tricate
of
be
to
moves
played
is
Hergesheimer
words
render
to
ideal
one
with
life
Irwin's
is
long
devoted
from
of
single point
of
course
dramatically
In
to
William
(1932),
which
leading
history
traces
its
Thus,
through
Three
general
technique
intention
1881,
that
medium
survives
as
could
in
of
of
the
life
of
July
the
of
sixteen
work
as
be
and
is
of
Minnesota
"Java
the
imagined.
thirty
the
from
point
different
reduced
than
more
has
of
the
moments.
among
like
Thus
Splendor"
family
special
San
heroine,
particular
of
lace
Wal-
1899.
9,
survey
them
books
well
In
eye.
Vanished
something
Pennys,"
can
Ameri-
throughout,
his
of
of
each
period
from
writers
story
to
of
each
with
distributed
are
the
continuing
(1930),
wealthy
a
sober
the
of
certain
all
meet
aspects
panoramic
over
so
Black
9,
"House
conducted
the
in
number
chapters
characters,
day
this
limited
decline
sixteen
chapters
in
in
of
Life"
is maintained
McNally's
three
"The
the
the
years,
view
is
especially
nineties,
June
years
to
one
with
novel.
realist's
Her
and
eighties
Beecher,
Emma
of
quite
Hergesheimer
the
finding
that,
not
historical
of
of
reason
does
certain
Days
the
this
fiction,
something
in
chapters
of
prepossession
problem
well-made
the
revive
"The
Francisco
is for
It
American
to
leading
Pateresque
influence
current
undertaking
the
of
technical
in
The
out.
Hergesheimer
requirements
The
the
qualities.
marks,
other
the
NOVEL
seven
to
one
of
view.
Head"
James
from
and
tion
tradihis
in
XXV
THE
NOVEL:
WELL-MADE
authors
two
HE
James
and
who
its
ideal
in
out
feminine
Her
handling
and
even
The
James.
third
it
James,
involving
and
French
the
life; and
of
James,
which
highly
But
novel,
Miss
refined
what
where
Alix
family
she
each
part
subject
is
the
resolve
makes
this
Anderson
as
in
so
and
handling
that
the
the
the
the
ters.
win-
author
to
person
the
the
two
James,
type
plot.
by
of
between
of
ways
in
as
Hergesheimer
of
little
two
contrast
personal
a
parts:
the
perfectly typical
when
perfect
of
Bradley,
with
of
in
themselves,
of honor
sense
up,
of
that
spends
and
impressions
motivated,
are
Sedgwick's
is built
contrast
than
Giles
to
its
ulous,
metic-
as
Vervier,
delicately developed
through
characters
The
Her
quite
nearly equal
English temperaments
this
is
scrupulousness
throughout
whom
four
to
in
procedures
patterned
or
fourth
whose
and
of view
into
and
absolute
assigned.
is
point
has
Sedgwick
laughable,
themes
assigned
with
herself
identifies
the
second
with
is
It
the
Wharton.
Miss
almost
in
Douglas
Edith
and
"
novel
Anne
(1924)
regular
are
Englishman
young
Girl"
is divided
girl, the
French
of
more
book
and
first
Selincourt)
of
reproduction
James.
the
de
of
form
well-made
women
startling, and
story
the
American
French
Little
"The
turned
Basil
method
the
attenuated
more
represent
the
are
(Mrs.
and
cases
follow
nearly
most
smarter
certain
state,
Sedgwick
In
in
though
"
who
WHARTON
SEDGWICK,
later
ing
arrangnovels
characters.
their
analyzed,
ments,
sentiinto
relations.
of
the
well-made
fall short
Like
of
James,
it, is
she
"THE
visit
is his
the
mother's
her
to
seaside
de Valenbois.
in which
lays all
cards
her
is her
comes
his
on
of
to
return
and
speculateon
the charming
climax
in which
lover, and
A
comes
to
get
lives,
she
perfectlyclear to
that he (Giles)
proposes
table, makes
course.
to
of this part
Vervier, anxious
The
reply is that
Alix. His
Toppie,
Vervier
of the milieu
the
on
and
ways
Madame
daughter safelyout
it
cottage in Brittany.There
of Madame
relation
exact
GIRL"
FRENCH
to
turn
Andr"
young
with the scene
her
LITTLE
he
it
is in love with
second
some
higher climax
attempts to give
and
England, when
he
of Madame
Vervier.
In his wish
to
Toppie an account
shield Toppie from his own
knowledge, he only succeeds
in making himself appear
ignoble,and in his effort to justify
for Toppie by letting
matters
himself, he makes
worse
her
know
assumed,
but
widow,
of Lambert
the author
I will leave
wish
with
to
to
which
Strether's
husband
she
as
had
always
is
living.One
gradual enlightenment
complicatesthis
the reader
is the
note
has
is not,
minded
re-
cerning
con-
de Vionnet.
Madame
(Hpw
Vervier
that Madame
to
knot
discover
skill, the
and
then
unties it,
for himself.
the
neatness,
What
precision,
framework
have
the
chosen
consciousness.
and depth
solidity
This
work
does
and
of
brooding intensity
dwell so long on the moments
not
James. Theliuthor'does
the mere
of thought, on
subjectiveprocess. The styleis
ment,
lighter;the narrative goes forward with a lightermovecarryinga lesser weight of baggage.But for all these
it is perhaps a better exemplification
of what
is
reasons
implied in my term "the well-made novel/')
not
It should
be noted
unique
with
in the
which
that "The
work
Little French
of Miss
it carries
out
Sedgwick
Girl"
for the
this formula.
is perhaps
pleteness
com-
It repre-
sents
which
are
so
ones,
of these tendencies,
in her work
of culmination
sort
NOVEL
TWENTIETH-CENTURA
THE
sgo
as
in this. In
lets the
author
The
Countess"
(1927)
characters
there
are
but
do
two
it all. In
persons,
"The
the
married
who
render
and Jill,
through their
couple,Graham
de la
impressionsthe character of Madame
derie and her prot"g",as well as the tragedyin which
Once
twice
or
and
nating
alterMou-
they
involved.
themselves
are
Old
learn
he is recording.Such
the occasion
however, are
exceptions,
extremely rare; and it is true enough for the most part that
in these later novels Miss Sedgwick observes
with scrupulous
with
if not
the regularityof "The
Little
exactness,
French
Girl," the principleof the restricted point of view.
In
her
earlier work
Winslow
Kane"
not
come
to
are
so
the
changes are
us
many
of this method
this is much
(1910),while
from
less
true.
In
"Franklin
there
of these whose
so
is lost.
"Tante"
THE
method;
and
Hudson"
is
Countess"
"The
Little
"The
of
method
of
James
Girl"
French
"The
in "Roderick
whereas
Tragic Muse";
like that of
more
291
of what
she is
be duly informed
may
the scenes.
This
is the usual
old-
NOVEL
WELL-MADE
and
Golden
the
"The
Old
Bowl"
and
"The
she followed
of his
him
are
the
Miss
influence
of
interval. The
in her
SedgJames,
tion
culmina-
justtwenty
years after
in him. It comes,
let us observe, at the very
in the novel
all the progressive
tendencies
when
showing
marked
reaction
againstmost
of
what
he
for.
stands
The
thing is
same
Innocence"
It
altogether.
account
in the
in the
Eliot
and
style,
Wharton,
whose
first
later
of
be left out
may
historical novel
George
of Edith
true
of the
strikinguse
of
considerable
techniquecomes
its culmination
moment
at
is that, while
tradition
is
of "Romola,"
close-knit, competent,
in the minute
and
conscientious
ponderous
suggesting
rather
formal
played.
disscholarship
"The
of Mirth"
"
to
which
convenient
point of
sacrifices
to
view
present
must
many
be made,
and
she finds it
of Selden, and
even
of
such
more
the
insignificant
characters
and
Mrs.
Wharton
heroine
of her
her
lightlyfrom
companion.
Lily dropped
Peniston, Mrs.
Mrs.
as
Trenor.
view
NOVEL
TWENTIETH-CENTURY
THE
292
tell
to
thoughts
down
on
us
and
the rock,
how
she
looked,
those
feelingsto
glowing with
or
her
passes
of her
long climb.
sat
stretched
Selden
against the
head, which
make
to
her
himself
on
his hat
the grass at her feet, tilting
his
and claspinghis hands
behind
level sun-rays,
rested againstthe side of the rock. He
talk; her
silence
quick-breathing
had
seemed
no
a
wish
part of
mind
there
general hush and harmony of things.In his own
of pleasure,veilingthe sharp edges of sensation
was
only a sense
veiled the scene
their feet. But
the September haze
at
as
calm
his, Aras throbbing
as
as
Lily, though her attitude was
inwardly with a rush of thoughts.
the
An
Mrs.
occasional
Wharton
impressionsof
this date
the
such
this shows
as
passage
has a distinct tendency to make
that, while
much
of the
her
Wharton
maintain
stricted
James technique of recentral person, Undine
Spragg,
point of
view.
young
woman
beauty as a means
marriages,and
Blondes"
from
the back
who
country,
uses
liant
brilmore
making successively
raisingherself in the social scale, is
of
so
of
(1925).But
Mrs.
like Anita
Loos, in the
which
career
her
293
the
The
forerunner
noble
WHARTON
cannot
common
her
EDITH
in
Lorelei
does
Wharton
not
And
diary manner.
is chronicled
does
Prefer
"Gentlemen
admit
not
of
our
ing
los-
in her
she
views.
modern
the
So
with
that
dispositionto
author
But
reader
any
directly from,
we
coming
say,
to
the
as
toward
means
Fair"
be
novels
of Edith
emphasized in
the limited
point of
In
"Madame
of "The
is, without
of
point
even
"
view
rather
of
the
Undine's
This
is
of any
than their
discussion
tendency
perhaps what
of these earlier
departure from
view.
de
novels
or
novelettes
she
absolutelylimited point
niscent
Treymes" (1907),stronglyremi-
American,"
stories of
later novel
action.
of
very short
experimenting with the
been
of other
the
shoddy
Country"
struck
by the
be
themselves
in several
Meantime,
of view.
Wharton
the
of her
of her
of the
will
in
rendering
intensifyingthe
should
had
of
Custom
"The
"Vanity
conscious
behavior
and
forever
are
the motives
upon
the
very
Spragg, and
critical gaze
heroine.
of intentions, with
best
cannot
Undine
with
the
of "Madame
de Mauves,"
and
and
James, long
and
ChristopherNewman
Longmore,
in the mazes
similarlycaught and bewildered
Americans
of French
Frome"
society.In "Ethan
(1911),inside the
the point
provided by the imaginary narrator,
Edith
Thus
exclusivelythat of Ethan Frome.
aristocratic
framework
of view
NOVEL
TWENTIETH-CENTURA
THE
294
is
Wharton
"A
In
Son
view
the
at
is
"Hudson
In
dren"
Chil-
"The
given altogetherfrom
character.
central
(1923) and
Front"
point of
the
River
eted"
Brack-
"The
Taken
Country."
But
together they
books,
it is "The
book
the best
example
implications.
out
as
is
historical
the cultural
interests,and, above
of the
of the
of
Innocence"
of the well-made
York
novel
that, published
sense
of the
is made,
physicalaspect
1870*5,the
in
of old
deft and
New
York,
quaint exclusiveness of
acknowledged to be paramount.
the
As
few
is made,
families
moral
again,
who
tone,
are
luded
al-
good
Age
in the
novel
of the
Custom
symptomatic of the
the restricted point of
of all her
unobtrusive
tone,
are
toward
in its various
"age
"The
or
in her
that stands
This
of Mirth"
trend
overwhelming
view.
House
AGE
"THE
INNOCENCE"
OF
295
away
from
York
and
run
to
New
In
spiteof
she
is backed
and
arouses
wishes
certain
by
dreadful
the
to
husband,
be
taken
has
back
now
returned
into
the
fold.
yer
lawyoung
is
Welland.
He
Archer,
her cousin
engaged to marry
May
deputed by the family to persuade her not to sullytheir
name
by suing for divorce. In this mission he succeeds, and
meantime
her. But
when
he
declares
his
love it is
her over
so
pletely
comalreadytoo late, for he has won
conceive
of
to his idea of decency that she cannot
findingher happinessat May's expense. And so Newland
marries
of Ellen for a long
May and sees nothing more
time.
But
now
it becomes
unspeakablehusband
the New
York
a
"
relatives. Newland
opposes
her
of
THE
OF
POINT
VIEW
297
ticular
land's.
This
is
strikingof
"exposition"is carried
the
most
story. The
great
and
of
status
the
at
Newland
the
heard
is
first book,
to
as
the actual
when,
moment
the
in which
forward
questionhere
Ellen, from
opera,
all in the
remark
the
character
in their box
of old
Sillerton
by
Jackson on the public recognitiongiven the countess
have
the Mingotts, "I didn't think
the Mingotts would
tried it on." In the followingchapter Newland
is made
to
wonder
of referringto
at the Countess's
disrespectful
way
New
conventional
York; later,at her invitinghim to call an act so unThe
what
did that mean?
gossipof dinner
of
tables makes
him
speculateon the exact circumstances
her leavingher husband
and what
degree of reprobation
attached
This ambiguity is intensified by
to her behavior.
"
"
her relations
the
to
to
the dreadful
Struthers, whose
Mrs.
When
talented
of
her, in the
urges
bohemians,
notorious
common
home
is
and
reputation.
interest,not
to
background certain
has made
againsther.
charges which her husband
vague
He
statement
cannot
to the
as
a
specific
get her to make
of these charges;he wonders
if she has it in mind
nature
to
her lover who
helped her away, and in just what
marry
her husband,
divorce
sense
All
he
was
these
her
there
in the
lurk
lover.
questionscome
to
head
in the
final
chapter
of Book
James
NOVEL
TWENTIETH-CENTURA
THE
298
the
manner,
two
like
are
persons
dark
scene
forward
moves
fearingthat
urging May
has
he has
become
Ellen
of
woman
has offered
to
wants
to
woman,
their love
he
now
When
next
appears
...
that it is
has
who
she
Olenski.
tells
the "other"
about
know
other
some
free. When
him
set
is the other
in
is interested
he
that
May's offer,she
"
made
surpriseto surprise.Newland,
strengthto hold out long, has been
the date of their marriage,and she
not
aware
and
woman,
the
and
turn;
from
hasten
to
some
revelation
new
new
true
playersin
each
in
Here,
of this drama.
I, the scene-d-faire
her
not
vorce
di-
to
not
band
hus-
her;
or
him
merely wished to
and
that he
And
Newland
is determined
now
May.
will not marry
have Ellen.
Ah, but
May, that he must
it
that is impossible,and it is he himself
has made
who
Ellen has come
to realize that she cannot
impossible.
rightly
be
love Newland
unless she gives him
up; she cannot
happy unless she remains true to the ideals which he has
But even
feel, she might have
then, we
taught her.
she has
the
point
announcing that
the marriage as
this book
sister that he is
If Edith
thing
than
dramatic
and
the urgency
of Newland;
she is,we
suspect, on
of yielding,
when
a
telegram arrives from May
yielded to
and
end
to
with
had
Wharton
shows
in
her
another, it is in her
continuityof
determines
issue that
that
advance
wished.
Newland's
be married
to
And
the date
this
chapter
to
announcement
of
his
month.
expertness
more
in
one
dialogue.But it is the
logue
givesits point to the dia-
it shall have
structural, func-
DIALOGUE
tional value
well
as
EDITH
IN
as
WHARTON
299
In
"The
Age
of Innocence/'
talk which
forth
the humors
and
eccentricities
aspects of New
York
of the characters.
Some
certain passages of
this interest strictly
to that of her theme
and
make
it
serve
of the point of
major issue. Her dialogue has some
dramaticallyknit together.
Thackeray's,but it is more
tion
It is in generalpointed and crispfrom pruning and selecthe
and
concentration
from
on
an
issue. She
is very
deft
the
the
Mr.
old
Luydens
hundred;
Ellen
"
by
der
Van
are
the
upon
every
Luyden
that
influential, but
the
Chapter
acknowledged arbiters
their reaction depends
one
againsther. And
in
now
not
counts.
It
Newland
and
VII.
of
the
The
taste
Van
der
in the four
receptiongiven
seems
omnipotent
of
pronouncement
"
have
his mother
pronounced
have
come
tion
higher court. The preliminary conversawith Mrs.
Van
der Luyden is not
the
detailed, nor
Archers'
corded
presentationof Ellen's case. A word or two is reof solemn
der Luyden's daily
Mr. Van
remark
on
of reading the "Times"
in the afternoon.
custom
Emphasis
is laid by the Archers on the fact that he ought to know
of
what is going on in Ellen's case. Everything is centered
on
to
appeal to
the Archers'
suggestionthat
of Lawrence
Lefferts.
"The
social
position?It shows
hope it
Luyden firmly.
"We'll
so
we
not
dodge
on
the part
quitecome
thing not
Wharton,
and
Everything said by
know
to
concern
her
what
to
case
pronouncing
Societyhas
what
that Ellen's
all the
of Edith
said about
has
know
It is above
little said.
Lefferts's
said of Lawrence
have
Egmont
our
this is all
der Luyden.
Leffertses!""said Mrs. van
would
Mrs. Archer.
"What
echoed
Leffertses!"11
"The
And
NOVEL
TWENTIETH-CENTURY
THE
Soo
is
Uncle
on
body's
any-
to."
come
van
der
won.
said that
the full
implicationsof
the
tellingbecause
of
is
Ellen
logue
in the dia-
counts
lies beneath
it,and
everything
is excitingbecause
of
by May
especially
our
our
uncertaintyhow much
feelingof a latent hostility,
and
is known
thought. The effect of wit is produced by
tions.
clipped and weighted remarks left full of hidden implicawhich
in
Newland
is
There
is a passage
discussing
and his sister Janey:
Ellen with his mother
"I
hope
you
Archer
"
"
self
lipstogether."She certainlylaysherold lady."
when
she is callingon
out
to please,
even
an
[She is referringto herself.]
"Mother
doesn't think
her simple,"Janey interjected,
her
Mrs.
eyes screwed
"It's
drew
upon
justmy
said Mrs.
so
her
brother's
old-fashioned
face.
feeling;dear
May
is my
ideal,"
Archer.
her
the
son,
"they'renot
thingis left,without
alike."
comment,
to
make
its own
effect.
The
of
often reminds
one
dialogue of Edith Wharton
ter
James's in its way of linkingspeech to speech,one characcatching up the phrase or point of the other's remark
by way of challenge,
question,matching of the idea and
carryingit farther:
DIALOGUE
"I
want," she
with
IN
went
come:
made
301
"to be
on,
WHARTON
EDITH
me""
of
Archer
staringbeneath
laugh. "And what
frowning brows.
sat
her with
do you
make
He
interrupted
that
out
you've made
of me?"
She
little. "O/
paled a
for I'm
"Yes:
of mine.
I'm
told him
who
man
paleness turned
not
promised" you were
"Ah"
like
how
lowered
Wharton
and
way
much
in French
"The
the
issues
bad
thinks
May?"
the
at
next
of the
once
The
three
dialogue of
tier
wit-
are
so
much
swift and
more
kling.
spar-
feelingof threadinga
development of situation
one
ous;
obvi-
more
the
in her
Wharton
In
lor
through
much
so
with
out
of
name
as
rather
relentless-
of
something
that of "The
us
reminders
of James
superficial
We
cannot
forgetthat Archer
the
heroine
for Newland,
is the hero
reminds
business"
one
labyrinth.The
other
many
of Innocence.'*
Lady." And
Prince
have
are
family
some
see
comedy.
Age
Newman
ever
slighter,
brighter,smarter,
forward
is carried
of Ibsen.
There
will
it is turned.
The
James.
arduous
James
bad
then
in the
ness
of you
None
voice. Is it
is so
that of
than
in
to
interchangecontinues
great difference
long
another
trick is James's.But
Edith
because
woman
were
to
woman!
her
the
so
pages.
The
one
ever
you
through 1"
business
And
married
than
more
to."
Her
She
much
making
of your
the
you?"
of
of "The
in
"The
Portrait
remember
that
American"
and
we
Ambassadors."
The
of SUberstadt-Schneckenstein,
Countess
who,
is
of
Christopher
Chad
in
Olenska
wife
in
New-
"The
of
the
Eu-
back
ropeans,"comes
Madame
Merle
end, she
turns
like
not
capable of
Eugenia Young,
formula
of many
''Then
Archer,
the
in
anything
also
us
Portrait of
in "The
family
Boston
reminds
similar; she
so
out
of her
the bosom
to
circumstances
under
NOVEL
TWENTIETH-CENTURY
THE
302
the
is
Merle
of Madame
character
of
or
Strether.
de Vionnet
to Lambert
appeal of Madame
Archer
When
nearly gets her to agree to "come to him"
between
Merton
it is a repetitionof the situation
once,
Densher
and
Kate
Croy in "The
Wings of the Dove."
similar
When
to
at
the Countess
see
Archer
And
wick
in any
yet, in Edith
or
in Ethel
different from
of the
of this
of
of
one
and
Wharton,
have
in
of all in
we
"
if I
than
that
might
Douglas Sedg-
follower
Even
in the
James.
in Anne
as
perhaps most
"
here
me-
Dallas
son
bench
reflection
as
point of view
very problem
to
on
stories of
dozen
Sidgwick,we
him
of
James as
her handling
her handling
In "The
Age
and
Innocence"
James
real
his
up
sends
the effect is
the
not
the consciousness
of
same.
of his consciousness.
Newland
Archer
characters
writer
for
than
ever
one
of the
We
situation
do
ualized
palestand least individguished
to the public by a distin-
offered
of fiction. He
a
projecting
himself.
is
not
is
and
dwell
hardly
more
characters
with
him
than
much
in
a
more
the
device
real
narrow
THE
device
positional
it
But
in
imaginatively
the
of
essence
For
this
writer
the
her
unique
adopted
view,
process
in
James
novel.
has
which
Miss
which
Mrs.
avoided
make
and
of
means
cision.
pre-
steeping
is
which
solution
rare
tention
at-
enrichment
for
Wharton
it
bad
Sedgwick,
it
is
illustrates
"theater."
the
ideal
that
version
of
she
has
point
the
on
So
attenuated
if
And
of
weight
limited
the
of
popular
more
less
drag.
over-emphasis
an
much
so
story
device
that
is
is
the
makes
best
not
the
sharpness
James
and
There
"dramatic"
the
she
to
is
focus
to
serves
personality.
master.
"subjective"
It
special
reason
very
than
effect.
the
in
as
303
gives
It
serve
the
it
value;
issues.
not
of
NOVEL
great
simple
does
deepening
us
as
of
the
upon
and
WELL-MADE
the
of
conscious
here
of
again,
Henry
well-made
FOUR:
PART
critique
Un
rechercher
jeunes
gens
et
des
tenter
GUY
that
.
is
to
say,
of
sequence
of
sequence
"GEORGE
MOORE:
art
as
events
possible
que
nouvelles.
voies
Preface
"Pierre
to
aux
MAUPASSANT:
DE
"
moins
le
autant
pousscr
contraire,
au
ressemble
qui
ce
faits,
d^ja
les
devrait,
intelligent
tout
romans
TRANSITION
understand
et
it,"
described
with
Jean"
mical
rhyth-
cal
rhythmi-
phrase.
"Confessions
of
Young
Man"
XXVI
time
is
less
remind
to
the
underlying
all
have
the
which
the
time
same
which
have
they
than
more
it
that
to
in
of
art
"
do
this
it
entertainment
Victorians.
without
idea, great
gains
developed
interference,
idea
their
was
the
something
situation,
and
with
At
associated.
gifted
most
procedure
in
of
dramatic
"
of this
the
at
losses
the
that
suffered,
and
of
novel.
made
were
but
losses
author.
is,
that
in
the
movement
was
by
the
the
effort
novel
there
"
make
to
was
spirit which
full
have
die
the
already
dramatic
tendency
furnished
was
swing
withdrawal
novel
notable
paring
pre-
along going
into
from
and
was
all
brought
was
made
were
Joyce's "Ulysses."
of
critical
this
itself, which
which
self-impelling
without
inevitably
suffered
With
sacrifices
great
against
publication
of
author's
time,
same
reaction
the
spoken
of
conclusion
sporadically,
with
in
the
tinct
dis-
novel-writing.
the
on
of
novel
of
or
period
the
chronicle,
make
to
vehicle
interruption
pursuance
But,
great
closely
so
trying
many
logically, without
And
been
embodied
its inevitable
was
miscellaneous
meant
single subject,
to
it
beginning
the
of
historical
the
essay,
of
possible
as
More
tracing.
writers
make
to
intention
general
been
main
different
as
philosophical
in
the
aiming
been
the
have
we
along,
NOVEL
of
ourselves
literary form,
from
WELL-MADE
movement
consciously,
considered
THE
OF
CRITIQUE
by
to
the
comments.
Enough
of
has
the
been
said
technique
in
these
of
Thackeray
307
pages
implying
and
ment
disparage-
Fielding;
it
is
high
time
critical power
have
with
the English novel.
everywhere with
common
the
in
our
minds
of
and
sense,
equal solidity
day occupied themselves
that few
acknowledge
to
and
of
NOVEL
TWENTIETH-CENTURA
THE
308
else
whatever
we
may
boast
of the
of the
mon
days since Thackeray, comcritical
The
is not
what
stands out
sense
as
typical.
Douglas;
spiritis strong in Samuel Butler and in Norman
but few will pretend that we
have in these writers spirits
well balanced, as sane
as
as
Fielding,Scott, Austen, or
Thackeray.
do not show in high degree the geniality,
They certainly
the humor,
the wit, which
the leadingtraits of
were
once
as
a
English fiction. J. B. Priestleyis widely ^advertised
of
writer who
revives in our
day the subjectsand manner
Dickens
Dickens.
and watered
But it is surelya chastened
think
that we find in "Angel Pavement,"
would
and no one
of
of preferringthis pale sobrietyto the fine inebriation
and "Great
"Martin
Chuzzlewit"
Expectations."William
has been
Dean
Howells
greatlyneglected in these pages
because, with all his preoccupationwith truth (ina narrow
range),he had so little notion of form. But there were
qualitiesof charm displayedin, for example, "A Hazard
achievements
spiritual
of New
Fortunes"
which
fiction. Much
Meredith
in
with
has been
matter.
Meredith
as
as
no
a
would
one
wit
or
ment
James'simprovethink of comparing
thinker.
No
one
guide, philosopher,and
thinks
of
friend.
from
condition
of
times. To
have
must
But
of
of course,
that humor,
seem,
made
look
for in rary
contempoof
of the strategic
errors
to
handling psychologyand
in this
James
it is vain
we
must
rest
secure
literature.
twentieth-century
It is
general
bewildered, disillusioned
spiritin our
and geniality,
it would
humor, philosophy,
be ready to make
certain assumptions;we
generallyassumed
upon certain principles
the
as
And
true.
busy
we
"
are
But
made
rest
there is this
with
novel
The
have
to
been
eliminate
disappearanceof
the
fiction all
tendency
well-made
to
to
squeeze
novel
has
with
stronglyendowed
genialphilosophy.
The
subjectis full
dramatize
the
the
the
on
sorts
given to
consciousness
of the
to
selves
fine in themhas been
There
an
paradoxes.The
of
tended
have
and
leave
sponge
favored
the whole
not
ties.
qualiwhich
neatness
of elements
issue.
particular
humor,
too
of the well-
these excellent
rigorousselectiveness,the formal
the growing ideals of the novel,
from
been
questioningthe assumptions
in anything.
to
but irrelevant
a
secure
309
have
generationswe
"
of earlier times
NOVEL
WELL-MADE
THE
OF
CRITIQUE
very
characters
it
dry. The
writers
not
overflow
of
tendency
to
has
on
the
of dramatizing
weak in the power
relatively
of differentiating
and projectingcharacter. Very
often the author
insists on
who
identifyinghimself with a
in his story is simply yieldingto the temptationof
person
making that person react as he himself would do under the
circumstances.
what
he gives us is no
And
more
same
so
than a sort of spiritual
autobiography.One feels this to be
of Mr.
Anderson
in "Many
true
Marriages" and "Dark
makes
these books important is that Mr.
Laughter." What
is so largelysincere in his account
Anderson
of his soul
under
the names
and Bruce
of John Webster
Dudley, and
his own
from
that, while presumably drawn
experience,
these characters
of so large a category
are
representative
of men.
I doubt
if as much
be said of Mr.
can
Hergein "Cyfeherea."
is
One
sheimer's projection
of himself (isit?)
whole
favored
writers
"
conscious
here of
certain
erotic sentimentalism,
kind
of
dressingup of the passionof love a rationalizing
is a widespread feature of
vagrant impulse which
"
"
"modern"
attitude
example, in
touch
Mr.
toward
the emotions.
Swinnerton.
of it in Anderson
and
And
Lawrence.
there
One
of
the
our
is doubtless
when
But
it
which
in the
sentimentalism
find
can
It is
novel, there is
the well-made
to
comes
varietyof
for
NOVEL
TWENTIETH-CENTURA
THE
jio
better
no
something
than
mentalism.
senti-
ethical
in
flourishes
that
of love,
treatment
term
other
an-
the
soil of
James, but
to
for
like
not
vast
to
I have
have
no
the
plied
ap-
that he is
doubt
of this
of sentimentalism
amount
sentimental
term
responsible
varietyin his
followers.
many
If the
James,
charge of
sentimentalism
it is because
of the
is
to
be
of
disposition
brought against
his characters
to
Charlotte
he
and
not
was
in
with
concern
may
taken
by
in
tion,
say about their relamentalism
it. If there is a strain of sentihave
to
of sentiment.
terms
The
the
the Prince
sentiment, and
which
he
Venetian
the
rich and
never
in his
slopsover
treatment
is
of
NICE
it is all bathed
but
in
James, it is because
while
stress
tends
their
and
is
no
is
impeccable
the ridiculous.
into
by
strain. She
sentimental
same
ideality.
for
realism
greater than
his,
the emotional.
to
Wharton
Edith
the
at
ers
is stronger in the followhave less powerful imaginations,
they
they try
it real
makes
the illusion of
311
lightthat
that it maintains
time
PEOPLE
means
much
too
taste
permits her
she has
Frome"
of the
of the world
woman
never
"Ethan
In
strikingexample
lapse
risen,
even
into
once,
taste.
it
When
to
comes
wishes
All
her
husband's
Ellen
speaks:
nothing
you
I feared
and
was
saw
did
silence
down
to
that
Ellen
banal.
letter,at
fear from
what
and
the
dilemma.
she wishes
height of
that letter:
to
avoid
Newland
cussing
dis-
are
their
great
absolutelynothing!
bring notoriety,scandal,
move
his hidden
followed
irrevocable.
like his
nothing
not
to
insoluble
taste, and
of
scenes
the
on
family"on
thingsfinaland
him
and
great
May."
"Good
The
the emotion,
and
the
be
an
be in bad
would
is the conventional
"I had
should
finds herself in
indicate
to
anything that
scene.
what
own
that would
from
lay
on
It seemed
to
wide
all the
the
Archer
to
gravestone; in
ever
with
them
from
weight of
be crushing
future
his heart.
head
from
utter
darkness.
he
He
his hands;
313
Such
nice
man.
have
been
does
He
Bradley in
matter
his love
demonstration
not
turn.
and
there
Madame
influence.
Giles
down
that?
might
know
while
And
startled, from
operativein her
bitterness and
have
defences,
would
darkness
withdrawn
it would
have
could
strange
him
broken
not
talk
tilingwas,
would
have
or,
them, and
been
madame
saw
have
have
with
his
been
as
madame
she
did
fallen back,
would
have
spread.Either
in
he
would
canker
discovered
as
under
strength?No;
but
against remorse;
have
to
her, his
from him,
have
before
ever,
her
dark.
from
her
hate
to
been
Owen's.
on
at
Owen,
*s radiance
the
life and
forgiven it would
he
it have
armed
up
Could
intent.
would
have
sittingthere
stared
he
Toppie. Toppie
dimmed,
would
lived, Owen's
wondered,
not
discussing
would
it true?
Vervier
been
Giles have
of that
"
He
been
as
and
to
seems
have
strong
"
his
on
bent
whiff
that
Hutchinson,
would
had
head
creator
her
have
Was
Toppie
English sentimentality.
affair with
effect,if he had
of
in
Vervier
what
because
of A. S. M.
is
would
book
the
Toppie
his
nor
"
Girl.1' He
she is.
perfectlyhorrid creature
the author givesa feminine
to the
turn
once
mental
sentiher hero. Or, to put it more
a
exactly,
Little French
Girl"
"The
was
published
reflections of
catch
are
than
More
for
of his
realize
to
seem
what
"
they
simply
conception of
nice woman's
cut
they
Or
Little French
"The
all,but
at
man
Without
merely
themselves.
But
true.
is Giles
reallya
not
is
be
to
adversaries.
such
over
character
much
not
good
too
victorious
them
to see
eager
have
her
yet
eaten;
radiance
Vervier
altered
about
heart.
Toppie.
Toppie's radiance,
that
he
But
The
felt
THE
314
TWENTIETH-CENTURY
NOVEL
that he
began
to
understand
Vervier.
Too
much
Toppie
the trouble
with
Sedgwick's
this was
doubtless partlyresponsible,
by way of
reaction,for the too much
of Lawrence's, Hemingtom-cat
way's,
Hecht's. Miss Sedgwick is an exquisiteartist within
her limits;but her limits were
what
Somevery narrowly drawn.
was
Miss
world; and
wider
effort
Mrs.
were
make
to
hampered by
them
Wharton's,
wider
and
than
the conventions
she
they
of her
world
neatlyordered
Lawrence
to
it would
observe
be
the
easier
for
of
world
like
one
some
the
was
was
occupying a
than
conventions
she
which
"
brave
But
were.
made
well-made
novel.
There
is one
point of
great merit
view
by
Mrs.
subjective
passages,
upon
James
in the
Wharton
in which
the character
kept
well within
calls for
and
muses
flects
re-
bounds.
extremely
In
extended
extended
than the pamore
passages of this sort, much
tience
of the average reader can
bear. But there is,I think,
no
is often a very
watering.The problem of the moment
subtle
one,
and
broodinglyso
as
the
author's
not
to
lose
imagination dwells
shade
one
of what
it
it
upon
to
means
lengths.
In Hugh
Walpole, for example, there are pages
the judiciousreader
pages of this sort of thing which
know
so
how
much
skip.One
trouble
which
to
is
soulfulness. In "The
probably
upon
will
the
same
Duchess
are
faint brush
of suffering
of Wrexe"
(1914),
largepart of the
nar-
HUGH
the
to
OLE
315
of Rachel,
thoughtsand feelings
Rand, and Dr. Christopher.And
Lizzie
Roddy,
these
W ALP
people have
very
has done
feel alike.
nice
The
them
to
grandmother,
the
in
vague
the
is
exercises
in
the
moral
knows
that
against her
her
Rachel's
sum
"
the
Beaminsters.
granddaughter
ideals, and
she
nasium
gym-
up in
in social life
mean
of
actions,
re-
languidly
so
tradition
all
more,
sentimental
favorite,the pagan
intention
their
way
Duchess
in
spirit,
going through
old, selfish,autocratic
rebellion
"Her
so
yet convulsivelytheir
which
is life!
Opposed
some
all
are
troubled
so
and
They
is
marries
is in
her
tacit
to
her
of
and
and
now
had
chosen
Beaminster
waited
the
time
Duchess
which
of Wrexe"
intended
were
is one
to
of the many
chronicle
the
novels
of
changing
the
presumably
eyes
shrouded
radical
some
by Walpole
in which
we
know
while
is undergoingbeneath
man
alteration, the
in
mist
of these
none
whole
matter
of transcendental
only that, in
some
is
ness,
vague-
mysteriousman-
ner,
the death
millennium
which
NOVEL
TWENTIETH-CENTURA
THE
3i6
of the Duchess
and
the
the approachof
signalizes
of
emergence
Ethical
Soul.
the
terms
meta(honestyand truth),physical
application
from Carlyle(shams,Real and Unreal),are
terms
the
all messed
from social theory(progress,
up with terms
new
Individualism, the end of a Period);and throughout
it is impliedthat the opposed terms
of an ethical dualism
the
somehow
are
to be assignedrespectively
to the old and
new
generation.The relief of Mafeking, with the riotous
syte
London
crowd, soberlyenough interpreted
by Soames Forin "In Chancery," is made
by Walpole's people the
occasion
for an orgy of confused
speculations.
named
There
is a speculative
Brim
citizen of the world
who
have
has
no
on
to
clear
no
has
curious
most
theory, he has
political-social
elusive moral theoryhaving to do
each
one
of
if
which,
conquer.
carries hidden
us
soul
our
This
is
is
to
Tiger in Walpole
from James's Beast
first
pearance
ap-
blance
genericresem-
In addition
picturesqueand
with a Tiger which
a
somewhere
live, we
the
not
occasional
Tragic Muse."
his
to
an
tations
putting strained interpre-
of
of "The
Nash
makes
must
or
sometime
face and
of the
last appearance
beast lineallydescended
mythical
in the Jungle and Blake's "tigerburning
brightin the forests of the night."
This
aginatio
Tiger belongs to a region of Mr. Walpole'simwhich
makes
him
rather skilful in creatingan
atmosphere of mystery and terror. He has done this quite
for example, in "Fortitude"
successfully,
(1913),in "The
Dark
"The
Forest (1916),and
Secret City" (1919)."The
Dark
Forest"
is
by Englishand
"
Russian
Red
Cross
War
workers
as
on
experienced
the
eastern
front.
Mr.
Walpole
in "Heart
has used
of Darkness"
somewhat
the method
of Conrad
(1902)for graduallyworking
up
HUGH
WALPOLE
317
enced
mysterious terrors, and he has obviously been influby Dostoevski in the psychology of his characters.
the moral
But
degradation of the ivory-hunterKurtz in
of shadowy
of Darkness," while so long a matter
"Heart
real and
itemized
guesses and intimations, is sufficiently
his
the shudders
the reader
is
to which
justify
the psychologyof Dostoevski, while
he
subjected.And
idly
keeps it obscure through long stretches of his story, is solreligiousphilosophy.
enough based in a coherent
to us, there is nothing in
Strangeas the Russians may seem
factitious and fantastic as these two
them
so
pairsof men
the end
in
Dark
in "The
dead
to
and
woman
racing each
the
impression that
who
one
other
case
to
Death
first arrives
under
in the
the
realm
of
the shades
so
of
Something
has been
(1922),which
the
fantastic
same
Walpole's famous
in Mr.
cathedral
with
the
so
often
quality attaches
novel
compared
on
to
to
the
that
subject
Ibanez's
novel
title.
same
It is this
way
air
situation
But
find themselves.
that
was,
the situations
enough
for the
Mr.
in definite outline,
in
no
situation
often
at
all."
baffling
definite
line.
out-
of
Walpole lacks, to be a proper disciple
James, is the imaginative precisionwhich is maintained
through all the windings and subtleties of thought,as well
as
James's freedom from the sentimental stress. If there
What
Mr.
was
softness latent in
certain
NOVEL
TWENTIETH-CENTURY
THE
318
James,
it
with
out
came
was
dominant
An
characterized.
Galsworthy, again,there
In
part, on
decline
on
"
of
influence
is thus
developments
taken
the
Forsyte who
Soames
privatehistorywith
But
are
the money
market, the
analysis,
risingtide of socialism,or psycho-
the
of mind,
an
more
of the world
state
vitamins, and
mainly
is
the
made
in the
press.
to
the
connect
world
is
It
large.
Galsworthy has
at
well.
Mont
as
recording the
is here no questionof undue
But
There
sentimental
stress.
the method
of subjectivedrama
has come
like a
to
seem
to
mechanical
trick
"
substitute
for whatever
It has
somehow
if it is
ever
to
it is that
to
gone
flower
some
The
century
the
it
more
must
for
some
well-made
of
tree
novel
was
that had
the
its
floweringin
roots
of
forward-lookingspirits
have
seemed
of them
to
suffer from
have been
seed,
again,
which
the twentieth
in the nineteenth.
the twentieth
too
much
concerned
greatly
is
"
To
century
not
form,
with form
"
OF
CRITIQUE
but
the theme,
theme,
and
it
did
the
on
The
ceased
primary
note
the soul
this is
of Flcda
soul
and
she
her
of Newland
Archer
wife, typicalof
his
typicalof
souls
the
is
threads
classical
is constituted
the
of
for
his mother
is constituted
of the
his
of souls.
ment
predicasoul
The
positionbetween
Ellen
Olenska,
know
of these
we
chemical
along
dramatic
ations.
situ-
call the
may
the novel. In the
we
clarification,simplification,
narrative
The
is in
play in the
spiritualpredicaments
of their
in intellectual
novel
in
terms,
of
terms
ideals.
(thatis,formalized, intellectualized)
definition
ideology,and
of
for
logicalfacultythat
is conducted
sentimental
bent
observe
The
Mona.
sharply defined
examples of what
formal conceptionof
spiritin the
spiritis a dominant
the
York, and
New
that
"
the
by
and
by
"
acter,
of the char-
character.
us
definition.And
"Lord
the soul
novel
of the story.This
remarkable
are
classical
women
the action
slender
in the soul
propositionreversed
narrow
the soul
was
well-made
largerliving.
Everythingthat
of some
like particles
crystallized
These
is
centered
loyaltyto
duct.
con-
of the story.
the action
against the
by
of
most
the
as
Vetch
in which
Gercth
quaint
problems
as
in the soul. It
was
was
determined
was
rather
men
new
conceived
defined by
was
justas important
action
the
of its
to
interest
the interest
that while
idealistic definition
to
of the reaction
the motives
exclusion
obviously on
directlyand
that determined
and
"
bear
not
characters
of the character
But
tightlittle plot,its
319
stiff.
and
story had
focused
its
seemed
have
must
NOVEL
WELL-MADE
its old-fashioned
and
prim
The
is
With
formalization.
everythingthat
of
THE
our
of the characters
a
in
terms
one.
highly simplified
time
who
have
written
of
And
"Women
Jim/' "Ulysses/'"Pilgrimage,""Mrs.
It
sentimental
the
men
and
in Love/'
Dalloway,"
XXVII
THE
FNE
of
the
of
the
well-made
the
"The
into
the
present
novelist
"Sister
of
in
if his
and
of
is,
part
of
genteel
of
good
against
least
prime
the
of
questions
against
against
They
dental.
is inci-
this
novel,
nature.
tional
conventinuous
con-
one
are
assumptions
taste.
society;
and
it offers
to
appear
three
air, in which
of
It
one
pitch
of
in
as
of
of
the
for
the
possible
standing.
to
bring
perfection.
321
These
"The
standpoint
Custom
reaches
fortune
This
certain
limits
the
unmistakably
in
established
to
vulgar
more
shown
are
the
confined
mainly
glimpses
generations'
it is
is
novel
from
humanity
where,
they
well-made
the
is what
survey
experience,
extreme
that
good
Country,"
at
human
sion
impres-
reaction
reaction
the
with
well-made
of the
American
give
constitute
novels
regarding
essentially
would
concerned
Wharton's,
"An
not
career
novel.
genteel
most
greatly
fundamentally
are
Edith
and
1900
does
pattern
protest
For
in
Dreiser
Mr.
author
an
conventional
ways
with
exponent
whose
Dreiser,
as
and
(1891),
main
Its
early
as
Streets"
(1896).
exactly contemporary
1925.
They
the
is Theodore
appearing
such;
as
the
is
being
Courage"
century
Carrie"
Tragedy"
form
of
of
been
movement
least
at
up
break-
has
This
century,
Girl
the
to
America,
in
realism.
nineteenth
a
leading
least
at
extreme
"Maggie,
Badge
DREISER
influences
novel,
the
Crane's
Red
in
of
toward
back
Stephen
REACTION:
strongest
movement
dates
as
REALIST
and
is
as
the
of
man
hu-
they
of
family
highly
sentiments
sentiments
of
are
rarefied
to
an
about
of
equallycompounded
the
Indeed,
NOVEL
TWENTIETH-CENTURY
THE
322
good
hardly to
are
qualities
two
conformity.
distinguished
ethical
and
taste
be
questionthe general
worth
in any society
sidering,
conprevalenceof these qualities
well as their absolute
as
validityas standards for
dence
societyin general,might in itself be construed as an eviof bad
and
taste
immorality on the part of the
questioner.
novel
This was
about the state of thingsin the American
Mr. Dreiser arrived to view life in the largerperspecwhen
tive
In order
of Balzac
and
the French
to
naturalists/
realize the extent
the genteel tradition prevailed,
to which
And
on
has but
one
to
read
to
Morris's
"The
Octopus," a
brave
Frank
This
(19031))
Pit"
realism
"The
in the
of contemporary
business methods, at least
involved
in the productionof wheat, its
as
treatment
much
as
was
distribution, and
Chicago
Board
and
in Dreiser's
the
trading in
of Trade.
it
floor of
the
on
this marked
And
at
attempt
distinct
the
novation
in-
conventional
patterns in human
which
reminds
Tree"
(anothernovel
"The
of Edith
one
Financier"
motivation
Wharton's
and
"The
behavior
Fruit
dealingwith business)more
and
"The
of the
than
of
Titan."
"jnthe
an
personalconduct.
social comedies
on
into
He
was
world
born
And
and
this
social
sentimental
of these
none
into it and
was
fixed standard
is
dramas
stage. But
narrow
in which
and
status
Mr.
to
suitable
Dreiser
thingswas
himself
plan
out
of
the
for duction
proborn
was
established.
part of it,as he
so
REALIST
THE
DREISER
REACTION:
323
what
he
on
saw
every
intimate
he knew
with
knowledge of personalparticipation,
like the jungle than like the world
more
was
a world
and Hugh Walpole.
of Edith
Wharton
and women
made
It was
starting
up of men
poor, vulgar,
but
far
so
as
they were
ignorant,emotionally starved,
for themselves
determined
to win
wealth, luxury,
strong
of love.
culture, social estimation, and the gratifications
that was
snobs
all the way
at
not
not
They were
they
Dreiser
they were
simply vital
appealed to Theodore
the
and
practical
"
"
"
"
forces
the
pushing forward
about
All
sun.
methods
The
their way forward.
were
before
of competitivebusiness, never
the
age-old methods
perhaps displayedon
of Dreiser's time:
grand a scale as in the America
work, organization,speculation,cooperation with
so
who
of those
abandonment
aid you,
can
who
tireless
those
cannot
serve
The
mental
graftand intimidation.
ment
equippolitical
stinct,
was
imagination,feline cunning, the gambling in-
you,
indomitable
those who
For
hindmost!
courage
and
.
won,
the
devil
the rewards
were
take
the
unlimited
and
choice
of
a
grand houses, picture galleries,
demanded
by the insatiable craving to gratifythe
power,
women,
ego. The
race
the
Meantime
way,
the strong.
to
was
weak
for much
were
the
were
in
striving,
prizes
same
with
doomed
"
their
conceived
own
with
fectual
inefless
less perseverance
and ruthenvious
to
mediocrity,and
the
women
in
"The
were
condemned
to
checkmate
in the ruthless
NOVEL
TWENTIETH-CENTURA
THE
of hearts
game
Roberta
in "An
in
"The
the conventional
adherence
her more
absolute
to
loyalty,
ness
standards
governing the married state, her relative weakwould
economically and biologically,
mostly get the
of it in this clash of egoisms.
worst
In his attitude toward
this jungle life of human
beings,
Mr. Dreiser is not a satirist.He has neither the genialirony
and brittle mockery of
of a Thackeray nor
the often smart
a
Sinclair
Lewis.
He
is in
deadly
earnest.
He
does
not
take
acters.
superiorityor set himself apart from his charHe does not regard them
or
as sinners.
as philistines
These
the sort he takes
people are, one feels,very much
himself to be, with the same
problems, ambitions, cravings,
they are winners or losers
discouragements.And whether
in sympathy with them,
in the struggle,
he is pretty closely
in
even
though, in his wider vision, he may see them
He
understands
and futility.
their littleness,helplessness,
the selfish urgenciesthat move
people to unsocial behavior,
and equally well the misery and ruin that so often follow
a
tone
in the
of
wake
of such
behavior,
most
often
for others
but
ing,
frequentlyalso for themselves. His tone is that of a broodobserver.
compassionate,philosophical
it is in
So far as there is a note
of criticism in his picture,
standards
reference
which
he regardsas
to judgments and
as he seems
to imply
conventional, artificial,and often
The
him
to impatience
one
hypocritical.
thing that moves
is the genteel assumption of the prevalence in societyof
and the easy relegationto
standards
which
do not prevail,
the background of selfish types of behavior
which
to
seem
him
well-nighuniversal. His great motivatingpassionas a
writer is simply to tell the truth. Or to put it the other
way round, his passionis to give the lie to the prevailing
idealistic assumptions of fiction of his day in English)In
American
"An
to be to picTragedy" his intention seems
"
"
ture
in
man
young
no
of nature,
to
outlines
left
his
the
of
action
natural
how
show
how, without
actions, and
itself upon
There
motivation.
exhaust
and
being
course
of crimes.
heinous
most
not
the
is
eral
gen-
plenty
again
psychology.Here
tion
aim
is not
to conventionalize, to simplifyin the direcbut merely to record
either of prettiness
or
meanness,
natural
facts of the case, without
tenuation^
exaggerationor exin
we
without
of
"The
Genius/'
when
Eugene
Witla
in the
York, leaving his Angela behind
told of the letters he writes her, in which,
New
to
gone
West,
details of
over
Thus
has
the
does
realism
(preiser's
to
325
criminal
commit
unusual,
way
DREISER
REACTION:
REALIST
THE
are
false
sion
impres-
were
this
The
serves
spectacleof
vast
plain
mere
to
clear
sicklywith
the
and
truthfulness
the
expressionwhich
air like
scent
of such
a
window
of withered
quiet observations
opened on a room
flowers.
later French
naturalists.
His
effort is
to
vision
THE
326
his work
is
NOVEL
TWENTIETH-CENTURA
stronglycolored
science, which
assumptions of nineteenth-century
were
strong
so
it may
have
been
literature,that Dreiser
behavior
general, or
term
as
"
chemical
and
of
against which
to
social
and
men
ideals
as
subjecting them
believed
in science
societywith
write
as
There
is
it will be
better
their
to
of
means
an
eventual
long
state.
truth.
in
I believe
It is
state
Frenchmen
from
only
be
can
would
He
cure.
in his
not
effect
early notes
series:
I believe
justice.
all in
above
the
society,
of these
abused
But
of
will
in the wholesome
libertyand
towards
urge
constraining
for
forgottenthat
diagnosingthe ills of
in the
better social
These
view
in mind
be
not
while
to
^11 had
most
must
moralist,but he believed
of his work
toward
as
The
aberrations
the
collective
the
to
the
behavior
ideal
salutary force
and
firmly in
very
all boldness
in
measure
had
writers
well-being and
social
distinguish
bert
Balzac, of Flau-
philosophy of
French
to
of Dreiser
certain
he
while
worth
scientism
crass
These
model
in
frequentlyrecurring
more
be
humanistic
Zola.
behavior
phenomenon.
the somewhat
decidedlymore
of
his
use
allowed, it would
between
mind
to
"
from
than
of animal
manifestation
one
even
If time
as
But
group.
man
dispositionto regard hu-
his
took
his
science, rather
from
direct
and
Zola
in
element
an
ministic
deter-
terminology and
the
by
we
a
knowledge
that
be led
may
constant
march
of virtue
that
to
produced.
born
into
ditional
tralong-established
order, extremely elastic, it is true, and subject
modification, but with little suggestionof the barbaric
chaos
of Mr.
Dreiser's
unformed
America.
And
it
was
possible
im-
for them
the forces of
were
to
REALIST
THE
REACTION:
there
strugglefor existence,
order
which
could
was
be
never
DREISER
a
327
social
contravened
radically
and
set
naught.
at
$Vhat
"
Dreiser.
It is
the brunt
borne
it is who
When
should
we
ask what
Mr.
it is first to
he,
and
the
from
Dreiser
be
odium
have
turn
than
more
the consideration
of
he
praise.)
has done
noted
has
course
of substance
as
form,
art
an
and
least the
at
expressionto his thought, he has met
minimum
requirements of shaping art. And then it must
that he has made
be added
tion
no
specific
originalcontributhe most
to novelistic
technique,and is not among
nice points of craftsit comes
to
skilful of novelists when
manship.
His
are
and
No
books
documented
even
our
solidlybuilt
in
could
the
have
politicsmore
interest.
unflagging
around
more
gone
into
manages
idea.
of his admired
colossal
the
thoroughly
He
central
worthy
manner
suggestiveof
novelist
and
are
structures
Balzac
of Zola.
operationsof
and
to
They
ness
busi-
still maintained
make
us
appreciate
TECHNIQUE
we
know
all about
becomes
ipso facto
he overloads
3*9
the
the
an
possessionof
text
explained
author
has
the
reader.
ingly
Accord-
details,important enough
with
be
interestingenough if only they might somehow
assimilated
to the imaginativefabric of the story.
Again, he does not know how to get from one moment
in his story to a later moment
without
givingan extensive
of what
was
going on in the interval. In "The
summary
Titan*' and
"The
Genius"
chapter after chapter is given
ing
there is nothup to such perfunctorysummaries, in which
and
to
sustain
us
but
the
that
memory
there
have
been
thought
see." He
point of
before
and
us
very little of his artistic obligation to "make
is entirelyinnocent
of any intention
concerning
view.
He
keeps himself,
out
on
needs
explainingmust
be
it comes
into his head, without
explained at the moment
effect
intimate
it will spoilan
not
or
regard to whether
for the imagination or the feeling.
That
is,his approach
is almost exclusively
intellectual. He has so much
to his art
matter
the
to
deliver
reader's
from
his mind
to
the reader's
mind.
For
keeping with
his indifference
has no
to the scenical, he
conception of
what
in the way of imaginativecoma chapter may
mean
position
of subject-matter.
His chaptersare
chronological
Zola's
rag-bagsrather than the imaginative units which
chapters,for example, are.
His handling of dialogueis typical
of his want
of concern
for the niceties of writing.Dialogue is one
way of enlivenimagination he
has
no
care.
In
he
and
ing exposition,
of serious writers. Of
confrontation
NOVEL
TWENTIETH-CENTURA
THE
330
there
course
strugglein
and
the average
it with
uses
of dramatic
moments
are
it would
which
frequency
be
is
practically
markable
nothing re-
As
avoid
the
are
of
interest because
extreme
of
which
the passionate
informs
intelligence
largespirit,
in detail,
them. His writingdoes not bear too close inspection
the
because
intention.
has
he
not
His
people are
believe
we
Intellectually
in them.
We
want
approached it
like historical
true
in them.
to
with
know
We
how
are
an
esthetic
personages.
interested
certainly
their stories
come
built
As
up. There
in his books
are
no
belles
pages, no
chanting
en-
no
Maupassant,Hudson,
Thomas
Mann.
REALIST
THE
all
For
of
one
well-made
the
antiquate
is
he
that,
REACTION:
DREISER
the
what
he
has
to
forces
strongest
and
novel
.
331
that
tending
to
because
of
say.
^Dreiser
shows
is
no
of
forward.
straight
in
them.
In
classical
He
literal,
tells
of
matter-of-fact,
his
with
books
and
the
figure.)
they
there
is
between
action,
new
no
men,
the
do
story,
in
much
and
lives
what
generation
ing
mov-
of
his
ple
peo-
happens
psychopathic
motive
chology
psymore
"
extravert,
The
the
to
simple
Hardy
things."
what
inventions.
interested
more
Like
Hardy.
He
dimension
fourth
scarcely
"substantial
up
thought
Compared
is
of
made
are
is
and
"
world
is
modernists.
experiments
realism.
plain
the
men,
add
to
than
he
Hardy
than
new
technical
He
such
as
the
attempt
dimensions
three
in
interest
no
makes
He
unlike
very
to
divorce
and
of
tween
be-
behavior.
Joyce,
he
is
XXVIII
MODERNISTS
THE
W,
HEN
who
Conrad,
James
Conrad
content
as
with
did
the
ready-made
of
fiction.
of
figure
the
of
the
and
of
her
Joyce,
broad
whom
contrast
to
these
together
call
as
school
the
of
to
who
in
in
came
ing
characteriz-
possible
those
gard
re-
these
anticipation,
with
writers
transitional
are
consider
in
But
nique
tech-
radical
so
those
it is
James,
writers
to
brief
in
on
was
expressionists.
whole,
she
tion
fic-
to
convenient
most
from
apart
solitary
wrestling
and,
These
convenient
most
and
together
be
though
is
the
stumbled
subject.
he
stiff machine
the
art,
as
And
painter, brought
it will
was
together
story
account
pictorial
elusive
It
into
He
day.
a
For
begun.
character.
up
psychology,
such
as
modernists
the
of
sex
methods.
writers
with
being
Richardson,
Dorothy
three
of
that
to
transitional;
take
subtleties
mysteries
suited
some
who,
putting
limber
to
must
we
Lawrence,
some
with
then
his
of
interpreting
else
one
any
And
of
ways
had
Dreiser
of
ways
fore
be-
eighteen-nineties,
the
before
ready-made
than
in
with
start
must
we
men,
experimentalist
great
with
new
and
through
was
more
the
writing
began
was
ill
of
speak
we
to
in
and
lump
followed
who
them.
The
new
men
Modern
something
single
is
not
which
dramatic
something
definition.
The
does
psychology
be
can
action
to
soul
be
affected
naturally
are
with
in
caught
is
not
that
33*
net
simple
new
neat
entity
as
of
terms
simplified
of
chology.
psysoul
the
in
rendered
highly
the
the
conceive
not
adequately
by
issue.
It
intellectual
offered
to
us
MODERNISTS
THE
in
of fiction. It is a
works
most
fluid,or
vast
even
vaporous,
the feeble village
lightsof
wide-spreadingfar beyond
conventional
our
reading of character, deep-sounding into
animal
and
nervous
our
organization,into childhood,
and down
far beyond thought,beyond
It runs
out
heredity.
mass,
memory
and
consciousness.
but
varying and
grouped
about
the
For
and
often
spontaneous
water-soaked
logs
and
no
that
in the
at
identities
many
with one
war
other,
an-
one
another's
and
istence.
ex-
kind
taneous
instan-
so
become
never
we
depths
of undreamed-of
of
unaware
of sensations
welter
wood
drift-
all kinds
and
and
huge
and
identitybut
one
part it is
most
dreaming
not
centers
many
indifferent
or
of
soul is
The
monsters.
of debris
is mud,
starfish and
and
octopuses
are
the bottom
At
below.
geneous,
homo-
and
of tinctures
great diversity
sorts
floatingon
lurkingfar
all
are
uniform
not
full of
There
infusions.
and
It is
conscious
as
aspects the soul is not individualized
many
tality
jet of the vibelonging to this or that ego, but is a mere
social group. Our
to our
common
race
or
sex
or
sciousness,
con-
In
of them.
is
which
for
small
part of
or
coherentlyexcept
logically
certain periodsunder
the pressure
need.
ideas
the
For
freakish
so
certain
at
of
part it follows
that
though natural
most
"
"
soul, does
our
some
an
we
not
proceed
and
times
urgent
tical
pracassociation of
chart
cannot
interest.
future,
and
near
rational
mind
Each
organism;
but
nervous
souls
have
that
for
instruments
conduct.
soul
is
has
devised
these
controllingmaterial
soul
is attached
through
to
an
conventions,
things and
individual
and
our
these
guiding
physical
finite
imagination,through the inconnections
between
organism and organism,
A
largecapacityfor interpenetration.
large
the
TWENTIETH-CENTURA
THE
334
NOVEL
be
group
the
and
more
"soul"
term
writers
are
much
as
in
the
and
awkward
more
phenomena
"psyche," which is
to cover
We
The
lightof
the
reactions.
and
In short, it becomes
to use
regarded in
not
queer
question.
quite so
connotations.
concerned
the old
as
ones
the
And
personality.
that go to make
up human
have felt the need to break
the
writers
new
patterns.
up these conventional
technical devices, aiew
procedures,
is
freakish
which
with
not
at
determined
are
issue
made
it
seems,
of
principles
form
freakish
so
have
neither
them
as
perhaps not
are
not
those
novel.
traditional
So
from
the
particular
speak,
may
we
rigid form favored by their predecessors,
of their tendency to deformalization.
provisionally,
versity
of uniformity and
Instead
simplicity,
they tend to diand complexity.In this respect they show
a superficial
resemblance
to
their abundance
the
spiritand
the
new
men
and
the
earlier Victorian
colorful
technique and
are
so
different
novelists, with
And
varietyof
material.
dominant
of
preoccupations
from
those
yet
of the Victorians
THE
that
no
would
one
different
335
comparing
around
the
limited
issue, they
in many
directions.
of
They
schools.
two
eccentric
an
of
dream
of concentration
Instead
show
MODERNISTS
series of events,
one
of consciousness,
center
one
them
too
to
like
un-
accidental
terrupt
in-
circumstance.
sense
abrupt passingfrom
tendency to
by
an
of characters,
one
group
another.
about
neatly
they don't particularlycare
finishingoff a given action, following it through to the
As the eye, from
line of spaced dots
fall of the curtain.
a
is not
and
there
dashes, has the facultyof supplying what
the imaginaand tracingan uninterruptedline, they know
tion
has the facultyof filling
up the gaps in an action presented
in fragments,of gettingthe impressionof an
entire
life from
a
mere
hinting indication of the high moments.
and
Again, they feel that the imagination is stimulated
rendered
active, is actuallyexhilarated, by broken
more
stimulated
bits of information, as the nerves
are
by the
Moreover,
discontinuityof
of
Want
a
sense
is
not
electric
an
continuity,yes
by
ot
is here
used
qualityof
like that of
Instead
in the
sense
in which
well-constructed
of
sort
progress. This
is constituted
but
by
kind
The
of
rhythm,
rhythm
by repetition,
lyricalagitation
word
"rhythm"
the
especially
pictures,
abstract
post-impressionistic.
effect,these men
go in for something
called
are
of dramatic
like
lyricism.
They show a tendency
sentimental.
logical,
more
of
of
not
of consciousness.
stream
paintingswhich
verse,
of themes,
recurrence
the
but
"
of wave-like
of movement,
metrical
current.
the
senses
"
on
mere
to
throw
overboard
They relymore
succession
of
lectual,
intel-
terms
on
impressions
sensations
"
for
XXIX
IMPRESSIONISM:
been
HAVE
of
taken
never
the
any
am
Long
Hueffer,
the
absolute
antithesis
ago,
living
The
words
how
us
of
who
to
their
and
ingenious
the
upon
Edward
Garnett,
and
fiction
difficult
for
for
his
Garnett
and
for
his
own
is obvious
was
several
my
reply
had
On
instances
technique
in
that, while
forever
trying
the
of
337
it
new
Mr.
to
the
on
also
was
page,
one
technique
subject
Conrad's
work
Conrad
out
about
formulated
same
the
According
the
most
procedures
written
that
never
the
the
time,
technical
that
mind
re-
hierarchy
was
his
never
declared
he
practice.
gives
rules, he
that
occupation
pre-
they
the
in
theorized
I had
he
"
with
It
brains,
and
of
novelist.
why
and
Conrad
of
variety
"never
me
imity
proxMadox
artistic
belongs
of the
Conrad
together.
al-
James
Ford
Mr.
Wells,
G.
writers.
problem
side
out-
am
Mr.
immense
experimenter
receiving
my
H.
Conrad
greatest
asking
on
...
of
the
journalist."
Mr.
deliberate
and
brought
bear
of
unmistakably
conscious
restless
those
are
have
"
writers
of
and
Conrad,
by calling myself
write
to
conversational
close
under
from
so
deliberate
and
in
or
writing.
conscious
escaped
lapse
about
pains
James, Joseph
Henry
to
profitable
incidental
great
of
and
amusing
an
very
hierarchy
I
Joyce
for
save
"
it
ber
num-
pampered
and
haphazard
of
discussion
the
in
been
I have
found
I have
and
stories
interested
keenly
questions,
prophet,
CONRAD
was
too
art
too
cult
diffi-
any
rules
however,
Mr.
extreme
cupation
preoc-
of others.
never
formulated
methods,
hitting
any
upon
this
that
or
procedure, it
new
than
chosen
from
art
with
may
forever
method,
neat
have
seemed
vast
and
and
still more
elusive
him
to
novelist
My
famous
most
own
is given in the
task which
written
word
to
all,to make
see.
you
If I succeed, you
ask. To
to
snatch
the
faith is to hold
up
through
its movement,
of its truth"
There
The
It is to show
passionwithin
is
to
to
have
the
the
concerned
intentions
Nigger
to
as
cissus":
of the Nar-
it is
and
more,
according to
your
all you
for which
everything.
deserts:
demand"
you
have
couragement,
en-
and,
ten
forgot-
task
of each
core
this credo.
written
inspiringsecret:
convincingmoment.
serious
no
Wells, who
excitement, this
"
no
truth
disclose its
probably
it be Mr.
net
task.
in
of time,
rush
of
glimpse of
that
his
"The
perhaps,also
too
achieve
find there
shall
of
prefaceto
you hear,
and
That"
make
Life
than
rather
most
are
account
trying to
am
its crystalline
too
be
to
creature
the
with
complex, much
caught in any such
much
out
look-
of logicand
simplicity
must
man
the
on
be content
his temperament
he could never
little formula
of the well-made
novel, with
Given
could
of
instinct
the
was
new
some
it
but
by deliberation;
profoundly concerned
for
NOVEL
TWENTIETH-CENTURY
THE
338
could
But
accent
novelist of the
not
there
these words.
of almost
the
have
is
none
There
stress
and
time,
less
un-
subscribed
but
is none
Conrad
heartedly
wholethat
emotion.
hysterical
There
"TO
is
for whom
none
YOU
MAKE
the
art
of
SEE"
339
writing was
difficult,
more
it.
that he hated
asserts
agonizing;Mr. Ford even
the sea." Of
than he hated
"Conrad
hated
writing more
all English writers of his time
bent double
so
none
was
under
the weight of what Mr. Wells calls "their immense
more
artistic
preoccupations."
This
Conrad
be partlybecause
was
writing in a
may
foreignlanguage,one he had learned to speaksince he came
he was
to man's
estate, in which
perpetuallyliable to little
slipsin idiom, and which he pronounced so badly so
hard to unthat it was
derstand
frequentlymisplacing the accent
"
"
him
Still
own
by
when
his
more
friends
like
hidden
aloud.
as
subject-matter,
interesting
have
must
account,
he read
Galsworthy
and
rivers in Borneo,
their
lost
difficulties not
created
kingdoms,
Bennett.
it
was
its
on
encountered
This
exotic
ter,
mat-
Malay princesseeking to
the
savage
of
secrets
sea
cover
re-
and
"
"
"
strange and
It is not
that
of
fantastic.
of romance,
merely that he used the subject-matter
he occupied and immensely enlargedthe realm
to
Kipling.He was not content
of chivalry,
work
the traditional motives
bravado,
fealty,
Life was
and revenge.
notonous.
not
so
simple as that, nor so moHis grotesque imagination fills his pages with
and vermin:
monsters
Willems, Jones, Kurtz, Schomberg,
Pedro, Ricardo, Ortega,Scevola. He loves to trace the slimy
involutions
of morbid
And
when
it comes
to
psychology.
in a cloud
his heroes, he loves to envelop them
of Slavic
mysticism.
Cooper, Stevenson,
Conrad
resented
and
Mencken's
stress
upon
he
and
for
especially
near
as
in Dostoevski
Lord
Jim, a
"Under
Western
Heyst?
from
drawn
Dostoevski
to
et
we
come
so
psychologyof
in Dostoevski
but
series of titles
is that
gentilhomme."
We
of the same
real person
himself
well have described
a
person may
But it is at least
the
of Gold,"
Arrow
in "The
by Blunt
cain, cathohque
assumed
to
where
And
do
where
Russians,
resemblances
minor
But
the Russians
and
Baron
get the
did Conrad
of
Dostoevski.
for the
dislike
expressinghis
tired of
never
NOVEL
TWENTIETH-CENTURA
THE
340
know
that
and
name,
in
Blunt
is
the real
justthese
terms.
coincidence
that Kirillov in "The
striking
should
have
Possessed"
signed himself, also in French,
seminariste
monde
et citoyen du
russe
"Gentilhomme,
a
civilise."
Of
hated
Conrad
course
grounds, and
political
He
man.
and
wanted
to
Europe
and
be
Russians
on
patriotic,
he was
a decidedlypolitical-minded
identified, himself, with "Europe,"
on
classification of Poland
true
with
not
the
Slavic
and
Asiatic
the
he may have disliked in Dostoevski
of his "mysticism."And
then, is
cast
with
was
Russia.
Again,
specifically
religious
it not
possiblethat
he
was
make
to
affected
is that
Conrad
was
much
concerned
with
twists
"
"
see.
Now,
the
most
obvious
means
of
making
the reader
see
THE
is simply the
of
use
STYLE
ORIENTAL
fer),who
novels, and
Both
with
collaborated
that
and
Ford
and
at
Conrad
when
in the
in Conrad's
career.
passant
of Mau-
devotees
in the
stories
would
one
hardly
we
enthusiastic
were
most
Ford
Madox
him
Flaubert, whose
originalthat
have, what
we
critical time
most
that Conrad
And
adequate words.
341
well-
ideal
of
ecriture
artiste,with
perfect"rise
the
fall."
and
clined,
being inhis writingtrop charge.This
Ford thought,to make
in Conrad,
and he begged
was
one
thing Wells admired
collaborate
with him
for fear he should
Ford not
to
spoil
his magnificent "Oriental
style."
Oriental
Conrad's
styleis one of the features for which
in
he is most
admired.
and over
But over
again,especially
Their
notions
of
stylewere
he
Englishman.
many
tried
of
them
blame
de
would
words.
all. And
the
"
of these
for
that
French
into
the
the
or
dozen
spiritof
tendency to use
for the mot
juste
critical
Conrad
will
and
was
not
too
did
much
not
the
under
of his
quality.This
is
too
warm
upon
man's
to
be
spell
transplanting
not
turbulent
the
consider
sufficiently
always stand
English.
the defect
"Tentation
is
stead
then, in-
which
matter-of-fact
and
must
one
scene,
words, and
of "Salammbo"
rhythms
more
the
if in his search
as
rhythms, and
sonorous
the
Flaubert
Antoine."
on
often
had
four
or
came
profitedby
Conrad
keeping the
Saint
But
three
out
Ford
have
It is
identical, Conrad
not
confined
emotion
within
the
dry
broods
stir he
NOVEL
TWENTIETH-CENTURA
THE
34*
to
upon
more
the
vast
critical artist.
It is notable, however,
resorted
frequently
to
that Conrad's
eloquenceis
most
he had
structural and
"making us see" more
of his later
less dependent on
mere
style.In the course
writinghe found a considerable varietyof such devices for
bringingthe subjectinto focus. To begin with, there are
the various techniquesfor identifying
the author
(and so
the reader)with the principal
feel his
actor, making him
puttinghim at the
suspense, his curiosities,his irritations,
and morally/as
the character.
same
point of view, physically
This
method
in a good
to Conrad
came
very natural
of his stories which
than transcripts
are
hardly more
many
of his personal experience."The
Shadow-Line"
(1917),
for example,is a first-person
with only insignificant
account,
variations from
from
fact, of Conrad's
Bangkok to
voyage
Singapore in the bark Otago, his first command.
thingis true of tales like "Youth"
Something of the same
and "Heart
of Darkness"
in these
(1902),although Conrad
for his stories. Expericases
provideda specialframework
ences
which
his own
almost literally
exact
were
out
throughin "Youth," somewhat
worked
more
lighted
highup and
in "Heart
of Darkness"
he attributes to a Captain
Marlow.
has the captainnarrate
his adventures
He
The
author
describes the place
orallyto a group of men.
hit upon
devices
for
"
"
and
conditions
under
a sort
furnishing
are
provided in
which
goes far
to
effect. Moreover,
which
the stories
were
told, thus
so
they
tone,
of
givethem artistic unityand precision
of mouth
their being told by word
to a
''HEART
DARKNESS"
OF
343
sarily
sympatheticbut matter-of-fact listeners, necesentalism,
affects the style,
somewhat
chasteningConrad's Orimaking it seem, so far as it lingersstill,a peculiari
and altogether
of Captain Marlow's
temperament,
the verisimilitude
a most
contributingto the plausibility,
importantconsideration in the art of making us "see."
of
group
"
of
"Heart
Darkness"
than
achievement
is
"Youth,"
much
creative
the
imagination.It was
head-waters of the Congo
of the
and
geographical
country. Many
Falls. But
what
based
and
one
Marlow
difficult artistic
more
of
more
effort of the
an
Conrad's
on
his
voyage
to
personalimpressions
of that exploited
social conditions
of the characters
suggestedby
was
much
taken
were
from
life. Kurtz
of Kurtz
and
at
his way
Stanley
of doing
is
The
with
pan
blackness
and
mystery
of his character
tone
in
develop
ble
development is conducted cumulativelyby insensiitems,
degrees,by carefullycalculated releases of new
This
new
intimations; and
the consciousness
of Marlow.
Thus
we
have
through
triumph of
"THE
ARROW
nary
Gold"
end,
as
meant
If
in his
notes
of
Monsieur
woman,
at
beginning and
the
George himself,
friend
childhood
statements
and
of his.
and
his friends
to
of the
events
George
of
Arrow
Sea,0
drawn
In
this
from
case
and
"The
autobiographical"Mirror
characters
Monsieur
life and
in
Conrad's
believe
to
account
the main
one
345
his narrative.
MS.
upon
for die eye of
are
we
his
based
GOLD"
OF
MS.
used
for
and
vividness
four
the
than
more
one
verisimilitude.
in the interest of
purpose
Of
the five parts, the first
patron
generous
himself
of the
Carlist
of the American
Rita, and
to
It is
the
growth
in
marvel
the
(Monsieur George
is
appetiteas
adventurer
tions
Blunt, his rela-
of
infatuation
George's
for
of
working up curiosity,
atmosphere through the judiciousrelease of
suspense, and
items of information, each
The
cause.
the character
Rita.
of the
much
as
one
art
of which
whets
the reader's
it satisfies it.
longerthan
Here
Conrad
which
art
NOVEL
TWENTIETH-CENTURY
THE
346
used
has
It consists in
with
great
a
particularmoment
sharp isolation, in which it stands out, in its physicaland
illumination
moral
features, in lightning-like
against a
fine
are
background of midnight obscurity.There
many
examples in "Lord Jim" and in "Victory."
Quite remarkable in this kind is the physicallimitation
of "Chance"
of view in the climax scene
cident
(1913).It is by acthat Powell, the ship'sofficer,finds himself looking
through the transparent glassof Captain Anthony's cabin
he
It is only a certain portion of the cabin which
window.
his books.
this includes
see, but
can
other
of the curtain
He
He
it. It looked
down
to
curtain
the
and
one
no
the
curtain
curtains
he
shuts
Powell.
nothing
itself and
this aroused
definite
in
observed
ready to put
was
it
trembling movements
Somebody else besides
joined. Yes!
watching Captain Anthony. He owns
his indignation.
It was
reallytoo
been
off his
peculiarstirring
apprehensionsqf
suspiciousof
was
which
arouses
two
himself had
that
thick
justas
very innocent. Then
trick of imagination he saw
the
where
the
with
suspicious,
became
his mind.
giving to
of
in many
success
artlessly
much
of
hand
was
arm
in
extended
weird
and
grey
into view,
came
into
projecting
looking at
the
it with
a
unaccountable
short, puffy,old
lamplight,followed
coat-sleeve,up
tremblinglytowards
to
the
the
fantastic and
by
repulsion
freckledhand
white
wrist, an
was
"CLOSE-UP"
THE
tains, could
been
for
indulge
the
moment
347
that
notion
he
had
dreaming.
I have
but
given but
will also
the careful
note
It is only
of
us
small
by
of tempo
degreesthat the weird hand
are
revealed.
the
"slow-up"
control
whole
The
and
the
in this
tion.
narra-
its movements
and
reminds
technical
process
"close-up"which
are
such
climax
have
This
scenes
also the
of "The
Arrow
advantage
situation
of
of Gold."
being
very
And
these
scenes
greatly prolonged.
"
this
one
"
to
think
the whole
that his
book.
imaginationfar
But, however
outran
that may
the facts
be, it was
through
the writer
NOVEL
TWENTIETH-CENTURA
THE
348
of
made
scene
make
us
little used
and
with
"An
to
of
rather
"
too
is
means
It is
very
as
if it
"Almayer's Folly"(1895)
Islands"
(1896) are certainly
written, trop charge, if I am
learned.
not
Outcast
"written"
leadingcharacter
in
Conrad
by
trick he had
the
see.
Indentification
were
to
the
well
trust
taste.
my
have
been
able
jungle-borderedstream,
of the
shady,infinitely
complicatedpolitics
and
with
of Borneo,
with
the
No
and
up
traders who
this
lover of Conrad
amazing
white
the few
to
Their
afford
can
to
miss these
native
lays.
Ma-
glamorous
narratives.
ner
regard them as over-successful in the manof the telling.
As for the techniqueof identification,this
would
be very difficult to apply in any great degree to such
material. Thus
in "Almayer's Folly,"the leadingcharacter
is Almayer, and
than any other, his point of
it is, more
view which
is given.But it is hard indeed for us to identify
and shoddy a
ourselves
all continuously with so weak
at
soul. And
then the exigenciesof the story seem
to require
But
that
cannot
should
we
thoughts of
who
others:
and
his
him
daughter Nina,
for the
the
doings
Dutch
and
officers
cians
great varietyof native politiMarools, Mahmat,
lovers, Babalatchi, Dain
to
come
constantly leave
Taminah.
The
third of Conrad's
Nigger
of the
Narcissus"
novels
was
tended
to
be
short
name
same
togetherwith
method
for
from
very
Bombay
to
other
sea
several
little use
of the
the
into
story
to
seems
riences
expea
ship
London,
voyages.
autobiographical
of effect,and
givingsingleness
himself
of
349
actual
upon
second
mate
on
servingas
voyage
suggestionsfrom
makes
Conrad
But
in
NARCISSUS"
THE
story. It is based
while
of Conrad
of the
OF
NIGGER
"THE
the introduction
have
been
an
thought.
after-
exercise
in
stumbled
methods
upon
the mere
power
to
The
be
to
the
which
of which
course
might
come
in
only
as
he
ment
supple-
of words.
whether
told
in
the
first
or
the
matter-of-fact, with
third
It is very
peison.
occasion
for niceties of
virtuallyno
and
no
feelingfor the need
psychologicalinterpretation,
in the representation
of the ship,the sea,
of pictorial
art
the
or
seamen.
Conrad's
of the illness of
It is
an
and
account
the
negro
of all this.
sailor,James Wait,
imaginationsand
emotions
of his
over
such
it is not
simpleas
so
many
pages
Conrad
the book
are
is,of
from
men
NOVEL
TWENTIETH-CENTURA
THE
350
in
I have
made
and a good
subtletyand sophistication,
given,firstand last,to
course,
die outside
is made
up of
as
much
as
from
its elucidation.
concerned
to
the inside. A
portray these
large part of
of brilliant word-
rapidsuccession
and
the officers and
James
pictures,
presentingthe men
Wait; singlyand in groups; in the forecastle and on deck,
as
forward, amidships,and on the poop. They are shown
in their own
to themselves
they seemed
thoughts,as they
seemed
to an
to one
another, or as they would
seem
nary
imagiobserver; the men
as
they appeared to the officers and
have individual
the officersas theyappearedto the men.
We
of what
and we
went
have generalized
on
accounts
scenes,
on
over
long periods of time. We have set Conversations
babels of sailors5
and we
have typical
particular
subjects,
voices shouting fragments of speech on
every conceivable
And
in addition to all this we
have frequentdescriptions
topic.
of the ship,in the manner
of Masefield:
counts
generalacthe sea
of ship'sbusiness, picturesof the ship on
of
it would
have appeared to a distant observer, pictures
as
the sea as it appeared from the ship,and many
particular
picturesof parts of the ship as seen from other parts on
board.
The
And
entire book
occupieswell
under
two
hundred
pages.
within
ject
this brief span Conrad
has presentedhis subin every manner
known
to narrative
art, from
every
conceivable angle of vision, from every conceivable point
of view,
and psychological.
His subjectis the Narcissus
physical
and everythingabout that boat during a six months'
he seems
voyage. And
of "puttingacross"
to
that
have
started
out
with
the intention
magic of the
subjectby the mere
written word. The
in evidence
Oriental styleis very much
tion.
meditaor
throughout,whether in description,
psychology,
NIGGER
"THE
OF
NARCISSUS"
THE
351
sea
reprievedby its disdainful mercy, the immortal
of desired unrest.
confers in its justicethe full privilege
of its grace they are not permitted
wisdom
Through the perfect
On
men
meditate
to
at
ease
acrid
complicatedand
of
savour
without
existence.
must
eternal
They
pitythat
commands
sunrise
to
sunset,
the
upon
from
sunset
to
sion
succes-
of
nights and days tainted by the obstinate clamor
at
an
sages, demanding bliss and
empty heaven, is redeemed
fear
last by the vast silence of pain and labour, by the dumb
and the dumb
and enduring.
of men
obscure, forgetful,
courage
of
Conrad's
But
instinct
for
no
Then
a
theory.He
manner
36, and
suddenly,on
page
the third
shift from
crew
of the
to
crew
between
sentences,
"them"
but
It would
is a
there
person
the
constant
and
the writer.
of
the first on
one
page
and
between
which
crew
and
first person
pages, and then
rest
of the book
the
objectivethird
impliesparticipation
by
is a shift from
back
the
"us."
The
steadilythrough ten
third. And
throughout the
alternation
and
"we"
pretty
to
there
no
are
to
his
of the attitude
we
began
long space
suggestionat
a
on
is
his
outran
againon
vividly
say that the most
may
the writer identifies
those in which
Generally speaking,we
realized passages
himself
use
But
with
the
are
with
(or possibly
the
officers)
by the
of the first person. It is clear that,however
rad
blindlyConhave started out in the objective
stinct
his inmanner,
may
led him inevitably
to the techniqueof identification.
there
is
no
crew
indication
of the story
MULTIPLE
POINT
VIEW
OF
353
character, however
one
rigorouslyto that of some
of music, where
And
as for the magic suggestiveness
gifted.
view
shall
find
one
in such
Conrad
And
then,
nature
elusiveness.
fit
to
compete
with
of
human
evocations?
Conrad's
moreover,
which
one
was
fictitious character
No
made
conception
angle
it in its completeness.The
problem, for any situation or
graph.
any character, is to find the perfectfocus for one's photothere is no
But
must
one
perfectfocus, and one
constantlyexperiment,constantlyseek for a better and a
in the end, in order
And
better position.
to give even
an
must
approximately just conception of the subject,one
draw
together all these hasty sketches into one
composite
in
main
"An
the
Thus
of
the
Islands"
ject
subOutcast
picture.
one
is Willems.
But
the truth
about
Willems
is all bound
to
shed
the
"
This
and
he had
person
also used in "Heart
of "Lord
created
in the short
before
of Darkness"
Jim" (1900)."Lord
Jim"
was
story "Youth,"
the
intended
completion
to
be like-
TWENTIETH-CENTURY
THE
354
short
wise
story, but
The
was
of
mate
in Eastern
home
training,and
and
of those
one
ports, then
in
later
chaptersare
his childhood
to
return
chief
his voyage
as
Ocean
up to the time of
sketch
in the Indian
the Patna
on
first three
omniscience.
third-person
Jim in the days when he
of
water-clerk
of
the
without
apparentlybegun
was
introducing Marlow.
told in the ordinary manner
They give a general account
idea
NOVEL
Chapter IV,
attending
is introduced
Marlow
the
trial of
and
Jim
his
fellow-officers for
on
to
lated
re-
Marlow
by
The
dinner.
to
in
of relaxation
moments
read
of documents
form
friends
under
his London
one
livingin
who
one
lettingus
whole
knew
know
of the
Lord
Jim
the^documents
one
events
of them
while
story therefore
and
about
the truth
writer. By
professional
Jim
Oriental
was
far the
was
to
him, but
who
the
styleand
in
not
was
largestportion comes
most
us
deeply interested
in the form
his pen but from
his mouth,
of
the after-dinner
told aloud
over
cigars.And this
the
are
letter,
comes
from
has
one
Patusan.
Virtually the
from
of the later
long narrative
later, in the
reading-lamp,by
auditors. But
of the party of Marlow's
mainly written in the hand of Marlow,
and
after
not
a
story
at
tone.
once
The
narrative, givesplace
the manner
of one
largelyto a natural, anecdotal manner,
speaking with authorityof thingsof which he knows, and
in such a strange story
for plausibility,
ing
strivstriving
yet
his audience
his point of
to convert
to sympathy with
the character
of his hero,
view, arguing with them
over
producing evidence for his knowledge of this or that episode.
All this givesto the narrative an amazing air of authenticity;
in
that extraordinaryfeat of
a class with
puts it
"
Defoe's
But
"
in "The
this is
does
for
MARLOW
"Lord
This
Jim."
355
character
more
Dona
Lingard, or
JIM"
of the
creation
sneer
"LORD
IN
realized than
any
characters.
of all Conrad's
and
subtle, paradoxical,obscure,
is
motivation
His
of
matter
"
another, from
to
to
of
his honor
back
fleetingintuitions
him.
At
time
the
Jim
sent
cannot
of
name
knowledge.
charge
faced
I did
his
of the
the doubt
crisis,whether
the
low
test.
"I did
wishes
the
trial, and
most
Patna
their
not
him
of
him
home
it seemed
bound
was
to
him
to
to
even
me
in the
inseparable part of
about
more
myself."
much
so
motivated,
and
his
our
interest
in
they
so
French
lieutenant
Jim's desertion.
would
was
much
devoutly to
that
in
really
back
not
distinctly"
have
Jim
in
strong enough
more
believe
should
who
about
in
all
similar
to
stand
myself."Mar-
Jim,
maintain
took
have
They
acted
friended
be-
him
never
went
him; but
I
more
honor
know
Marlow
is the
after
of how
time, but
to
last view
in
the savages
his fate,"
understood
him,
seen
ever
is well
is interested
his desire
Patusan, he says:
to
know
not
by
good," "mastered
his self-respect.
Marlow
when
which
himself
Marlow
Jim. He
judge at
doubt
that
time
from
say I had
this day, after I had
my
that the less I understood
"I
and
another,
to
then, among
sympathized with
him,
"knew"
who
"made
trading-post,
won
so
port
one
escape
remote
and
"
in order
in
that
general, in
It is
most
his illusion
portant
imof
being somehow
of revelation
One
leads
not
damned,
in the midst
reason
because
NOVEL
TWENTIETH-CENTURY
THE
356
Marlow
why Jim
is
found
him
of
so
of illusion.
character
is
elusive, because
he
This
distinctly/*
him
of this
flash
momentary
some
world
vivid
so
find
or
or
that
precisely
ever
for-
was
is what
scene.
frequentchange of the
angle of vision. The truth about Jim, as about any human
be apcan
to
think, is something which
being, he seems
proxima
different
only by regarding him from many
from
of this story comes
to Marlow
points of view. Much
the lipsof Jim, much
the French
from
other witnesses:
lieutenant, the trader Stein, Jim's native wife Jewel, the
pirateBrown, and others still.For much of the story Marlow is himself
there is brought to
an
eye-witness.Thus
bear upon Jim's case
the lightof every varietyof temperament
and
of attitude
toward
by every
Jim determined
varietyof interest and motive. This book is streaked and
ist
spottedwith colors as brilliant and variegatedas any futurpainting.The
thing has a splendor and vibrancy of
It is also what
life
not
leads Marlow
conceivable
on
his
to
the sober
canvas
of the
well-made
novel.
And
or
singlesubject,of a novel by Wharton
James.
It is Marlow
who is responsible
for this. He it is who directs
and controls this restless and ranging exploration,
always
are
we
having in mind just what dark corner
seeking to
illuminate.
receives on
It is he who
the lens of his speculative
mind
tion
direclight-rays
coming from every conceivable
and
focuses them
all so rigorously
the one
point
upon
which
he wishes to make
visible to our
imagination.
on
In "Chance"
in
Conrad
novel.
full-length
this method
this is what,
in
employs
And
second
time
spite of
its
MARLOW
IN
"CHANCE"
357
three
with
in
substance, makes
most
successful
Flora
de Barral,
prison
for
and
money,
Mrs. Fyne,
her
to
and
from
It has
the house
to
do
people's
of her
the
or
has been
who
other
Fyne's brother,
host,
sea-captain
the
part of the story even
the character and motives
of
about
understood
meanly
between
relation
by
her
the
and
of suspense
in the story.
first chapter)all come
to
us
things(afterthe
Marlow
relates them
Some
but
with
with
two
These
author.
financier
ness
thin-
considerable
dark
are
the actual
the main
Mrs.
marry
novels.
operations
elopement
is in the
Flora, which
daughter of
of the
one
of all Conrad's
dishonest
Anthony. During
reader
of "Chance"
relative
of them
from
more
Flora, and
dale. And
that
Marlow
with
as
is, let
say, to the
tion,
personalobserva-
has from
conversations
here,
so
"me,"
to
with
as
Mr.
us
and
Mrs.
Powell, officer on
young
in "Lord
Jim," the facts
Fyne,
the Fernto
come
us
strained
like
which
through several personalities,
are
colored screens
modifying the originalpictureand adding
each
its own
increment
one
of interpretation.
A graphic
representationof the process will show how very complicated
it sometimes
is. For all that happened on
the Fern-
is
Powell
.
The
reader
him
narratives
This
Marlow
receives
given to
from
is not
follows:
as
from
the
me
...
the author
by Marlow,
who
reader
of
account
an
had
rative
nar-
the information
of Powell.
Powell, whom
but
somewhat
in
turn
he
has his
regards
naive
one,
as
comments
an
whose
to
make
on
entirelyreliable
view
of
young
witness
thingshas
to
be
THE
358
TWENTIETH-CENTURA
supplemented by
with
the
better acone
quainted
imagination of some
Or again,for certain passages
nature.
Flora, Mrs. Fyne passes on to Marlow
human
information
NOVEL
which
she had
from
Flora; so that
have
we
the
following:
Flora
.
Mrs.
Marlow
Fyne
the
me
reader
Four
the
in
have
screens
been
originalsource
of information.
some
Mrs.
between
interposed
had
Fyne
Flora
from
Flora, so
Mrs.
.
Fyne
me
.
The
and
In fact, I believe
Fyne
that
Marlow
to
on
passes
that the
the reader
what
read:
graph should
Marlow
the reader
the
proof of
so
media
From
treatments.
each
of the
one
and
successive
many
incrustations
it live
make
as
no
of humanness
which
individualize
of
words
expressive
mere
author
an
do.
can
To
begin with,
Marlow's
Marlow
has
There
difficulttask of
certain
are
direct information
governess
had
to
which
of
build
up
Marlow
thingsby
and
as
the
us
her
process
his
knowledge make
for
sure.
know
have
can
between
"
and
are
The
had
Flora's
which
many
that he has arrived
of reconstruction.
more
he
scene
man
young
There
inferentially.
lets
a
for which
scenes
such
"
of reconstruction.
interpretation,
human
in-
he has
phrasesin
at
very
convincingwhatever
no
his view
limits of
he
knows
INFORMATION
RELAYED
"Angry
or
simplysad
but
359
disillusioned,he
certainly
wanders
and
the
meets
I could
well advanced.
that I
almost
piecinghere
am
lies
statements."
is
Fyne. He
will understand
You
...
bits of disconnected
of Marlow
back
Then
see
minor
official,
back
somewhere
and
taciturn
is
by
of them
Marlow
all the
Then
of life upon
has
saved
of the
mere
finally
herself,made
savage
her slender
enigmatic,hard, fierce,and
himself
of
meanness
sister woman.
all is Flora
nothing here
suicide. I say
with
woman
of
interpretation
in her
sex
she
from
an
cal,
hysteri-
attempt
at
of her
story-interest
enigma: what did she say in that famous letter to Mrs. Fyne?
richness of portraiture,
I am
now
consideringthe human
of her
the subtletyof shading,the lifelikeness,that come
tion.
being made the subjectof so much and varied interpreta-
And
now
we
that is
come
to
another
favored
particularly
feature
by
the
of Conrad's
use
of Marlow
nique
techas
This
is his
CHRONOLOGY
therefore
be
not
narration,
IMPRESSION
AND
next-door
neighbor, Mr.
1914 my
greenhouse and painted it with Cox's green
If you
...
think
and
garden
matter
not
say
to
Slack, erected
aluminum
paint.
in various
will remember,
you
how
one
day
pictures,
the
wall
contemplated
unordered
his
the
about
does
report. Life
In
you:
361
in
appeared
Slack
Mr.
of his house.
will
You
try
remember
to
first-classseason
remember
he
found
for
We
where
out
another
Slack's
Slack"
Mr.
thrown
was
still considered
ties with
because
Mr.
Slack's
not
narrate,
at
be
but
made
curious
the
period or
to
discuss
back
how
the novels
me
those
little
were
days Impressionists
remarkable
in
lifedid
Conrad
collaboration,
alone, written
the novels
much
that
saw
brains.
our
written
of Conrad
later, and
we
you,
of this method
use
novels
I regret very
those
to
impressionson
with
war.
In
comes
compared
since the
Mr.
bad
in their
same
on
ists"
protest the stigma "Impression-
us.
made
Ford
and
before
was
that
much
greenhouse
It is very
it
which
thinner
will
of
page
much
buy
to
greenhouse.]
acceptedwithout
that
name
then
life. You
in your
because
at
of Ford
about
written
allow
More
would
tell them."
As
for Conrad,
his character
work
backward
he had
always shown
in first with
over
his
to get
disposition
then
strong impression and
past before
going
on
with
the
THE
362
dramatic
There
NOVEL
TWENTIETH-CENTURY
present which
brought
the
story
in
But
these
the
blocks
its climax.
in
"Almayer's
of his novels.
which
novels
to
of backward
narrative
have
too
the air
much
itself and
if the story had outrun
the author
for the most
had to go back and catch up. And
nology
part, within these extensive blocks of narrative the chrothat
is straightforward,
and so we
cannot
say strictly
of
as
"exposition,"
mere
the author
backwards
"working
forwards"
and
over
his
that this
Jim" and "Chance"
is most
and consistently
successfully
applied.Let
the case
of "Lord
Jim" and indicate in the most
fashion possiblethe backward
and forward
loopthe story. And, to make
it more
sign
graphic,let us as-
character's
method
us
is
take
summary
ings of
past. It is in "Lord
letter of the
alphabetto
each
period of
main
the
action.
The
clerk
trial
begins with
story
at
various
of
generalaccount
Jim
water-
as
Eastern
It then
(say,KLM).
goes
back
to
give
an
account
the
of
of the
beginning up to the moment
collision (A-E).In the fourth chapterwe
are
present at the
trial of the officers of the Patna
for abandoning their ship
made
the acquaintanceof Jim.
(H), at which time Marlow
Jim's
We
life from
then
have
dishonored
where
the
from
officers
they
were
earlier with
much
Marlow
an
of the look
account
their
on
tried
first appearance
at
(G), and of an encounter
of these
the
he
port
had
German
of his conversation
boarded
are
with
the French
given to
Marlow's
dealingswith
lieutenant
who
(F).Several chapters
Jim immediately after
CHRONOLOGY
IN
"LORD
JIM"
363
(I),with
forward
"
"
and
Patusan
farewell
Jim (R). I
to
(P).This part
will
not
ends
with
to
outline
attempt
Marlow's
the
rest
of the book.
All
more
of events
narrated
and compare
them
the sequence
as
order. The
with the actual chronological
true
chronological
would
order
be:
A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S,
T, U, V, W, X, Y, Z
The
KLMP,
FK,
in the book
order
WA,
is,by chapters:
E, B, E, E, H, GD,
I, I, R, I, KL,
MN,
HJ, FE, E, E, F, F, F,
N, Q, QPO, OP, P, QP, P, P, P,
U, U, U, WXY
similar
"Nosor
picture of chronology in "Chance"
would
give an equallytopsyturvy alphabet.And
tromo"
in "Nostromo,"
indeed, the
effect upon
the
reader
is almost
strategy. The
in first a strong
situation, and so
the
method
does enable
the author
and
lightof" retrospection
to
or
get
that
ing
bring-
to explain
anticipation
and
the
modify
excellent
an
impression.It
raconteur.
givesnaturalness
deeper. It
goes much
of human
of the elusiveness
sense
narrative.
Marlow's
to
But
NOVEL
TWENTIETH-CENTURY
THE
364
not
and
his
backward
camera
subjectinto
get the
to
It is
as
and
if human
nature
to
stantly
con-
as
so
illuminatingperspective
new
some
angles
ing
keep mov-
many
time
in
forward
leads
which
nature
him
is Conrad's
were
skittish
and
rare
of
approach with every circumstance
be taken by surprise.
precaution and which must
by all means
The
of James is to layregularsieg;e
method
to Life;
bird
which
he
the method
must
of Conrad
Conrad's
"
other
books.
In
the silver-mine
of
us
perhaps
alone
is
for it.
lie in ambush
richer
fact,it is much
longest of
Costaguana
this story
is
to
in "Nostromo"
material
setting
is
(1904) character,
"
than
too
his novels.
enough
of the Goulds.
for
cident,
in-
The
one
Conrad
history
political
big book, without
has introduced
into
ological
major figuresthan in any other. The chrondent
is used
looping method
throughout, with evigood intentions but with very dubious results.
It is unsatisfactory
because
character
no
one
or
group
characters holds the center
of the stage long enough for
to grow
comfortably interested in him or it. During the
second
than
more
part, Martin
Nostromo.
his due
The
is much
titular hero
at
more
does
not
the
begin
center
take
to
placein
of the
pages),and
with
Decoud
not
hold
it steadily
from
bewildering distribution of
chronology,there is no Marlow
all the
of
he does
there
interest
to
on.
And
and
direct the
fusion
conex-
"NOSTROMO"
of
ploration
that
The
this
is that
their
push
can
longest,
things
buried
expedition
an
such
and
to
ardors.
without
he
interest
would
us
I have
have
the
here
is of
called
the
his
course
with
but
the
of
real
ter
mat-
of
center
Marlow
no
superhuman
to
ers
pow-
ideal
of
ing
mak-
striking example
of
what
realize
to
have
technique
word-of-mouth
go
of
far
of
excesses
center
was
of
The
his
give
such
interest.
Jim"
chastened
narrator
And
novel.
life
it
method
that
Conrad
impressionism.
Marlow,
But
and
and
Marlow.
the
In
partly
great
"Chance,"
controlled
was
naturalness
and
acknowledged
without
"Lord
the
"impressionistic"
to
be
must
managed
are
most
wasted.
it
in
he
does
But
story.
impressionism
the
him
deformalization
Ford
by
indulged
did
and
the
and
weight
like
perils
to
composition,
nothing
book,
its
references
sodden
places, nothing
altogether
(1910)
he
the
enabled
book
labor
outlined
to
their
its
worth
take
under-
of
warned
of
tropical
of
see.
The
not
in
in
such
with
in
anywhere
things
keep
With
assimilated,
full
are
had
Priceless
should
one
being
it "his
alone
are
no
rad
Conof
calls
complication
But
of
work."
Monygham
letters
obvious.
be
to
the
underbrush
tangled
Jean-Aubry
them.
Conrad's
are
or
and
lovers
powerful
Dr.
recover
Mr.
under
expedition
an
the
most
and
resolute
most
forest.
there
Gould
Mrs.
growth.
this
moment
present
through
way
complicated,
most
are
the
only
pathless
well-nigh
the
of
point
interest.
of
result
the
show
to
from
away
center
present
wilderness,
the
excursion
365
tory"
"Vic-
because
triumphs
in
by
which
the
of
his
use
of
XXX
LAWRENCE
IMPRESSIONISM:
JL
had
much
so
book
book
to
from
irawn
tvhat
without
Lawrence
mow
:ited
Mr.
by
of
malysis
makes
He
itate.
it
emotional
lopelessly
le
in
Lawrence
attributes
to
Murry's
was
"
Murry's
to
either
of
pretend
the
women.
the
pseudothis
is
able
to
funda-
of
that
called
make
remains
what
whether
in
what,
or
is
what
is
account
to
evidence
picture
But
physical
from
is
there
state,
is
accompany
never
that
for
"
him
to
from
was
adjustment
obscure
of
30tence
apart
owing
that,
shown
can
all
in
Lawrence
'mother-fixation/'
lappy
clear
one
which
confusion
made
presentment
weighed
pathological
and
obscurity
nental
is
No
hero-worship
friend's
his
be.
having
has
another
else
and
subjects
has
after
or
to
of
and
to
himself,
Lawrence
Murry
Unfortunately,
Murry.
dubious
and
piety
liked
pretend
not
choice
friend,
himself
have
of
his
his
do
state
character
one
Lawrence
would
he
of
study
how
that
Middleton
Mr.
clever
diabolically
said
with
do
to
characterization.
his
be
it
psychological
the
understand
which
let
with,
BEGIN
the
plain
sentimental
im-
terms,
im-
Dotence.
Well,
nisery
it is
is often
good
our
meinen
Aus
Mach'
Lawrence
fears
of
was
his
of
commonplace
Ich
what
that
the
writer's
luck.
Schmerzen
grossen
die
tortured
life. But
criticism
kleinen
soul
he
throughout
suffered,
366
Lieder.
and
the
what
forty-five
he
thought
observed
and
furnish
to
of this
the stimulus
under
forth
367
LAWRENCE
H.
D.
dozen
cient
suffi-
was
suffering,
remarkable
novels,
to
not
his poems,
writings.He
plays,and miscellaneous
fit
the bene"crucified into sex," and he gave the world
mention
was
of that
experience.Few
the
to
need
very
young
of his books
or
for
are
be
to
mended
recom-
have a
any readers who
close view of the psychology
to
"
"
of Willa
Gather.
untouched
practically
by the ideals of the
well-made
novel. There
is no
suggestionwhatever, in his
typicalwork, of the dramatic focusingof a restricted point
Lawrence
of
view^It
was
is
Rod,"
there
these
novels
that of Alvina
In
more
each
case,
true
is
that in "The
Lost
Girl" and
in "Aaron's
simplification
resultingfrom each one of
the first
being the story of a singleperson
Houghton, the second that of Aaron Sisson.
a
"
as
the
story
proceeds,it
becomes
more
and
matically
auto-
this
impressionsfrom
not
into
set
yet
that
It is
unjaded pen;
hard, jagged
strengthof
them
PEACOCK"
WHITE
"THE
perhaps
at
the
369
mind
has
makes
the
Lawrence's
mold
that
that it
time
same
gives
repellentquality.
of Meredith
that
Lawrence
reminds
most
in the technical
their
"modern"
he
ought
humor.
In
characters.
than
Meredith.
does
not
think
to
this
His
does
("le
them
paw
about
them.
attitude
toward
is much
Lawrence
matter
not
about
He
has
more
patronizehis
and
tell
little
his characters
us
acters;
char-
what
irony and
might be
we
no
scribed
de-
that it is so fervently,
not
purely scientific if it were
even
feverishly,
sympathetic.He appears very little
there is a
in the role of discursive
philosopher.While
relations in the
good deal of abstract theorizingon human
later books, it appears mostly in the dialogue;he leaves it
if they are rather more
And
to the people themselves.
given
of speculation
than the general run
of people^
to this sort
than the characters of "Jude the Obscure"
so
they are not more
as
and
The
"Point
finest and
Counter
Point."
of Lawrence's
novels
representative
and
"Sons
Lovers"
Rainbow"
are
(1913),"The
(1915),
in Love"
and
"Women
Plumed
(1921)."The
Serpent"
and colorful book; but
(1926) is an extremely interesting
of the Mexican
the heroic stirring
soul beneath
the overtastic
layingsof Spanish Christian sentiment is a theme too fanand too difficult of combination
to be taken seriously,
theme
of erotic psychology.
with Lawrence's
constant
"Lady
Lover"
stark beauty, and
Chatterley's
(1928) has its own
most
is
TWENTIETH-CENTURA
THE
370
difficulties,
or
happy than
simple,being
more
too
in
importance. It represents
desperate effort to adjust his own
last
Lawrence's
emotional
unmistakable
of
document
the
through
in
he
find
to
their
in
found
of
art
wish
to
life. The
sex
mechanical
by
men
is far
formula
is
physiology
tendency all
such
some
relations
for
detail of
There
throw
to
relations
ideal formula
an
love-making.
Lawrence
of emotional
NOVEL
den
bur-
main,
legerde-
physiologyand be done
with them.
But this was
something manifestlyimpossible
that lived so constantly in his
for so sensitive a soul, one
it is possiblefor any civilized human
emotions, if indeed
of
being. It is all very well to say that we make too much
to
reduce
emotions;
our
reason
and
down
sex
that
we
wisdom
under
should
in
control
hatches.
ordinary normal
to
But
we
sentiments
our
are
collected, with
not
made
tened
bat-
that way;
affair of
human
are
an
relationships
and
agement,
tenderness
strain, struggle,discourtears, excitement,
and hope, of vanitybleeding and pride laid low.
with
This
who
Lawrence,
was
never
obviously the case
if all of
human
And
to a normal
relationship.
quite won
had succeeded
in simplifyingtheir sex
his characters
life
was
lover, his
as did the gamekeeper who
Lady Chatterley's
would
have an
books
an
altogetherdifferent significance,
artistic importance altogetherinferior to what
they do
and
have.
main
(JL^wrence's
as
accord
His
the
which
ill with
as
are
centers
not
so
of
impulses. It
preoccupation are
tendencies
"dramatic"
characters
in patterns
interchange of
and
intention
which
novel
nique.
tech-
much
ranged
unitary souls arradiation
quivering with
is nqt_the situations
in
him,
primarilyconcern
toward
side
in
such
one
or
another;
the other
as
and
not
the inter-
CENTERS
OF
RADIATION
371
playof^feelmgs.His all-embracingintention
the materialization
show
to
"
the
would
he
wellingup
of
waters
instinct, but
might say the procreative
objectto having it defined so narrowly
life-impulse we
think
in human
is,seemingly,
I
"
into conscious
unconscious
primarily as actors
interestingin themselves
for the dramatic
for projectsundertaken,
or
sulting
patterns retheir conflicting
interests. The
author
from
is not
selves.
interested in social forms or the social spectaclefor themcharacters
His
are
simply jets of the great dark
conceived
stream
He
the
energy
much
so
not
carriers of energy
and the cosmic
concerned
with the forms taken
of energy,
is not so much
as
with
with
which
the energy
the dramatic
takes
moment
the
on
with
as
will.
on
by
forms;
the process
of
passes
is not
the
and
stream,
in the
not
of life; but
stream
"
in
form
the
of
stream
settled, moral
be
"
ironed
be
issues
to
be
is with
concern
its
with
intriguewith
misunderstandings to
to
his main
Plot
flow.
mysteries
out,
appears
be
to
the
solved,
conflicts of interest
brought
to
conclusion.
of the elemental
plot is simply the line of movement
wave-like
life-force
a sinuous, rapid,shifting,
movement;
The
"
the
as
movement
water
but
of radiation.
of
waves
much
The
of
more
dramatic
no
such
subtle
slow
and
situations
and
massive
swift, like
are
correspondences,counterbalances
Human
impulse personified.
beings appear as
form
some
the
simply
stuff
of
adjustmen
malerotic
the modalities
of the elemental
A
urge.
of Lawrence
great specialty
is his creation of
charged
of the emotions
fashion, but
which
phenomena
physico-psychic
the
life-forces
elemental
"
carriers of
indefiniteness
ment
treat-
the
timental,
sen-
play of
the
considered
as
the
for
accounts
the
in
intangibility
or
in
or
being
This
his
manifestations
as
are
individuals
fluid energy.
much
so
partlyfrom
in the dramatic,
not
in the moralistic
or
of
derives
atmosphere.This
emotional
NOVEL
TWENTIETH-CENTURA
THE
372
of
causes
tain
cer-
given
does
which
in the very character of the feeling,
for a well-defined
the desire
not
as
object or
appear
the virtues
is not
dramatic
issueT^It
pointed up in a particular
or
feeling,
social
and
another
fall in
qualitiesof
with
love
less amenable
him,
but
make
which
individual
an
something
mental,
ele-
more
definition.
to
vxThe
takes
novel
average
it the issue in
love
for
"
"
With
Lawrence,
chemical
forces
not
Sometimes
is conceived
love
affinities,the
definable
in
think
we
of in
attraction
terms
moral-sentimental-social
of chemical
ing
suggest-
repulsion of
and
terms.
affinities;sometimes
of
of bodies
affectingone another; sometimes
of different magnitudes and weights exertingvarying degrees
of pull upon
often
and
it is a
another; most
one
of electrical phenomena:
common
figurewith Lawrence
incandescent
wires,
positiveand negative,polarization,
of the
In his "Fantasia
voltage,interference, short circuits)
psychicauras
"
"
Unconscious"
A
same,
family is
or
very
he says:
group
much
of wireless
the
same
vibration.
All
the
time
they
flGVRJES
ELECTRICITY
PROM
figuresrecur
books, especially
his
throughout
was
drew
dark
flood of electric
current
released
from
the
This
is
It
her, and
to
darkest
was
poles of
dark
flooded
often
between
persons
thinking of one
abstract
woman
of
presence
the emotional
around
her,
vibration
and
all that
on
the
on
come
moves
and
flowing toward
outflow
and
a
man
range. And
and has being,is
send
and
there is
discord, and
does
not
an
of peace. Or
is laid
by
exists between
mention
something
else he is
every
he
writes:
delicately
strange soft
unconscious,
discordant,
hurting every
as
man,
lation
re-
one
lives and
he
of life-vibration,quivering
inflow, so that
pain,harming
C^Iuchstress
which
one,
same.
and
and
of
of any
falls
else she is
Or
or
publishedin
is
woman
forth
fountain
some
back
sort
the
sensations
character
spray
unknown
of response.
jarring,painfulvibration, going
within
near.
Lawrence
of his death
whose
tions
sensa-
another
one
article
an
year
vibration
seeking a
the
to
speak
can
we
in
livingfountain
refers
as
with
such, if
as
of them,
two
in Love"
another, of
relation
the
new
the
both
talking of
merely in the
him,
circuit,a
new
between
fire of
them
rich
energy,
"Women
passage from
of two
lovers in actual
just as
the
established
passionalelectric
perfectcircuit.
him
had
from
released
passion she
one
Lawrence
near
on
a
a
him.
the
persons. The
such
phenomenon.
are
aware
one
completed,
of irritation,
source
two
of
his
state
of
ness
aware-
ordinarywriter
He
another
takes
if
for
they are
THE
brought
of
another, what
one
Lawrence
more
stresses
in
It is not
that
each
each
other,
that
they are
other
and
or
which
two
or
less
tivated.
mospecifically
such
and
such
do
things from
such
and
But
elemental,
more
are
can
persons
wish such
another.
one
psychology,and
but
manifestingthemselves
Will
between
came
into
of each
other.
He
as
his little
and
and
him
"Between
being
naturallyin
Brangwen
Rainbow":
"The
there
aware
in
them
and
in
unite
affinities which
certain
Ursula
were
from
other, but
to hate each
they have reason
psychicentities existingwithin range of each
the relation
They
seek
they think
is what
stresses
that
have
daughter
they
other,
grapple of loves
to
cause,
specific
cases.
specific
Thus
he
awarenesses
fundamental
things for
NOVEL
TWENTIETH-CENTURA
374
strange alliance.
the
knew
child
was
ish
"the dim, childher part there was
smallness and inadequacy,a fatal sense
his side." On
always on
of her
sense
own
of worthlessness
Still she
.
needle.
All
set
toward
him
like
her
of him, her
wakefulness
Rainbow,"
when
life
directed
was
by
her
ering
quiv-
awareness
to
Anna's
his
father
tells her
that
her
cousin
is
to
conventional
anticipationof
to
carry
on
with
reasons.
the
him
sex
It is,I suppose,
combat
she
which
throughout her
life.
an
stincti
in-
is destined
RAINBOW"
"THE
Much
of peopleat their
feelings
of
feelingsdenoting a want
especially
is given to the
attention
points of
contact,
connection,
failure
of
offs and
The
375
the
forces
of sexual
ons
involved
to
attraction
are
flow
gether.
to-
marvel-
of conditions
incalculable.
pression
the im-
have
We
and
And
he
remained
outwardly
her
be
to
into
which
made
she became
exclusion,
him
nearly mad.
and
there
nowhere,
him
on
he
as
burst, and
was
of
sort
working
was
the
trees
sign
She
he
as
passed.And
between
her, and
for
flame
to come
sure
was
again, there
and
(fhis
in the
the
was
bereavement
mill with
with
them.
when
he
waited
He
last,and
at
lost
arrived
he
and
touch
himself
between
severance
waited
drove
again. It
them
felt he
with
of
suddenly, out
came
forward
broke
passionate flood
magnificent rush, so that
lapsed
which
state
She
communion
between
connection
it irritated
power.
Then
antagonism
And
curious
mystic, dark
mysterious
powers,
the child
separate
as
of
solid power
gradually aware.
of him
aware
her, unchanged
distinct from
and
underneath
of sombre
sort
pull.^
wrathful
her, but
to
her. Of
to
of such
aware
into
could
home,
snap
there
till she
dous,
tremen-
off the
was
came
no
him.
Then
he burst into
The
hour
passed away
them, and
and
misery
toilingat the
rage
depositionand
was
next
Anna
Tom
Brangwen and
generation,we have
and
Will.
struggleof wills
In
as
of
the
two
latter
case
much
is made
opposed forces,not
of
in the
PSYCHOLOGY
OF
SEX
377
3
dwelt
I have
the element
on
in the emotional
of mystery
reactions
of Lawrence's
levels of
the
(He was
characters; I
unconscious.
what
knew
Lawrence
he
was
"
"
with
course,
Of
Freud.
Rainbow"
is the
of this
most
comprehensive
remarkable
count
ac-
is a
There
subject.
of mother, father,and
of the emotional
relationship
in the story we
Twice
have
child, through two generations.
the father, baffled in his urge toward the mother, turning
fulfilment. In the case
of
to the daughter for his emotional
Torn
Brangwen and his stepdaughterAnna, we have a man
who
reallyloves the child and treats her with sensitive
won
over
understanding and patience,so that she is finally
to
him, and then the relation of the parents is gradually
adjusted,so that the child has a feelingof securityin their
of Will Brangwen and
The
Ursula
is that of
union.
case
self-absorbed father who, in spiteof his love for
a stupid,
his emotional
his daughter and
dependence on her, is
needs, is weakly brutal or
reallyinsensitive to her spiritual
textbook
indifferent
in his treatment
pride,shuts
as
of her;
so
againsthim, comes
hostile,and is badly "conditioned'*
problems in maturity.
There
to
up
is reference
among
students
to
of
dozen
see
for her
other
sitive
sen-
the world
own
tional
emo-
miliar
phenomena faor
psychoanalysis,
simple com-
psychology,though Lawrence
invariablyfrom using the hackneyed
modern
of
monplaces
NOVEL
TWENTIETH-CENTURA
THE
378
almost
nical
tech-
process of "self-maximation"
the unconscious
terms:
frains
re-
form;
dominant
has
incident
individuals
meet
running everywhere
the
"
elemental
obstructions
upon
of power,
and so
synchronization,
resultingfrom
battle
Anton.
difference
between
contrast
of
body
while
the
through
great
the two
the
who
can
man
of sexual
cause
continues
to
This
woman.
lovers, whether
contrary
This
character
Lawrence's
Lovers/'
work.
Paul
present
soul
as
love
well
only
intense
the
sexes
the
to
is
recurs
as
the
life
naturally
temperaments
of
their individual
something inherent
and femal"")
that
the
fulfilment
still more,
to
an
it is incidental
of male
power
of Ursula
through child-bearing,
crave
and
idiosyncrasies
or,
and
the
loves
is fulfilled
woman
man
the
and
man
qualityor
wished
of Tom
fed
the
that
fact
of
mysterious case
author
who
woman
body. A
woman's
the
Apparently
"
fulfilment
to
urge
difference of temperament,
on.
the
of
difference
and
battle
the
playsof
The
called
been
Rainbow"
form in the
subjecttreated in highlysimplified
is
Strindbergand Ibsen. This battle of the sexes
under
which
the complexity of circumstance
to
the sexes,
two
"The
subject,in
is what
as
ligious
re-
etc.
Lawrence's
But
feriorit
"in-
the oftenest
It is very stronglysounded
is typicalof Lawrence's
Morel
in their
out
throughin "Sons
men
in
"SONS
why
reason
from
free himself
But
mother.
379
cannot
mother-fixation.
to
LOVERS"
iam.
give himself unreservedlyto Mirand
is primarily the story of a
Lovers"
Paul's love for Miriam
is a desperateattempt
Paul
''Sons
For
AND
this he
his excessive
do. He
cannot
attachment
his
Miriam
give to
cannot
to
what
is every
There
to
reason
literally,
autobiography; and
the clue
mother-fixation
think
but
true
far
too
that he
to
that
Mr.
Murry
relation
of his emotional
all of Lawrence's
over-much.
simplifies
that Lawrence's
much
believe
to
powers,
work.
this
not
can-
It is undoubtedly
his mother
and
in
made
absorbed
him
more
ordinarilyrebellious
mands
deagainst the sentimental
It made
him
oF'women.
exceptionallydependent
token
~woineh, and by the same
on
exceptionallyalive to
desire to keep back something of himself in the
the man's
it made
him
alive to is, I fancy,
what
love relation. But
a
feelingnot altogetherpeculiar to himself or to persons
have
conditioned
been
unwise
who
unfortunately
by
than
mother-love.
it
("erhaps
haps
question of male and female. Perthis desire to keep something back
to maintain
some
being through all the fire
independent realm of spiritual
tensely
inand
as
intimacy of passion may be felt by women
But
who
here it is a man
writes; and
as
by men.
it seems
that he and all other men
are
to him
struggling
againstthe tyranny of the female, who wishes to exhaust
relation all the spiritual
of the male^
in the sex
capacities
of "Women
in Love," and
the theme
This is essentially
the person in this story who
represents the triumph of the
Ursula
married
male pointof view is Birkin, who
Brangwith the understanding,
wen
reluctantlygranted,that he
freedom.
has
He
should
be allowed
to keep his spiritual
is
not
"
"
earlier had
Fusion,
and
most
all
which
to
to
of
it
herself
saw
And
Ursula
all
not
spiritor
the perfect
the perfect
as
was
And
come!
must
men
nauseous
of the
fusion
which
things,which
two
was
on,
was
come:
of birth,
the bath
Womb,
must
men
domination.
fusion
insisted
men
Hermione,
woman,
type of female
it
anyhow, whether
emotional
body? Hermione
the
idea,
another
every woman
and horrible
of
with
intimacy
an
represents another
who
NOVEL
TWENTIETH-CENTURY
THE
380
ual,
individthey remain
alllimits?
limited
this dreadful
Why
by their own
the
leave
comprehensiveness, this hateful tyranny? why not
other being free, why try to absorb, or melt, or merge? One
but
oneself utterly to the moments,
not
to
might abandon
being.
any other
both
horrible.
were
The
particularform
"Aaron's
Rod"
this desire
the
and
to
and
man;
"
life
"
which
was
be
the
if you
Here,
disciple.
and
leader
emotional
he
must
clear
more
that
impersonal friendshipof
like, is where
of art,
of Lawrence,
novels
in
by
artist
Not
also
was
in his
further
teacher
content
the
satisfyhis
ship
this friend-
vainly sought,himself,
For
out.
as
was
absorption by the woman
supplementary friendshipwith
more
Lawrence
to
later
in Love"
from
of
it grows
not
taken, in "Women
other
escape
consummation
could
Why
own
and
comes
be
tion"
"sublimaunfulfilled
life
(Lawrence's
technique is the
with
his
He
intimate
sex
natural
of his occupatio
precombined
with
psychology
outcome
LAWRENCE
IMPRESSIONISM:
another, but
one
look
the
at
from
he
time
same
381
is
and
tone
of how
aware
they
the
manner,
ting
set-
in
within
their
the
outside
felt
and
It is
themselves;
of
view
character
one
of
one
that
implies a
the characters
well
in
conceived
in
setting
is
another.
the
the
to
It is,
netic
electromag-
that
concerns
and
forth
him;
between
both
on
terms
seen
setting.
stick
to
the sensations
record
to
sensations
as
shift back
constant
as
so
forces
them
in his
than
the characters
field lyingbetween
as
or
rather
interplayof
said, the
I have
and
of their
aware
in
together
seen
are
point of
as
characters
themselves
or
setting;
they are
something
as
The
sentence.
sides,
to
common
both.}
if
Thus
entitled
examines
one
"Continental,"
involved,
Loerke,
as
center
one
the
of interest
taken
in
combination
more
arrangements,
with
leads
him
is consistent
"The
Ursula
Birkin,
each
of
the
and
others
Rainbow"
over
with
more
the
he
ground
undertakes
and
ideal
"dramatic"
more
in
give an
impish spiritwith no
to
dealingsof this
generationsof the BrangwerikIn
of the
principalpersons
(ten
is right),
if my arithmetic
and then all
in combination
with the other guests at the
togetherand
alpine hostelry.
Then
again(thesinuous
often
Gerald,
five
possiblecombination, so far
each
or
point of view is concerned:
(thatis, five separate arrangements);
himself
one
the
in Love"
"Women
every
by
each
finds
one
Gudrun,
presented in
chapter in
"Sons
life-force
varied
the
novel.
intimate
and
than
less than
Lovers"
In
record
three
more
than
older
we
third
to
which
the
the
and
line between
Very
little
seldom
suspense,
nor
growth, and
(ftehas
sense
does
momentum,
the
ing
record-
his action
along
worthy
like Gals-
sharp
happened this year and what happened
to keep going on
steadily
thing seems
Bennett;
what
does
evenly distributed
carefullydate
not
and
book, involves
of the
rest
dozen
does
Lawrence
like time,
life of Paul;
love
years, rather
line of the narrative.
or
the whole
ten
and
occupies the
of ten
of the book
Morels
come
NOVEL
TWENTIETH-CENTURA
THE
38s
he
evolution.
for
the
develop any
and
occasion/1
"discriminated
one
climax.
scene
The
with
an
elemental
eye to
force
"
center.
LAWRENCE
IMPRESSIONISM:
a
the
poet. And
383
great
very
use
of
symbolism and of incidents rich with overtones
Such
are
feelingand hidden correspondencesof thought)
entitled "Rab*
in Love"
the superb chaptersin "Women
bit" and "Moony." In the latter there is a fine symbolism
in Birkin's stoningthe reflection of the moon-goddess (the
accursed
SyriaDea) on the waters of a pond. And there is
in all
description
perhaps no better bit of "modernistic"
of
Lawrence.
Then
there
again
light,the
asunder
had
moon
in
burst
was
of sound, and
flakes of white
and
and
the water,
exploded on
of brilliant
burst
fire.
dangerous
flying
Rapidly,
was
ing
the pond, fleeacross
rose
birds, the fires all broken
in clamorous
confusion, battling with the flock of dark
like white
that
waves
forcing
were
seemed
light,fleeingout,
for
under
was
the
escape,
towards
the
be
to
But
centre.
white
broken
now
even
clamouring
the
heavily,running
the heart
centre,
quiveringof
body
open,
in
came
at
rays of
againstthe shore
furthest
in. The
way
of darkness
waves
quite destroyed,a
not
their
white
not
yet violated.
of all,
not
moon
and
striving
It seemed
to
be
itself
the
in
water
triumphant reassumption.
"impressionist"is
term
Lawrence
to
painter saw
He
be
saw
there
eye. And
the mass
his
his
more
to
terms
in
Conrad.
of the outline
terms
of the
cable
properly appli-
more
The
from
subjectdifferently
it less in
and
than
even
mass
his
impressionist
predecessors.
which
which
is known
to
strikes the
XXXI
IMAGISM:
"impressionist"
term
HE
Richardson
with
much
she
Lawrence.
In
his
followers.
She
of
so
fiction.
different
utterly
that,
more
convenient
which
The
for
of
the
on
Her
Roofs,"
which
the
three
poets
They
dominant
or
were
were
tendency
dramatic
thought
frightful
it
is
category
separate
in
and
the
1917,
eral
gen-
great
books
three
"Some
volume
the
"
appeared
"
of
years
her
the
during
first
entitled
the
under
novels
The
in
light
most
"Honeycomb"
tion
publica-
Imagist
Poets,"
"Des
Ima-
entitled
1914.
strongly
influenced
fundamentally
was
to
render
characterization,
and
is
others,
no
begun
poets.
1916,
upon
of
series
was
anthologies
gistes," published
These
these
were
sheds
"Backwater,"
followed
Richardson
of
entirely
whole
long
imagist
either
there
an
"Pilgrimage"
the
"Pointed
find
ing
hav-
of
her.
that
of
if
reason
to
"imagism."
title
vogue
this
of
that
Joyce
credit
Miss
of
personality
from
place
to
term
is
case
the
than
"stream-of-consciousness"
the
English
But
males
in
in
with
the
Joyce
tion,
inten-
air
rather
belongs
with
shares
of
"modernist"
more
the
does,
he
than
deliberateness
she
respects
some
originated
type
decidedly
othy
Dor-
to
carries
she
farther
much
so
better
even
Indeed,
apparent
more
has
applies
Lawrence.
to
impressionism
so
that
and
than
of
technique
and
RICHARDSON
DOROTHY
nor,
but
sentiment,
385
by
lyric
life
not
again,
in" terms
French
the
poets,
in
terms
in
of
bolists.
symtheir
and
terms
of
story
of
stract
ab-
impressions.
NOVEL
TWENTIETH-CENTURA
THE
386
these
these
from
stanzas
all the
An
empty
For
love
The
be
historyof grief
doorway and a maple leaf
should
poem
not
and
two
the
above
lights
sea"
mean
be
It is obvious
prose narrative
altogetherto this ideal of a poem. But
Richardson
to it as
near
come
as
continue
of them
the
Po-
equal to:
leaninggrasses
But
and
"Ars
true
For
MacLeish's
witness:
should
poem
Archibald
Mr.
that
the novels
anything can
of Dorothy
come
tion
descripprose narrative. I base my
largelyon the first three, which are much
to
be
conform
never
can
most
formal
characterization.
there
And
There
is the almost
is certainly
no
overcome.
teaches
of
In
Germany,
"Backwater"
House,
she does
irreducible
story in the
developing,some
Miriam
There
it
in
German
minimum
sense
of
"Pointed
some
opposition
ply
Roofs," sim-
London
leaves
by
issue.
of story.
ship
relation-
the dismal
and
please,
dramatic
no
plot engineered,some
Henderson,
year in
fails to
is
home.
worth
Words-
comb"
she
season
passes
country-house and
and
as
387
in
governess
impressionsof
receives
delightful
men,
women,
violets.
It is
that,
true
spends so
much
and
then
Ted,
on
occasion
one
with
time
Max
at
disappearanceof
of
section
of the
and
slipped in
that
It is clear
Miriam
and
Ted
of loneliness
Max,
who
seem
of
characters
say the
Perhagj because
we
may
why?
year-oldgirlis
thought of
perhaps
as
to
events
tally:
inciden-
letters,that
topic.
man
some
"
she
be
both
of
aware
it is
rate
is
nature
hardly
be
of
thinking sometimes
tioned.
importantwhen they are mennot
so
almost
are
record
is
this nice
delicate
*"r
portant
im-
most
altogetherignored, so
highly incomplete. And
seventeenor
eighteenindeterminate-minded
too
dwell
life,but
she is
this
a
to
Real
to,
to
dwell
on
the
factor in her
and
any
Max
alluded
which
indeed
must
moved
fljibe
shall
men.^Fis,
particular
herself
allow
too
first
with
so
another
question of
She
the
depths of her
obscurely;at
And
that
the
party
complete
after
in
with
in the
with
the
And
rative,
nar-
the
indirectlyor
in connection
that sense
away
and shrinks from.
cherishes
[Ted]
in
whole
at
than
engagements
take
to
one
Sarah's
concerned
much
very
Max
Roofs/'
invariablybrought
Harriett's
of Sarah
him
loses
Miriam
almost
are
unnamed
I in "Pointed
Chapter
in "Backwater"
where
the
that she
But
Max
are
she
"Backwater,"
dance
York.
dies in New
Max
in
and
to
RICHARDSON
DOROTHY
IMAGISM:
no
Freud
Miriam
to
drag
Henderson
strictly
virginalnature,
the
appeal of
the
as
oppositesex.
otherwise
That
sible
inaccesshe
is in-
of
tenselyconscious
obvious
most
is clear
men
"because
.
minute
the
hates
ought
thing
one
says
Men
next.
for their
men
woman
another
and
"Honeycomb/'
in
self-satisfied smile
one
NOVEL
TWENTIETH-CENTURA
THE
388
to
be horsewhipped,
had that
have ever
all who
all the grown
men,
self-satisfied smile, all,all,horsewhipped until they apologize
would
Many psychologists
say that
in her exthe strain of emotional
out
haustion,
deprivationcomes
when
she hears from
and
her appeal to God
home
of a dance and thinks of her pinched life "Why do
suffer so?"
make
me
Practicallynothing had been
you
said of her suffering,
though a good deal had been said
be
of her
fevered
effort to
religious-minded,as well
as her
delightin the romantic stories of Carey and Ouida.
Well, that is it,in the end; the thing is done indirectly.
surface
of her impressions is given and
The
conscious
is implied,with only here and there a discreet
vastlymore
there so convincing a renadmission
of more.
Never
was
dering
of what a man
might describe as the Daphnean furtheir
on
knees."
"
"
tiveness of
It is
not
The
us.
mind.
woman's
if the
as
author
fundamental
method
the
is that
admirable
of
assumption
author
should
introduction
in her
there
were
"Pointed
to
of the author's
statement
Miss
be
not
interpretfor
to
Richardson's
there.
May
makes
Roofs,"
attitude
clair,
Sinan
according to
this system.
handle
story, or
drama
must
She
as
she avoids
be. She
not
narration.
anything that
see
anything
in
character.
the
.
way
.
be
Henderson.
Miriam
that
not
must
be Miriam
must
situation
does
Miriam
that
set
or
And
the
She
not
know
does
not
other
scene;
there
she
must
avoid
thingsshe
wise, all-knowingauthor.
are
must
or
see
novelists
not
some
know
or
divine; she
...
are
She
is
divine
must
not
not
cerned,
con-
concerned, with
IMAGISM:
Miss
As
The
prevailingtense
was
practising."
imperfect."Miriam
"The
conversation
was
girls
growing boisterous."
down
all settling
to
fancy work." For this is not an
"The
were
but
the
account
of what
is
(little
said of her
Miriam
did,
of what
nor
school
nor
life),
that is
generallyof
even
what
like
active, too
too
of what
account
an
impressionswere
and
tastes
going
was
coming
touches
tastes
what
Miriam
life. And
feels
and
and
for the
are
aspirations
be put in words; they are
to
to
in the presence
through her moods
thoughts
reactions
to
German
As
by
for
to
Miss
most
in her
presence,
such life as
to
her.
part
be
of
talk, her
common
Gemuthlichkeit,
what
on
her, of how
to
after
was
ful
being a successher impressionsof
she thought. Even
heroine
taking a
is passive.
American
an
she
like
secondary aims,
she
389
have
virtuallyno narrative.
says, we
in Jane Austen
is not the preterite
as
Sinclair
Thackeray,
or
RICHARDSON
DOROTHY
too
Miriam's
tenuous
merely suggested
pathetic
beauty, her antipleasantreactions
etc.
Sinclair
ideals of
"
or
with
to
make
her
us
understand.
character.
She
humanly possiblewith
She
wishes
all
wishes
to
extraneous
do
to
away
make
as
us
far
feel
as
is
and
interpretation,
TWENTIETH-CENTURA
THE
39o
with
any
suggestionof
wishes
She
Miriam's
nature
of her
idiom
There
stylewhich
indeed,
upon
NOVEL
as
Miss
her/' and
is
Miriam
not
derson's.
Hen-
thoughts.
been
have
novelists
before
remarkable
her
for
have
defence.
It is
with
got angry
a
My
first novel
work
is my
about
the
people, which does not lie, and which has the smell of
the people."
and degraded types, he makes
In a portrayalof drunken
large use of the picturesque argot of the Paris streets,
his own,
but in the more
in passages specifically
not
tensive
exparts in which he is presentingthe characters' view
in talk or in their thoughts and attitudes
of things,whether
of mind.
Indeed, it is often
hard
to
determine,
in
have
do with is actual
what
to
we
given place,whether
hood
speech or the unspoken language of thought. Neighborject,
feelingand community opinion are often the subfrom
what
is said out
and one
loud
passes insensibly
is said in the heart; from
what
is said or thought
to what
on
a
given occasion to views habituallyheld. In a tract
ter
againstvice and the degrading social conditions which fosthink of assuming the tone
of the
it, Zola does not
preacher,or of denying the liveliness and colorfulness of
life
even
in such
vile conditions.
moral.
His
He
his story to
of eatingand drinkdescriptions
trusts
ZOLA
ing
and
The
AND
conducted
fightingare
of the whole
tone
HAMSUN
book
with
is
those
it
it from
save
with
vividness
the
the
and
its worst,
at
gusto.
reason
of life itself,even
of art, and
work
Rabelaisian
strongly tinctured
being
391
having
tality
viof
make
predominantly
depressingeffect.
impossible,in translation,to
technical feature involvingthe
a
vernacular
speech.For those who
It is
to
of
I suggest
the
that
there
thoughts,though in
foreign work which
Hamsun's
Zola's is Knut
most
in
lighterand
flavors
read
French,
less serious
suffers less in
"Growth
of
terms
justice
proper
intimate
cannot
of the Soil"
familiar
their
vein.
translation
is a story of
than
rendered
any
where
what
somepassages in Dickens
is used for dramatizing the ters'
charac-
are
method
same
do
than
(1917).This
even
more
stantly
con-
characters
speech.
are
good
ample
ex-
is rescued
last he
at
there
and
Silence.
Olline.
by
I will
quote
the
strains
Axel
away
at
the
tree
once
but
one
has found
more,
paragraph,
him
lifts it
shower
of snow.
Gives it up again
bringsdown a new
and
and sighs;he is worn
out
now,
gettingsleepy.There's the
be standing in the hut and bellowing for
cattle at home, they'll
a
food, not a bite nor
drop since the morning; no Barbro to
little,and
look
to
them
now"
Barbro's
no.
gone,
run
off and
and
gone,
with
her.
rings,gold and silver, taken them
But
Getting dark now,
ay, evening, night; well, well.
is freezing,
with too; his beard
there's the cold to reckon
soon
if
he
had
but
his eyes will freeze too
his
well; ay,
as
jacket
his
the tree there
and
from
now
leg" surelyit can't be
that" but all the same
one
leg feels dead now
up to the hip.
taken
both
her
STREAM
CONSCIOUSNESS
OF
393
of it is
acknowledged as
out, the meaning or bearing of particulars
vague, not worked
tual
not
clearlyapprehended. And in general the intellecand practical
bearingsof the whole experienceare left
made
much
And, then,
specific.
unstated;
the
even
in abstract
This
is
and
most
ideal of reticence
to
work
in
world
and
and
sensations
own
It has
thus
comes
heretofore
It is
been
It is
mean.
they live, a
the key.
not
it
that
life
that
gin
long before they bewhat
they want, preprecisely
cisely
feel, and, above
all, precisely
which
they have
believes
author
mood;
vagueness.
think
they
their
what
and
clearlyand
out
what
terized
charac-
seldom
are
to
particularly
ocean;
the
because
sensation
as
us
states
terms.
probably
to
comes
emotional
the
world
of
kind
of
dream
to
which
symbols
convention
of
story-telling,
for the sake of story pattern, to represent people as fully
conscious
voluntary actors, simplifyingand sharpening
outlines
order
in the
of truth:
dream
die
at
Of
life
unanalyzed
as
stuff. And
time
same
have
we
interest of dramatic
seldom
so
being
so
issues. Here
and
is
wholly
not
new
tiated
differenand
extremely natural,
novel, it strikes
as
us
realism
such
as
known.
there
and
timatio
inphilosophicalimplications
all along the line. Miriam
is, we
gather,on a
and
elusive shrine, glimpsed here
pilgrimage to some
lost to view. She is after something variously
there and
indicated, from point to point,as reality,
beauty, happiness,
the "shine on
things,"the "little coloured garden.0
She
waves
course
goes
didn't
of
to
town
are
on
an
realize,"was
errand, down
big enough to be
something real, something cool
road
which,
full of
and
waves
true
and
ple
peoand
un-
changing."In
the summit
since
of
she
thought
hill up which
Newlands."
to
of her
face.
.
cool
and
fresh
surgery,
endless
"
in "The
up
least
which
no
one
an
"
there
vestigeof
tumult
been
climbing ever
longer the
disgracesat only on
no
Deeper
down
was
endless
garden." In
"The
was
she
reached
has
the
something
something
tist's
the den-
mystic
same
been
that had
changelessand independent.The
would
destroyit. It was something
touch."
could
have
to
minded
She
Tunnel/'
here
experience."Up
made
she had
father's debts.
of her
seemed
garden,"she
rose
came
the muscles
NOVEL
TWENTIETH-CENTURA
THE
394
She
is
an
sential
es-
haps
in people'shearts. "Perhappiness hidden
away
that is why people in life are
always grumbling at
'annoyances'and things;to hide how happy they are."
ing
This "little coloured
garden" which she is forever seekand depher for the humiliations
to enter
rivatio
compensates
of her
can
only
enter
of
particularly
life. More
and
more
she
finds
that
she
of others, and
presence
it. And
destroysit,draws a film over
it alone;
men,
that
the
of
extremely important in any account
her Daphnean psychology.
This mysticalelement
has a strong
in Miss Richardson
family likeness to that of Virginia Woolf, who followed
her in the use
of the "stream-of-consciousness"
technique.
this, of
course,
It also reminds
is
one
of that which
often
recurs
in the work
of
more
May Sinclair. But in Miss Sinclair, it is much
and to be made
more
likelyto be stated in formal terms
obviouslythe subjectof the book. In Miss Richardson, at
least in the earlier books of the series,it is something that
from
behind
bushes
and
out
at
one
disappears
peeps
around
the corners
of hedges. Miss Sinclair follows more
the ordinary direct method
of narration, the method
of
statement,
But
one
definition, formulation.
might justas
questionof whether
the
phenomena
themselves
are
real,
IMAGISM:
the ideal
or
DOROTHY
which
essences
method
is the
more
RICHARDSON
underlie
395
phenomena.
intellectual.
The
It makes
dinary
or-
telligi
for in-
the direct
because
one
without
perience
ex-
indicatingthe
happy moods of young girlswithout sayinganything about
them. Her
descriptionof a girlsmoking her first cigarette,
in "Backwater,"
is not
merely a gem of delicate description;
it is a marvel
She was
of implication.
a
very young
wellof clear untroubled
girl,in a morning moment
"She
had chosen
self-supporting.
being; she had become
and
smoke
she was
to
smoking, and the morning world
compara
inof her dialoguesare
." Some
gleamed back at her
for the amount
of furtive suggestionshe can
has justreceived
her appointment
get into them. Miriam
She
teach. The
to
some
about
"It's all
"Was
are
Harriett
has
for Miriam:
news
"What
sisters
of
Saturday?"
right,Ted
was
at
the club/'
he!"
not:9
came
in
justbefore closingtime
and
straightup
to
me
and
where
ast
NOVEL
TWENTIETH-CENTURY
THE
396
you
looked
He
were.
him, and
I told
sick when
fagged."
Miriam
"It was
tenderly.
awfullyhot in town," murmured
She went
struck a note
to the piano and
very softly.
"He played a singlewith a duffer and lost it."
so
"Oh, well, of
"Yes, but
He's
he
course,
good
no
when
tired."
so
that. It
it wasn't
simply
was
because
was
you're not
you
there,
there.
weren't
He's
now.
fectly
per-
different."
Miriam
struck
her
"Listen, that's E
"Go
again.
note
flat."
on."
"That's
different
"Well,
in
chord
C.
don't
flat. Isn't it
Saturday?"
There,
of
making^laUoj^n^
sex,
tem-
Hemingway
^^
by understandHolic representation.
Only, Mr. Hemingway
confines
himself
so
rigorouslyto things said and done,
whereas
Miss Richardson
is constantlydriftingalong in
her character's stream
of consciousness, passingby natural
association of ideas from
ward
one
thought to another, backand
forward
in time, and crossingwith easy flight
all barriers of space and logical
classification.
Often
her heroine
item to item
is simply passingfrom
of her little store
of experience,dispensingaltogether
with
verbs and grammatical connectives, with a sketchy incompleteness
of expression.
Sometimes
in her thought she is addressing
people who are absent or referringto them in
some
connection
Sometimes
it takes
the emotional
remains
placesof
which
indefinite
the memory.
for which
she
nimble
connotation
of
wits
a
to
present
follow.
ence
experi-
can
she
find
no
is
on
word.
the track of
an
dark
pression
im-
STREAM
words
often
And
CONSCIOUSNESS
OF
found
are
much
397
expressivethan
more
the Fraulein
reason
some
and
Miriam
of
from
not
the
care
And
Lahmann.
Pastor
Miriam
drove
did
with
room
turned
"she
and
speechlesswaiting
eyes."
is hard
It
give
to
consciousness
of narrative
manner
less than
several
will have
to
do.
But
pages.
Miriam
is
want
Save,
Sooner
save.
the dark
it's
cool
Everybody
no
Air;
room.
has
we
air. Manna.
and
old
already.I've got
thee
it in and
much
running
behind
not
at
be
one
Sleep
keeps us alive.
me.
over.
as
it
full measure,
you want,
Wonderful.
There
.
somebody
goes
something left.
Somebody seeing that things are not quite unbearable
the pain, the pain all the time, mysterious black
but
.
pain.
hands
I commit
understand
if
thy
Into
You
.
to
the
breathe
As
begin. Why
givingthings,whatever
quotation of
saving must
I'm
presseddown
.
the
stream-of-
later
or
the
the
good.
of those
who
give everythingup.
if Flora is asleep?
I wonder
Get
settled. Go
That's
to sleep.
Harry,
once.
with
been
is
of
impression
an
of the
one
ones
to
my
nobody
In
spirit.
else does.
something.
manus
But
why
do
you
must
make
I be
me
suffer so?
As
for Miss
Richardson's
relation
the
imagistpoets,
sections from a chapterof "Honeycomb"
included
entire in an
almost
anthology
to
of free
and
French
man
Ger-
between
verse
kinship with
and
acquaintedwith
reader
verse.
schools of
her
NOVEL
TWENTIETH-CENTURY
THE
398
coteries who
other
once
made
will think
readers
world. American
literary
Fletcher.
and John Gould
of
stir in the
Lowell
Amy
buildingsrisingon either
side, feelingaway into the approachingdistance" anglessharp
softened anglesof buildingsagainstother
againstthe sky
anglessoft as crumb, with deep
high moulded
buildings
undershadows
strips
creepers frayingfrom balconies
the buildings,
of window
blossoms
scarlet,yellow,high
across
and white pouching out
along a
up; a confusion of lavender
of green creeper up a white painted
wash
a
dipping sill
and
front
house
Jbrightlight.
patches of shadow
scored
with broken
streaked
and
visible
Sounds of
near
things
lightas they moved, led off into untraced distant sounds
chiming together.
The
End
West
street
grey
...
...
of the
Most
imagistpoets
strictly
speakingimpressionists
for landscapeeffects,
realists in their concern
the passive
subjectionof their imaginationsto the inflow
But in their inspirer,
Ezra Pound, there is
of impressions.
intention and
a
strong suggestionof post-impressionist
is so much
He
method.
more
likelyto proceed from the
in an abstract compositiondisparate
idea and to assemble
and correspondingelements. This is often true of H.D.,
in physiwho
imagistthat she is deals so largely
perfect
"
"
were
"
"
POST-IMPRESSIONISM
399
in
verse
Mr.
are
Eliot's famous
poems
Waste
"The
to this subject
"Ash-Wednesday." I shall return
it here by way
in the followingchapter.I have introduced
and James
of suggesting,
that, while Dorothy Richardson
Joyce are both as different as they can be from the pre-war
type of novelist,and while they are the two great originators
of the "stream-of -consciousness" movement,
they proceed,
in some
polesof esthetic theory.For
respects, from opposite
ardson
whereas
Miss Richa post-impressionist,
Joyce is essentially
pression
is essentially
part and parcel of the general im-
Land"
and
in
movement
This
distinction,however,
and
The
need
not
be
is rather
instantaneous
learned
much
from
entific,
than scisuggestive
with too much
rigor.
maintained
post-impressionist
paintersdo
and
They
art.
break
their
not
with
represent
the
plete
com-
impressionists.
and they arpredecessors
PART
coraprends
On
si
composer,
"
EXPRESSIONISM
FIVE:
les
tous
qu'ils
differente
secrets,
presque
artistes
modernes
avait
qui
d^route
yeux,
d^couvrent
ne
nom:
1'ancien
de
invisibles,
la
"
les
tous
GUY
de
choses
ou
eut
temps
un
c'etait
quand
on
ne
les
fils
si
la
DE
et
si
minces,
par
certains
ficelle
unique
ou
on
Preface
MAUPASSANT:
"Pierre
to
critiques,
L'Intrigue.
"
II
les
employes
place
visible
proced"
souvent
pas
de
mani"re
semblable
qu'une
et
bien
reconnaissait
Fromentin
qui
reconnaissait
les
c'etait
Renoir.
"MARCEL
"Le
C6t"
de
les
peignait
quand
plus
Jean"
PROUST:
Guermantes"
et
XXXII
JOYCE
POST-IMPRESSIONISM:
J
OYCE'S
reaction
If it
books
it
of
out
sui
be
of
which
is
well-made
novel
it. \ The
spiritual
it its
to
the
waist
hang
to
pleasure
he
newspaper
there
is
interest;
makes
is
no
issue
such
has
with
an
no
class
403
on
friends
at
narrow
plot, gives
is
his
the
neatly
as
coat
in
tea
plot,
DedaTus,
his
identified
the
drinking
the
In
nated
subordi-
mofning
issue,
article
out
with-
some
plot^t
as
with
living; conducts
office
to
serving as a
fabriclwhose
psychical
talk
And
and
but
was
1910.
simply
framework
occurrences
the
it has
rather,
or,
limits
it
gentleman
But
novel.
reduced
which
issue,
study. Stephen
to
well-made
greatly
was
dramatic
of
the
that
"dramatic"
the
of
all.
at
and
Shandy/'
ingredient
of
and
everyday
school-teacher,
where
this
this
novel.
the
strictly confined
definition
of
which
plot
was
But
"Ulysses"
series
our
issue.
round
fitjed
In
the
plot
sharp
molded
feature
.the psychological
to
with
main
defining
of
thing
prose,
on
leave
novel
in
"Tristram
than
plot
narrative
definition
any
nature,
sense
proper
had
might
we
of
freak
any
fictitious
it lacks
plot,
in
hardly
of
being
as
novels,
obviously
novel.
the
it has
influence
in
break,
of
tradition
historical
well-made
the
complete
most
widespread
are
sure,
more
on
and
large part
the
account
our
is, to
hardly
for
which
generis,
It
entire
the
not
were
other
is
with
time,
the
complete
most
of
tendencies
main
it represents
Indeed,
novel.
our
the
against
the
(1922) represents
"Ulysses"
it is
texture
Irish
in
and
poet
the
school;
tower
visits
foot-and-mouth
written
disease
NOVEL
TWENTIETH-CENTURY
THE
404
Mr.
his master,
by
Deasy;
Shak-
discusses
tion
library;takes part in a conversastudents
in a maternity hospital;gets
with medical
with
and visits a bawdy house, goes home
rather drunk
before
and
takes a cup
of cocoa
saying
Leopold Bloom
tisements
for advergood night.Leopold Bloom, Jewish canvasser
spere
friends
with
and
scientist,gets breakfast
amateur
visits the
Marion;
a
in the
girl-friend;
goes
to
with
in connection
in the bar of
an
anti-Semite; sits on
a
bench
of
out
and
girl;goes
young
and takes him
home
sentimental
Nighttown
finds
letter from
office
funeral; visits the newspaper
ad; writes a letter to his girl-friend
hotel; is kicked
he
where
post-office,
has
with
by
Stephen
a
violent
flirtation with
mute
for
saloon
of
cup
Dedalus
cocoa;
to
goes
sleepwith pleasant
Bloom
indulgesin a long reverie in
thoughts.Marion
emotional
she reviews her own
which
historyand all her
relations with her husband, ending up with a vivid recall
to
his wife
with
bed
puts himself
and
to
In connection
of the firsttime
in
one
whole
The
way or another
record has the
to
the
most
to
many
with
persons
portant
im-
principals.
amazing air of reality,
"
"
action
to
do
or
no
so;
of another
of love
issue. No
one
commits
one
robs
bank;
by trickeryor
is almost
nowhere
protoplasmicphenomena
The
nearest
approach
murder
no
one
or
tries
to
feels
impelled
force. The
passionor sentiment
represented,in spiteof certain
of
to
sexual
character.
story is the
strikingup
of
"ULYSSES"
JOYCE'S
405
of
said
that the story reaches a sort
at least it has been
say
And
it is clear enough that the Bloomof culmination.
"
"
to
Stephen relation was intended to correspond somehow
the Odysseus-Telemachus relation in the Odyssey.
and
after all, the
But
acquaintanceship of Bloom
Stephen is but one of dozens of strands out of which this
web is woven.
the whole
multifarious
And, having in mind
be absurd to say that the rulingpassion
narrative, it would
is the craving for a father, or that of
of Stephen Dedalus
is no
There
the craving for a son.
Bloom
suggestionthat
the makings of a satisfactory
Stephen actuallyfinds in Bloom
father, and
very little
toward
feels strongly drawn
If
Leopold
to
Bloom
compensate
has any
in his own
which
oppresses
for
his
of
sense
assigned
is held, his
his
race
his
to
inability
command
But
her
Stephen
with
that
ment.
paternalsenti-
rulingpassion,it
mind
him.
for the
There
is
is the
"
scorn
ing
crav-
of inferiori
sense
plenty of
inferioritythe
Bloom
reason
in which
faithfulness. And
this business
action. For
indication
more
the
most
of
does
not
he
take
is very
the
busy "compensating."
"dramatic"
form
ot
psychological
voluptuous pleasures
"
"
reminders
NOVEL
TWENTIETH-CENTURA
THE
406
of his
own
makes
his recovery
Dublin, the world's
he
(allin his imagination),
futility
by imagining himself Lord Mayor of
greatest reformer,
emperor-president
virile power
future
after an
of
in
fascination
the
most
in
expensive repast
immediate
ment
private apart-
."
.
introvert.
is
He
I'homme
with
but
like
to
moyen
any
attached
middle-aged man,
pottering
and
amiable
an
scheme
practicable
his
forts,
com-
vided
unpro-
attainingsuccess,
another, expanding
for
unless
even,
and
is, in short,
Bloom
Leopold
that he
takes
to
think
well
of himself;
altogetherin day-dreams.
thing is true of Stephen Dedalus,
almost
out
Something of the
though his is a more
the wish
same
and
as
of what
he
at
about
him.
It is
true
that he is
stated
sees
that he is
his
poet
poet'sbusiness
of the Artist
as
time
for the millionth
"I go to encounter
Young Man0:
of experienceand to forgein the smithy of my
the reality
of my race." But this guidconscience
soul the uncreated
ing
if it is there, is quitelost in the hullabaloo
principle,
of his own
thoughts and the generalhullabaloo of Dublin
He seems
to have
life in which
he is so deeply immersed.
^NTROVERTS
the
is
tiller and
of ftieet and
lost control
this
is
too
in his
be
to
wind.
of
of every gust
sounded
distinctly
mercy
more
407
driftingabout at
of suffering
note
The
in Bloom's, but
than
case
hubbub
pot-house.
Perhaps his ruling passionis,like Bloom's,
well of himself. But Stephen also is
to think
introvert, and given to fantasyas a chief means
this need.
In
of the
the
craving
of
much
of
the best he
an
ing
satisfydo
can
is
his learned
disputantsa new
theory of the
cally)
personal psychology of Shakspere,or to smash (symboliin a bawdy-house. If Stephen Dedalus
the chandelier
sense
is,as has been with good reason
supposed, in some
sion.
modeled
on
important omisJoyce himself, there is one
of the
is little suggestionin Stephen Dedalus
There
force of character,
the mere
positiveorganizingprinciple,
that made
possiblethe writing of the "Portrait of the
to
put
Artist
We
on
over
as
are
Young
all familiar
They
and
their disabled
the
business
themselves
the
to
of the will
It is obvious
drama
the novel.
allow
Bloom
of
the shores
why they
to
"
what
to
be
fantasyand sensation.
Joyce is "subjective"to
do
hold
tofore
here-
sis
paraly-
upon
life
dispersedamong
One
this
of
lend
not
has been
under
take
not
Dedalus.
the Rotonde,
about
Laboring
themselves
and
and
of
the backwaters
narrative
scattered
are
action, they do
to
but
constructively,
the
people like
nightlyat the Dome
plot and
stapleof
"Ulysses."
with
hulks
world.
well
let alone
Man,"
result is that
degree never
fore
be-
known.
The
becomes
noticeable
in fiction,
subjectiveelement
when
interval occurs
between
as in everyday psychology,
an
the stimulus
and the resulting
to action
act. It is necessary
for the character
tween
to choose
"line," and the period bea
stimulus
and
action
results in
an
emotional
strain
"SLOW-UF'
THE
409
In its merely
of its magic, its poetry, its metaphysics.
physical
subject
which
of the
precisionthe movement
horse's
legs, the specialtechnique of the tennis-player.
combinations
of close-upand ralenti are found
Wonderful
of Charlie Chaplin and Emil Jannings.
in the masterpieces
ency
In the analogous procedure in fiction, there is a tendof the moment
the content
exhaust
to
presented,
with
follow
can
we
infiniteexfeangion of the
there is an
exact
of Smollett's, in
contrary
"Roderick
and
Pickle"
passage from
motion
like that
rapid
incident
we
have
in
is the
chief attraction
lies in
sense
of
For
the
automobile.
an
est
inter-
("Peregrine
incident, the
to
wise
other-
method
work
whose
Random")
swift
the
This
made
are
subjectivestate which
passedrapidlyover or ignored in the
and
of action
We
moment.
details in the
of many
would
be
aware
great
reader
and
that author
in
reader
lose
may
due
of the relation
sense
of
ence
feelingand thought to action, the behavioristic referof all subjective
to pass a
come
states, and so there may
of the psychological
tween
disintegration
complex, a divorce bemotive
But
to
now
and
conduct.
then
should
trinityof
is
and
we
so
to
have
proper
Motive,
action, appears
dominates
imaginary.
intention
is broken
inconsecutive
slightand
subjectivestates.
What
an
sensation-motive-conduct
cannot
reference
whose
author
is
precisely
What
we
psychologicaldisintegration.
have
in "Ulysses."The
we
expect is what
suppose
displaysuch a
the
that
it
down.
hardly counts,
behavioristic reference
which
in
is
weak
landscapeis
tion
Ac-
of the
largelyjudged by
and sickly
condition.
so
sensation
"
actual
and
The
NOVEL
TWENTIETH-CENTURY
THE
410
great
is their
James j oyce^
extreme
is the corn^a^aitive
want
jn JoycejoftheT"e(^difference
is concerned
tion,
hjmoristicjreference7He
very little with acand
very much
/ot Bloom
and
action
that he
with
what
ness
in the consciousgoes on
it is not to explain their
Stephen. And
displaystheir souls;
that interest
him
"
or,
it is their souls
selves
them-
with
of his
ever
the
elaborate
ture
struc-
is necessary, he thinks, to
of his character's experience.
But
This
personalstyle.
guarantee
the coherence
coherence
is
the
is
not
contrary, the
what
Joyce
hasty
is concerned
reader
/The
will
with.
conclude,
It
is, on
the
very
which
intdrieur,
height of incoherence.
monologue
and is the feature most
occupies the bulk of tms volume
devised to illustrate the freakfrequentlyimitated, seems
ishness and inconsequence of the subjective
process when
controlled
not
by some
practicalobjective.
strictly
jOne
leads
associations
that
off
another
idea
shoot
to
at a
by
of thought is overlaid and undermined
stream
tangent; one
of diverse streams,
which
to seep
sure
are
by any number
INTERIEUR
MONOLOGUE
roof
through the
flow just at
this welter
and
ear
under
that of memory
the confusion
doubles
what
the
of
the
still more
And
author
show
to
is for the
his
the
idea
formula
down
set
us
of
indicate
on
again,in
veloped
self-effacement, Joyce has deanother.
Once
it is unrecognizable.
point where
considerable
the
passages from
the section in
ses,"
"Ulyswhich
beginning of
pacing the shore and musing:
is shown
^Ineluctable
modality of
the
silent
The
ellipsis.
there
one
the
to
two
from
taken
Stephen
follow
thoughts
applying James's
Let
whatever
unwillingness
to
even
part carried
most
is the
the
us
imagination.
and
way,
of hiatus and
plausibility
point and
monologue
the
distract its
and
beneath
from
up
where.
to be gettingsomepoint where it seems
psyche which is defined by the continuityof
the compulsion of
to be passiveunder
appears
associations,
continuallyfloodingit with new
The
eye
and
well
or
411
the visible:
if
least that
at
no
more,
phane.
bodies
he
But
before
in bodies.
of them
coloured.
How?
he
was
Stephen
By knocking
and
closed
his
door.
eyes
shells. You
stride
can
you
are
put your
five
his
sconce
fingersthrough
Shut
to
walking through
at
time. A
nicelyin the
they do. My
dark.
two
My
ash sword
cliff that
crackling
it howsomever.
of them
aware
Go
sure.
Diaphane, adiaphane.If
wrack
Then
he was
and
i
millionaire,
easy. Bald
di color che sanno.
Limit of the diaphane in. Why in?
against them,
maestro
adds:
beetles
through very
Exactly: and
Open your
o'er his base,
I am
ineluctably.
getting on
hangs at my side. Tap with it;
are
at
the
end
of his
legs,
Am
Demiurgos.
strand?
them
kens
Deasy
I will. One
and
to
without
time
of her
has
she
navelcord, hushed
in
in
Edenville.
to
the
ruddy
strandentwining cable of
Will you be as gods? Gaze
on
Like
what
know:
in
puce
gloves.You
the
other
mou
belching cabmen.
prove
Mac
en
an
The
cords
From
relict of
Cabe,
is
with
were
et
One
from
trailing
has
brought
dress
simply must
we
to
here.
one.
mind
the character.
student, weren't
you?
Paysayenn. P.C.N.,
you
devil's name?
naturelles.
Aha.
Eating
your
of Egypt, elbowed
civet,fleshpots
Just say
in Paris, bouV
to
in the beach.
misbirth
something
hat. God,
of
one
physiques,chimiques
groatsworth
tickets
wool.
quarter
want
ing
Algy, comlourdily
swung
in your
pages later,when
his student days in Paris:
Latin
be
like
me,
bag?
few
My
shall
ever
Cabe,
sisterhood
me
and
Mac
nothing. What
Put
all vanished
adiaphane.Basta!
you:
our
was
Has
moment.
Number
mighty mother.
midwife's
bag, the other's gamp
poked
Mrs.
Florence
the
lor
liberties,out
day.
down
Of
mare.
down
came
splayedfeet sinking in
the
the
of
tetrameter
end.
Frauenzimmer:
her
catalectic
in the black
forever
all the
There
without
They
Dominie
money.
the mare?
now.
your eyes
now.
sea
Sandymount,
Open
world
to
come
you
Madeline
iambs
Los
a'.
Won't
Rhythm
of
mallet
the
by
eternityalong Sandymount
into
walking
made
solid:
Sounds
nebeneinander.
See
NOVEL
TWENTIETH-CENTURY
THE
Mich',
in the
I used
alibi if
to.
most
natural
Yes, used
they arrested
you
tone:
when
by
I
carry punched
for murder
someto
INT"RIEUR
MONOLOGUE
where.
1904
the night
On
Justice.
the prisonerwas
seen
by
it: other
nose.
With
dispossessed.
fellow
were
you
You
did
seem
mother's
order, eightshillings,
money
slammed
banging door of the postoffice
Encore
deux
usher. Hunger toothache.
Hired
Must
dog! Shoot him
get. Ferme.
spatteredwalls
bang shotgun, bits man
placeclack
all khrrrrklak
in
hands.
See
Shake
in your
I meant,
hurt?
Not
see?
bloody
all brass
by
the
clock.
Look
minutes.
to
face
bits with
buttons.
O, that's all
Bits
right.
hand.
You
what
back.
get:
like? For-
walk
trying to
the
after
February
enjoyed yourself.
of
seventeenth
witnesses./ Other
two
me.
have
to
of the
413
going
were
do
to
wonders, what?
Fiacre
fieryColumbanus.
in
Scotus
on
to
their
Europe
creepy-
their
spiltfrom
heaven
and
Missionary
pintpots,loudlatinlaughEnglish as you
ing: Euge! Euge! Pretending to speak broken
dragged your valise, porter threepence,across the slimy pierat
Rich booty you brought back; Le Tutu,
Comment?
Newhaven.
of Pantalon
Blanc
et Culette
five tattered numbers
Rouge, a
French
blue
telegram,curiosityto show:
stools
dying
"Mother
The
thinks
aunt
father.
home
come
you
killed
your
mother.
That's
why
she
won't.
section
The
with
is
is
no
from
which
of what
statement
dicatio
doing. We are left to gather that from infarther along. We
told that Stephen
are
never
engaged in tryingout the principlesof Aristotle's psychology
or
what
he
with
from
the
terms
is
of those who
know."
We
phrase for Aristotle, "master
words
that Stephen had been
gather from certain German
commentators
studying Aristotle by the lightof German
German
or
metaphysics.The old women
walking on the
in without
beach
come
introduction, and they bring with
of the mystical motifs
them, without
explanation,one
which
of life since
connected
number
"
establishes
Eve
and
"
left
are
we
nuity
conti-
the
figure
to
be
demand
to
Stephen's whimsical
(by telephone,as I take it)with Edenville, whose
No
is naturally nought, nought, one.
glossaryis
best
as
Mother
the "strand-
Stephen
cable
entwining
out
reflections of
through the
run
NOVEL
TWENTIETH-CENTURA
THE
we
furnished, and
of Greek
may
and
back
thrown
are
we
and
German
our
on
French.
edge
knowl-
own
We
not
are
formed
in-
in
the
who
"you"
Paysayenn
is
an
and
second
in
person;
Paris carried
alibi
was
with
the murdered
so
we
punched
that
assume
tickets
the
to
an
prove
that the ^hootingof a post-
man
the
in
when
she asked
thinks
he
won't"
.
killed
.
of
matter
Stephen; but
as
any
most
refused
faith,had
him.
his
whatever
to
kneel
It is for this
and
mother,
it is she
won't.
importance in
supreme
it is slippedin in the same
down
reason
and
that his
"that's
This
the
pray for
why
aunt
she
is, I suppose,
motivation
incidental
of
fashion
circumstance.
trifling
Now,
let it be
stated
at
moved
is simply carryingone
that, in this
once
by
mere
cantankerous
step farther
that
manner
of
caprice.
of
disposition
THEORY
LITERARY
the
author
noted
have
already,in
made
had
keep
as
involved
clear
out
in the
picture which we
"dramatic*'
tendency.And
of the
of the Artist
Portrait
"A
a
himself
to
415
as
Young
statement
he
Man,"
which
completelyrealized in "Ulysses."
there settingforth for his friend
was
Stephen Dedalus
Lynch the distinguishingfeatures of what he calls the
forms.
The
the dramatic
the epical,and
lyrical
lyrical,
mediate
form
is that "wherein
the artist presents his image in imhe
relation to himself"; the epicalthat "wherein
be
to
was
much
so
more
form
in
itself
as
of
personality
The
and
out
esthetic
He
dramatic
fluid
and
regard the
being the final
to
seems
or
cadence
or
lambent
narrative, finallyrefines
of existence, impersonalizes
itself,so to speak. The
then
image
projcctcdfrom
like that
others."
to
the
progressive,
literaryevolution.
three
mood
relation
in
the dramatic
the
human
of material
is life
form
imagination.
creation
is
above
his handiwork,
purifiedin
The
mystery
accomplished.The
within
or
invisible,refined
out
behind
and
of
rethetic
es-
artist,
or
yond
be-
of existence,
it is no
bent
for
riddlingand teasingwhich
those painstakingexplanationswith
leads Joyce to omit
which
it has been
to
guide and enlighten the
customary
reader. It is the desire to "present his image in immediate
relation to others," getting rid of the personality
ofthe
mere
autJiDr,that colored
medium
itself between
same
passionfor
itself which
Last
Setebos."
And
the
has
been
wont
to
terpose
in-
the
pure
directed
Duchess," "A
which
Tocatta
of
Galuppi's,""Caliban
obscurityof Joyce has the same
upon
origin
VARIED
idiom
and
STYLES
IN
"ULYSSES"
417
dialect of his
thinking,strangelycompounded
and the hard
dreaminess, scientific speculation,
matter-of-fact of the small
he gives
business man.
When
of Oriental
us
of
logicalor
division
other
of
rhetorical
and
sentence
distinct
coordination, without
suited
manners
leadingcharacters,or of
lump.
There
is the styleof
assault
Bloom
on
in
styleof
I
phrase.And
bar-room
D.M.P.
the
at
time
of
of Arbour
corner
the
in the
makes
the
loquial
bar, the livelycol-
narrative:
was
dozen
taken
patriotwho
Kiernan's
Barney
are
of characters
that Irish
the
even
of
personalities
the
to
groups
there
trace
day
with
hill there
old
and
of
Troy
damned
be
the
but
bloody
came
his gear into
drove
along and he near
sweep
around
the weight of my
have
to let him
my
eye. I turned
when
who
should
I see
tongue
dodging along Stony Batter
a
that
see
bloody chimneysweepnear
his brush?
So
...
sure
enough
confab
owen,
himself
lie
turned
we
the
was
with
and
I. How
into
are
you
shove my
Barney
what
the
out
eye
Kiernan's
waiting for
blowing?
and
Did
with
there
having a great
mongrel, Garry-
sky would
drop
in the way
of drink.
There
bathos.
There
of babble
and
drinkers."
Each
conceived
by
jected"upon
one
the
the
within
are
innumerable
tumult,
Rabelaisian
of these characters
artist in
screen
behind
whisky-inspired
sages
pas-
his
"discourse
and
scenes
imagination
of his work,
while
he
and
of the
has been
"repro-
himself
mains
"re-
or
or
418
THE
himself
TWENTIETH-CENTURA
into that
Dedalus
is
But
figure.
dramatic
James Joyce, it
author
seated
his
Whatever
no.
is
If in his ruminations
has
passedthrough
of
Huysmans.
or
pacing
the
in
music-hall
on
him
It is the
sands
crowding
he
produces
re-
the mind
at
his author,
at
Flaubert,
origin,even
NOVEL
with
with
styleof
the
vague
and
memories
pell-mell fragmentsof
"
refrains, sewer
smells
and
of Newman,
worthy
a
fuddled
poor beintention
sensations
Aristotle
midwives
with
and
their
black
verse.
way
that ideas
them
out
"\And
once
we
"catch
on,"
to
sort
intended
us
we
to
associated
in the
before
the author
run
and
them
set
get used
have
casual
an"J incoherent
takes them
in hand
in order.
with
contact
ordinarynovelist
author's
found
in
subjectis
the author's
even
And
seem
style,and
embedded
firm
matrix
of
is redolent,
of the author's
willy-nilly,
I
n
gaged
personality. Joyce the subjecthas been disenfrom this setting,
this matrix, and exposed by itself,
at the cost
of its falling
to piecesfor want
of support.
fallingto pieces,as I have said before, the characters
to
be.
with
it to
ters,
degree the psychicalcoherence of the characwhat
is left to hold
together this great amorphous
and give it form?
mass
It is here that Mr. Stuart Gilbert
is indispensable,
with his detailed account
of "Ulysses."
Mr. Gilbert has shown
that Joyce has a principle
of or-
"ULYSSES"
IN
DESIGN
419
ore
in the
most
secret
rifts and
veins
of rhetoric
and
dozen
related
what
notions
from
Zurich
and
Vienna.
necessary
to
most
the
needs
motivation
of character.
So
goes,
"
far
as
play
fiction
of the
the element
THE
420
TWENTIETH-CENTURY
NOVEL
in
This
knows, indifferent.
is
miss. He
to
something that Mr. Gilbert seems
takes so seriouslythe theme
of metempsychosis, for example,
that of the mystic omphalos, never
or
suggesting
that Joyce may
have been
writing with his tongue in his
cheek. And
he does not, I believe, bring
up the question
of what
point there may be in making this silly
pedestrian
of
Bloom
day
with
to moment
correspond from moment
the glamorous return
of Odysseus. The
point of this juxtaposition
of contemporary
Irish futilities with heroic Greek
adventure
is obviously the ironic
of rary
exposure
contempoIrish futilities. But never
does Joyce interposeto make
his
as
point.And
an
author
to
into
the
woven
who
of
do
There
not
It is true
sentimental
of
set
and
has
he
resort
to
his
personalstyle
developinga
everywhere
does
never
themes.
As
for the
author, he
is
nowhere.
been
that he
deal
realist,if that
is
moral
of
talk
about
Joyce'srealism.
means
that he
has
no
and
subtle
transcends
dimensions
or
book
to
entitled "Axel's
realism
of
ax
by
literal
Castle." In
techniquehe
confininghimself
of life. He
transcription
not
to
the
three
takes liber-
BEYOND
ties with
for
example,
REALISM
labeled
fantasies,as realism
tatized
into
appears
takes voice to
Orlando
technique of
(thatin which
the
by
require,but
The
scenes.
Scotch
his
has
pointed out
"gigantism" in
the
the
is driven
Bloom
of the
Bella's fan
Bella
turns
VirginiaWoolf's
appropriatenessof the
episode of the Cyclops
of
out
Kiernan's
Barney
is this
What
"citizen").
antisemitic
hypos-
End
and
of the page as
in his sleep.
sex
not
are
are
accent;
reproachesto Bloom;
utter
changes
Gilbert
Mr.
with
man
in the middle
Bello
into
as
episode,
Dedalus
and
would
figuresand
dramatic
Circe
Walpurgisnacht or
fantasies of Bloom
the
World
421
gigantism?It
ironic
an
stand
Dubliners
soused
day: the
of the
disease, the
at
the
bar
and
discuss
Paddy Dignam,
language, and their
Irish
gether
alto-
poor
the
topics
the foot-and-mouth
of
death
is
drinks.
And
where
some-
weird
a
Eternitythere comes
lightto throw
their shadows
len,
swolsome
monstrous
on
apocalypticscreen:
of mythical heroes, carrying
as
misshapen shadows
plicatio
in pantomime on
some
out
prodigiousscale the ideal imof
out
But
actual
is
scene
given
of the anonymous
pot-house vernacular
narrator,
includinga literal citation of what was said by the persons
then at frequent intervals, without
warning,
present. And
of
in
mock-heroic
and
variety
paragraphs,
every
appear
parody, in which the actual speech or act is presented in its
the
in
is
Here
ideal
form.
event
precedes the
And
came
and
brief
example
swiftlyin, radiant
him
there
bearing
the
lady wife,
Little Alf
dame
of
the
ideal
actual:
behind
in which
of
sacred
scrolls of law
peerlesslineage,fairest
Bergan popped
in round
and
comely youth
tenance,
gait and counwith
of her
the door
and
him
his
race.
hid
behind
NOVEL
TWENTIETH-CENTURA
THE
422
followed
the last
old
and
of it
value
from
limb
him
lo, there
When,
limb.
of him, I
out
chariot
Him
bloody
for all he
in its
scene
ality
actu-
rounding
to
the
corner
the
bloody mongrel
bloody well worth to
five! Jesus,he took the
promise you.
them
wherein
all
He
as
brightnessand
great
stood
ascend
brightness,having raiment
car
was
Hundred
about
came
split.
and
gesticulating
after it with
tear
it
sheepfaceon
woman
transcription:
the
was
saw
we
would
of the whole
its ideal
by
wretched
him, unfortunate
is the conclusion
here
And
after
hotfoot
the wife
and
to
in the
upon
of the sun,
heaven.
fair
as
the
glory
moon
and
Donahoe's
over
awe
in Little
Green
Street
like
shot
off
shovel.
So, like
added
this
to
the
"Work
with
three
dimension,
the
dimensions
of the
actual
to
make
cited.
When
it
comes
in
devices
might be
Progress,"the fourth
the dream
the
most
symbolism
of
equivalenceof
state
of mind
mock-ideal
dimension
there
set
different
is
forth
shadow
is
up
i
nstances
of
fourthstriking
Carlyleanequation.Other
dimensional
For
fourth
periodsand
everywhere.
is
compatible
spaces. In
a
to
sort
the
of ideal
and
settings,
POST-IMPRESSIONISM
different characters
many
into
is the
Land,"
as
he
poeticalmethod
explainsto us
historymerge
Sailor,and
Prince
the
riddle
of
two
actual
Naples,so
in
in
novels
"Cantos,"
than
Hart
Wednesday"
all the
into
women
to
it in the
many
"The
lightof
ways,
contemporary
"The
Waste
the
"
Bridge," and
us.
concern
of
hint
quite
prove
Ezra
an
the
makes
resemblance
poems
is the
as
novel.
nand
Ferdiwoman,
one
as
one-
cian
Phoeni-
from
Tempting
that it would
Waste
the
are
life such
"Ulysses."So
Crane's
and
melts
unprofitableto consider
"Ulysses"we have, in
other
"Just as
wholly distinct
three-dimensional
substantial basis of
notes.
in Tiresias."
meet
of "Work
slice of
in the
sexes
in "Work
of T. S. Eliot in "The
seller of currants,
eyed merchant,
For
and
myth
one.
This
and
from
423
in
Even
less
to
Pound's
Eliot's "Ash-
Land."
way
His
Truth
of
aim
is the whole
is truth
burden
of
representation
his literary
criticism.
in the
of
nature.
very
XXXIII
THE
BREADTHWISE
CUTTING
T
JL
leading
HE
monnayeurs"
Edouard,
character
("The
who
like
the
among
this
book,
"A
is the
slice
of
this
in
the
school
and
time.
The
down
of
has
human
are
his
about
his
Faux-
"Les
and
figures),
in
intentions
slice
of
confined
he
day
into
for
the
this
has
breadthwise,
novel.
in
in
another
narrative
the
want
been
said.
of
plot.
to
and
Dignam
elements
in
the
It
The
is
are
philosophically regarded.
Every
moment
Every
moment
dies
one
4*5
man,
is born.
the
tute
substi-
one
tute
substi-
other
the
and
for
As
of
parturition
plot; they
day,
one
breadthwise,
cutting, comprehensiveness
Paddy
plot
no
direction
the
psychology, depthwise.
has
"Ulysses."
has
He
lengthwise.
entire
Understand
all.
done
spread wide,
has
direction;
same
at
mistake
great
not
cut
into
one
his
in
Why
to
not
life
The
school.
Joyce
following
offered
life
say
everything
plunge, enough
not
he
lengthwise.
is what
way,
far
of
which
always
prefer
get
breadthwise
funeral
Purefoy
that
depthwise
is
to
has
He
plunged
incidents
within
he
cut
its slice
time,
me,
like
not
involving
of
of
this, in
to
in
naturalist
the
cutting
for
As
I should
has
has
(entitled
self.
him-
Gide
on
following:
direction
Now
He
is
book
he
of life," said
depthwise?
me:
the
things
novel
named
novelist
modeled
respects
many
writing
monnayeurs,"
is
Faux-
"Les
Gide's
Counterfeiters")
is in
is
He
Andre
in
two
of
view.
Mrs.
poles
THE
426
NOVEL
TWENTIETH-CENTURA
these
two
inserts
section
in the midst
of the
hundred
cession
people are shown, in a sucof fleeting
each one
teristic
glimpses,
occupiedin a characof the afternoon.
And
while
way during the middle
and
in along with their fellow
Stephen do come
book
Bloom
some
they seem
they are
This
render
of
no
more
is so
casual,their stay
importance than
any
so
short,
one
else;
"ULYSSES"
427
takers,
lovers, policemen,underpriests,
are
lawyersand shopkeepersof every
sisters of Stephen Dethe young
are
of their tightout
squeeze a penny
fisted father. There
is Paddy Dignam's son
buying pork
list for
chops,and Martin Cunningham circulatingsome
ing
discussThere
is a bicyclerace, and there are men
charity.
and Hamlet.
horse-races, politics,
all these tilings
And
are
going on simultaneously.The
chapteris divided into nineteen sections. Each section is
devoted
one
primarily to the doings of some
person or
There
occupations.
There
typists.
There
description.
dalus, scheming to
But
group.
into
are
each
section
reference
is intruded
to
the
meteor-like
the
on
across
races;
Rochford's
the
young
and
ting
talk of bet-
Lenehan's
from
woman
suburban
in
this way
before
in the section devoted
Joyce undertakes
breadthwise
cuttingof
to
the
they have
to
been
properly
them.
time.
His
straightacross
the
all
gristle
in
the lean.
In
moment.
same
all his
the
the
fat, and
with
slice with
one
has
he
And
larded
lean
the
laying bare
moment,
present
meat,
NOVEL
TWENTIETH-CENTURA
THE
428
section
the eleventh
we
are
present
between
conversation
follows
detailed
with
of
account
reference
earlier mentioned,
to
the
three
some
who
now
of this "cavalcade,"
progress
four
or
dozen
in succession
watch
persons,
the
It may
Woolf,
the
the works
anxious
seem
of these
two
writers.
her
James Joyce
difference
But
Mrs.
of
Woolf
slice of life
Virginia
tonalityin
to
has
been
depthwise and
breadthwise.
fundamental
And
there are
points of
many
and
likeness of her intention
technique to Joyce's,especially
in "Mrs. Dalloway" (1925).Like "Ulysses,"
this book
is confined
to less than twenty-fourhours1 time, and
to one
city(London).Like "Ulysses,"it is greatlytaken up with
as
as
Joyce
to
cut
the
of
of consciousness
stream
AY"
D ALLOW
"MRS.
two
or
429
no
his book.
of the
One
the
incident
Clarissa
of the
has walked
the flowers
her
most
for her
imitations
royal automobile
in "Mrs.
over
from
her
West
party, followingthe
While
absorbed
of
Joyce
is
Dalloway."
End
home
to buy
whim
of
butterfly
in the loveliness
in
flowers
of her
the way.
thoughts by
of the
curious
we
have
now
way's consciousness
of
rumor.
We
learn
left the
and
what
are
narrow
circle of Mrs.
floatingaround
humorous
remark
on
was
the
Dallo-
wings
made
by
NOVEL
TWENTIETH-CENTURY
THE
430
mind.
with
its wake
crowd
around
the
follow
We
down
car
St.
James's Street,
We
join die
curiosityand patriotism.
Buckingham Palace and are privy to their
of
thoughts.
The
the
lived
Prince
morning
down
and
foot up
her
Pimlico, but
in
Coates
ranged
innumeiable
and
could
be
this
by
of
past" poor
War"
Mr.
with
unsealed
sort
her
in her
she
by
were
tipping
arms,
her
the
housemaids,
Joined by
fender
own
Bowley,
who
bedrooms,
the
elderlygentleman with
occupation,the crowd
an
without
men
had
in
rooms
the
the
Albany
of life but
deeper sources
suddenly, inappropriately,
sentimentally,
over
wax
thing" poor
nice
women,
women
little
actuallyhad
tut-tut"
baby
along in
come
her
innumerable
Little
sealed
was
the
over
terrior, by
increased.
might
bedrooms.
Aberdeen
an
with
though
as
keeping
the
housemaids,
he
to
Bletchleysaid
Sarah
So
James's;but
St.
at
tears
The
.
car
go
the
came
on.
Suddenly
aeroplanebored
have
We
occupied
has
pages,
moment
farewell
as
well
faded
to
as
out
to
of
of
an
the
ing
Bletchleyand a host of others we are watchthe plane and tryingto see what ad it is spelling
in
out
smoke.
The
Smiths
are
looking up too, from their seats in
Regent's Park, the two of them pursuing their separate
Coates
and
bid
sound
up in the sky.The
into the ears
of the crowd.
looked
ominously
now
ten
for the
Coates
Mrs.
Mrs.
CUTTING
BREADTHWISE
THE
431
the
"
this: what
life
like
seems
sensation
broadly,the
more
strayingrather
day
of
Or
in London.
being alive.
and
haps,
per-
She
for that
must
vated
culti-
of fashion
of
woman
far in
fine
on
planning to give a
imagination,capableof
don
the lighteraspects of Lon-
some
fancy over
life.
the author
But
is
friends.
realizes how
implied
She
in
needs
whose
tragicnote,
narrow
Clarissa
Dalloway,
Septimus Smiths
the
breath
comes,
indeed,
of
experience
family and
bring in the
range
her
to
to
when
Clarissa
Dr.
In
Woolf
her
prefaceto
leaves
Septimus
"double."
The
this
did
party in the
"Mrs.
still
us
Smith
end; but
her
at
not
at
first intention
was
happily
was
to
abandoned.
have
was
Library edition
her
introduced
Clarissa
idea
to
kill herself
in
be
or
the
Mrs.
book.
Clarissa's
die
at
the
its values:
Christian
ILLUSION"
WORLD'S
"THE
money,
is at the
433
luxury, social
power,
opening
The
esteem.
son
exemplar
is beautiful, athletic, companionof the worldly life. He
able,
and
pleasure-loving,
always firmly and graciously
all unpleasantness
from uglihe turns
selfish. From
ness,
away
effort,from suffering,
sickness, and
poverty, mental
death. His intimate friend is the aristocratic worldlingand
"
bon
her
Bernard
Crammon.
daughter
Letitia he
viveur
the critical
at
he
which
her
Toward
is
strongly drawn
charm
of sentiment
sees
Sorel, and
the
and
Crammon
whole
hem
while
and
group
of her
of
of
ment.
move-
ugly
an
dress
"
is fascinated
he
follows
gitimate
ille-
because
he is repelledby
moment
crawling over
evidentlya symbolic toad! For a
toad
Crammon's
in her
wealthy
by a
train, along
and
cratic
aristo-
men.
his
But
deaths
Christian
name
among
is
prophetic.A
instances
of
series of
tragic
misery,suffering,
of complacent
degradation,pierce at last his armor
selfishness. The
problem of sufferingand social
hind
injusticebegins to weigh upon him. He begins to see bethe painted scenery of the "world."
And
from avoiding
the unpleasantin the moral
turns
world, he now
to it
and
with
moral
certain
Somewhere
seems
to
fascination.
in the
feel,lurks the
of
secret
of the
universe;
any rate
the circles of hell
at
livingdown through
which
are
graduallyrevealed to him in the world of poverty
crime.
Instead
of the complacent worldling Cramand
mon,
he takes for his friend a sort of renegade theological
student, the perverse growth of cruel surroundings and a
of sin,who rewards his kindness
morbid
with spiritual
sense
treachery,and, so far as he is capable,proves his Judas.
Christian
later gives up all his possessions
and
becomes
of medicine
in Berlin, livingin the most
crowded
a student
and
takes charge of a wornHe
disreputabletenements.
NOVEL
TWENTIETH-CENTURY
THE
434
whom
Karen
Engelschall,
prostitute,
pitiable
simple courtesy and forbearance, and with
out,
with
he
treats
unaffected
friendliness.
makes
He
of the
confession
and
act
its motives.
He
does
in any
not
while
is
It is
there
all
work
many
obvious
leaves
father
Dostoevski's, but
there
like
Alyosha of
Myshkin of "The
much
the
with
Christian
reminders
is very
Prince
Amadeus
Christ.
follows
and
mother
The
are
his soul. He
its "illusion";
at
modern
Buddha,
is
and
Christian.
not
Christian
the "world"
language
saved
is entire
This
such
no
has
that he
and
repudiationof
final
makes
but
to
presume
way
part
same
Idiot."
as
in
and
Dreams
"Crime
Karamazov,
and
holds
visions
play
Punishment."
conversations
the
that of certain
method
tian
by which Chrispsychological
is stronglysuggestiveof
murder
mystery
characters
in
more
than
one
novel
of Dos-
BREADTHWISE
THE
toevski. Most
recurrent
of
who
persons
criminal
stood
him
and
poverty
rich, not
to
distress,and
speak of
to
race:
mind
to
dancer,
tezan,
cour-
perhaps
that
is
Raskolnikov
is himself
her
professionin
But
what
For
she
and
lowest
In
order
he salutes
is, in
in her
some
thing in
technique
of
different
from
the
is
seen
interest
the
of
sense
driven
to
world."
novels
of
they
as
Wassermann
like
are
in the Russian
Dostoevski
how
central
character.
Illusion"
intrigueand
true
Sonia
that
been
offer
dramatic
tense
the
"The
are
them
is
stronglythroughout
one
part of a book
upon
man"
and
"The
World's
plot,in
the whole
the
is
the
like
always
have
has
to
her
is her
Dostoevski's
There
tone.
spiritual
close-knit plot.We
concentrate
who
keep
sense,
and
murderer,
nature
to
vilest
point
where
Punishment,"
the
in
of the noblest
woman
as
honor
of
sorrow"
and
"Crime
that
one
prostituteSonia
It
humanity (asCarlylecalls it).
does
Raskolnikov
"divine
is in
her
Hein-
There
are
perverse seeker after power.
incidents
in Dostoevski, but
the
such
comes
in
Niels
and
several
the
even
Kroll
Frau
the murderer
to
even
Eva
before
kneeling down
the misery and
for
the
degradation of
is the
in
Christian
to
435
resemblances
strikingof
gesture
CUTTING
in
and
likelyto
greater
Goose-
relativelylittle
issue. There
are
stories are
characters
whose
carried along with that
many
of the principal,
though not closelyinvolved with it in a
plot.In
"The
off
dreadful
World's
Illusion"
there
is
Letitia,married
Felix
bands,
Imhof
purpose
and
to
or
discontent.
all
is seldom
sections
these
of
more
or
in
from
apart
without
being
characters
is
and
those
nothing
in
is
Wassermann
so
much
human
bits
placency
com-
of
these
progress.
from
anywhere
than
tian
Chris-
of
two
three
or
those
by
destinies
or
of
of
have
nature
to
give
in
in
one
far
flown
of
a
its
the
finding
are
pf
their
breadthwise
of
this
the
histories
composite
and
dealings
with
way
to
And
its
through
of
of
relate
connected
comprehensive
the
going
are
alternation
not
spiritual
makes
cutting
concerned
way
"illusion."
plot
ning
run-
their
who
of
fogs
as
that
private
through
souls
third
all
up
solution
right
clear
evidently
group
as
of
who
definable
are
is
keep
to
numerous
astray
it
interest
the
more
we
volume,
history,
in
chronicle
more
souls
a
properly
before
is
the
farther
and
second
the
whose
toward
surely
problems
since
worldly
interrupted
evidently
between
and
farther
of
sections
And
whose
his.
contrast
slowly
number.
Voss
Christian's
of
short
through
intention
The
into
pursued
the
sandwich
line
Amadeus
characters
phases
to
the
along
thirty-four
to
ten
is
is divided
chapter
Each
other
many
various
the
system
stories
of
of
Lorm;
actor
and
show
is
Wassermann's
various
the
Schontag;
Johanna
and
NOVEL
TWENTIETH-CENTURA
THE
436
"world's
pearance
apthe
subjects
the
a
in
slice.
private
a
plot,
view
illusion."
of
XXXIV
DISCONTINUITY:
V,
similar
ERY
is that
of
John
Whether
Dos
mind
was
actually acquainted
not
know;
Dos
no
and
it is
equally
"Manhattan
and
"The
well
as
of
to
if
not
Herf
times
the
not
Stan.
there
World's
is here
dramatic
to
speak
is
even
issue.
the
of her
nothing
with
the
slice
the
period
the
lawyer
with
murder
the
and
drawing together
events
Ellen,
Jimmy
politician
to
Harvard
of Ruth
mystery,
from
War,
major
heroine,
as
passing
World
Oglethorpe,
affair
like the
Illusion"
of the
and
The
the
was
lengthwise
writing. Many
to
out;
came
World's
heroine,
actor
clair
Sin-
discrimination.
covers
its attendant
less
first
in
liant
bril-
most
Transfer"
his
the
the
century.
book
recorded.
and
man,
Illusion,"
there
a
to
of
date
"
of
Bill),through
actually
newspaper
Baldwin,
But
the
of
"The
cutting
of the
York
married
and
note,
originality
"Manhattan
narrative
birth
"modern"
one
the
resembles
The
roughly,
implied,
of
in
New
when
generosity
Gooseman"
Greater
is three
this
Transfer"
1898 (date of
down,
into
his
to
is
novels
review
breadthwise.
the
are
American
work
the
twentieth-
the
of
want
Transfer"
appreciated
of
stressing the
insinuate
to
enthusiastic
credit
it is
of
with
well
was
features
way
"Manhattan
Lewis
about
by
original
his
take
may
characteristic
sense
Passos.
and
we
(1925).
acquainted
for granted. If I mention
in
of keeping
by way
he
that
possible influences,
novel,
in
and
I think
certain
century
Transfer"
in "Manhattan
Passos
"Ulysses"
Wassermann
of
Passos
I do
these
formula
narrative
Dos
of Wassermann
with
the
to
PASSOS
DOS
JOHN
and
of the
man,
in "The
in
eral
gen-
threads
NOVEL
TWENTIETH-CENTURY
THE
438
main
Another
point of
resemblance
to
Gooseman"
"The
systematicalternation
and
for a purely philosophical
of groups
of characters
esthetic effect, without
regard for plot.In several ways
than
Transfer"
this effect is more
pointed in "Manhattan
of Wassermann.
To
in the work
begin with, there are no
sections in sequence
two
dealing with the same
persons.
of
in
made
The
siderable
conWassermann,
a
chaptersare
up, as
number
of sections, but in passingfrom one
tion
secto another
we
are
always passingfrom one group of
social milieu, to another, as in the paintings
persons, from one
"The
and
of
L"ger
more
either
Transfer"
Thatcher
or
with
and
contact
correspond
Mr.
Bowleys
to
and
poor
years of
old man
crowd.
of
and
he
years
poor and
until at
whatever
with
New
to
do
off
with
of. These
is, for
to
about
the
ple
peo-
Bletchleys
Korpenning
who
after
killed
lose himself
ample,
ex-
in
the
the
the
miserable, and
last,about
heard
never
Bud
hands
hangs
himself
Christian, whereas
Dalloway."
named
to
come
Illusion"
World's
in "The
have
"Mrs.
the
crueltyat
he throws
friends
to
the Warren
fellow
For
always
block
one
people who
many
Ellen
in
come
pass from
we
directlyconnected
less
or
in "Manhattan
good
cubists
contrastingcolor.
again,all the characters
Then
other
and
of
another
are
is the
Illusion"
World's
time
of Ellen's
Brooklyn Bridge.He
the principalsor
any
first marriage,
has nothing
of
their
connections; but
of
every so often, in the course
the years, the spotlightleaves the principals,
for a
to rest
the pitifulhaunted
fleetinginstant on
figure of Bud
or
Korpenning.
When
he is gone
Robertson,
of
there
are
others
to
take his
returning so hopefullyfrom
findingemployment or even
the
a
place:Dutch
war,
but
place to
capable
in-
make
TRANSFER"
"MANHATTAN
love, and
Anna
finallyending
Cohen,
in
beloved
of
dressmaker's
as
up
439
bank-robber;
convicted
and
of
victim
the
establishment,
self
her-
laborer
Socialist,sweated
adequat
in-
the
of
shady
Prudence
Promotion
Co.; Densch and Blackhead, speculative
business men,
caught in the slump. And then, besides
but one
make
there are
others who
the recurrent
figures,
this toneto
contributing their singlenote
appearance,
of life in Gotham.
Such is the "small bearded
legged
bandypoem
in a derby" who
man
buys himself a Gillette razor
off his beard.
and goes home
outfit in a drug-store
to shave
In a world so largely
made
up of laborers and industrialists,
fire-regulations;
Jake
Rosie
he may
be said to represent the consumer.
There
of course
characters
are
many
less
or
more
sociated
as-
to the
principalsbut quite unnecessary
development of a plot.Such is Congo Jake,the poor French
ous
boy who goes into bootleggingand makes a fortune; variward politicians
associated with Baldwin; various actorfolk associated with
Ellen and
Oglethorpe; and Jimmy's
cousin James Merivale, captainin the American
Army and
with
successful
the
business
The
Dutch
number
World's
Robertsons
Transfer"
Illusion"; and
takes
Wassermann
and
wealth
the
vilest
middle
is
Passos
there
of
reaches
of
his
and
There
for such
which
take
much
timizes
vic-
Cohens.
Anna
the
spotlight
greater than
as
in "The
greater and
more
tion.
types in present-dayciviliza-
types
of the
is such
from
the noble
slums,
the
and
Dos
two
thing.Where
of
extremes
dazzlingand
Passos
favors
from
those
societywhere
morally considered,
beauty of character,
mean
is
stand
system
thus
realist if there
poverty, from
creatures
who
is much
representativesampling
Dos
and
of characters
"Manhattan
in
the
dishonestlyby
profithonestly or
the
of these
Many
man.
from
and
considerablyabove
the
merely
vile.
is still another
reason
why
this alternation
of
DOS
DISCONTINUITY:
if we,
as
like the
does
tell
not
infer it from
in reverie
or
allusions
has
basket
we
Ed
call her
"to
make
We
head-line
SIGNS
THE
tory,
we
The
of
look
time
this from
section:
In
we
do
not
it were
as
read
RELIEVE
the third
ask
and
two
holding
nurse
section
Susie in the
his wife
Susie
if he
Ed
still
together.
two
the
year 1898, from
Ed Thatcher:
MORTON
by
the
Ellen
by
and
is seven
infer
years later; we
Korpenning in the preceding
Bud
ARTHUR
PORT
and
Adams
tion
conversa-
BILL.
in
meet
later section, Ed
us
this is the
YORK
this up
and
put
read
NEW
baby. In
We
newspaper
head-line
make
us, but
The
lets
thought we
shown
are
hear
we
Ellen."
GREATER
next
of
to
Thatcher
later that
out
we
new-born
containinga
and
maternity hospital,
wants
the characters in
happened
of all
present with
are
memories.
our
it.
to
In the firstsection
a
by
past for
the
happened, but
"
what
tell ourselves
in
away
has
what
us
441
involved, took
characters
PASSOS
Ellie have
she
mummy
FACE
IN
been
OF
to
wants
ENEMY.
Maude
see
be
to
boy;
The
her
man.
we
author
But
know
the
doesn't tell
we
make
us
she is married,
something
out
from
nor
his
saying,
managed to
justhave to
assume
she
Elaine." As to how
my wife now
to be married, we
up and how she came
that these thingshappened to her in
same
way
"You're
grow
as
they happen
marriageis going to
be
we
to
other
can
How
girls.
infer
easily
describe
much
the
successful
this
remarks
she
from
makes
husband
to
the author
NOVEL
TWENTIETH-CENTURA
THE
442
has
never
sleep;but
thingsof that
has gone
say about
anything to
to
sort.
the
In
followingchapterswe have
cuttingup with Stan Emery
of Elaine
takes it.Then
and
made
remarks
hit. We
of
Harry
(We
make
Goldweiser
is
Goldweiser.
she has
ourselves
allusions
to
the
and
Herf
Ellie and
with
"Gosh
.
like in
glass.A
nightmare; she
sudden
of the restaurant,
an
burned
instant
in him.
Sittingin
black
reaches
to
the
through
he
the
the reek
cut
caught
leather
blurred
want
bench.
His
and
of her
to
one
find
paralyzed
a
bell-
somewhere
died
ed-
packed janglingglare
of food
drink
and
hair. The
pass out.
de Lyon, side
of the Gare
restaurant
felt
He
air from
the smell
God, I don't
York
way
drinking
thoughts,we
after passing
porcelainefigureunder
of fresh snow-rinsed
current
all of
was
man's
cocktail."
another
let's have
restaurant
ducer.)
pro-
they
the armistice, we
and
war
Jimmy in a
absinthe
cocktails,and, followingthe
infer that they have returned
New
to
their honeymoon in southern
France.
her
theatrical
gathersfrom
the
Jimmy
met
later and
out
become
which
For
band
her hus-
of how
In the meantime
in
and
glimpses
we
asional
oo
cheek
brushes
hers
tobacco.
cocktails
by
side
when
on
he
on
hurry,gobbling,giggling,
gulp wine,
start
at every screech of an
engine.
The
train pullsout
of Avignon, they two
awake, looking in
each others' eyes in the compartment
full of sleep-sodden
ing
snorpeople.He lurches clambering over tangledlegs,to smoke
the end of the dim
corridor. Diddlea cigarette
at
oscillating
deump, going south, Diddledeump, going south, sing the
plate.They
eat
in
wheels
over
the window,
the
valleyof
the Rhone.
Leaning
in
a
smoking a broken cigarette,
trying to smoke
crumbling cigarette,
holding a fingerover the torn place.Glub-
DISCONTINUITY:
"Ellie,Ellie, there
him
"What
do
"Why
did
then
So
back
come
we
and
at
in
cutting which
called
I have
to
be
how
show
and
well
far
so
is
to
as
I do
of
nique
techof the
Joyce: the
suppression
effort at
manner
present,
which
in him,
considered, involves
rationale
to
the
what
remains
of this method
cross-section
see
the
speak
that breadthwise
All that
discontinuity.
of pattern in
lines of the main
by
to
gether,
to-
itself
beauty
heavy dotted
interesting
ways
wish
not
it involves
suggest
book.
it lends
Passos
writers
it suits the
deal
middle
past and
"
thingsnot as
"r
cuttinglaysthem
lying side by side. There
sharp-edged,
In
only
spiritand
present subject,and
our
the effect of
of the
intention
how
is
here
done
the
and
transitions
in the other
than
the
in Dos
present, except in
more
the
anyway?"
town
the
explanations,
allusive
elliptical,
his
sudden
this modernism
Of
the
and
as
were
full in the
are
immediacy,
narrative, the
rotten
Richardson
Miss
begun by
thought
this
to
and
of the author
of
if that
have
intimacy and
the track."
speaking. MHe
says
discouraging?"
"Gosh
tongue.
of Wassermann,
movement
silverdripping
lars
pop-
mean?"
you
we
was
Isn't that
.
his
had
he
Suddenly
thing."
Elliedoll
out.
443
singingalong
nightingales
are
the
all
lobstersalad's
the
Opposite
PASSOS
DOS
this
view
wholes
bare
but
of
life.
only
so
fragmentary,
is, again, a great
the long
arrangement,
characters
"
crossed
lighterfallingand
in many
risinglines
of
others
less
important
stars,
clever
fellows
It is
reconciled
of
to
such
the
as
and
revues
than
deeper
drop
to
fective
efpoint out the story-telling
succession of shifting
are
we
views, once
is a
There
absence
of plot and drama.
to
of exhilaration
another
like
others
up, and
back in a swift spiralto
steadily going
hardly necessary
of this
kind
falling
below.
darkness
the
like
in showers
devils
poor
"
shootingskyward
rockets
NOVEL
TWENTIETH-CENTURY
THE
444
that.
chosen
Life
Passos'
Dos
aspect:
in his book
man's
New
York
no
one
is localized
is
it all, or
that
of
all
and
din, the
the
at
one
time.
City.And this
The
appetites.
York
in New
riot of sensations
impression is
dominant
do
can
stench, the
one
of the heartless,mechanical
in which
we
are
caught
like
rats
aspects of a civilization
in a trap: "Steamroller,"
"Rollercoaster,"
"Revolving Doors."
"Skyscraper,"
And
here
again falls the technique of discontinuity,
picturedisplacingpicture in breathless succession in this
with
no
ing.
swift-flitting
panorama,
apparent logicor meanThese
Wassermann;
sections
in Dos
they are
Passos
are
not
numbered
simply separatedby
an
extra
as
in
space
they fade
from
seen
train
SENSES
THE
OF
OBSESSION
into
445
scapes
like the land-
another
one
is in
window,
hattan
picturesof "ManTransfer"
are
as distinct and
contrastingas pictures
his manner
of breadthwise
be. Thus
inforce
can
cuttingserves to reof
the generalimpression that of the dominance
sensation in human
experience,the obsession of the senses.
the
landscapesa continuity,whereas
such
"
behavior
The
the
of
the
as
will-less,thought
whirl
mere
the surface
below
Passos'
(1932).Mr.
Dos
He
movement.
affiliations. But
philosophylurkingsomewhere
It is
(1921)
"1919"
to
with
is in close touch
the
his economic
I admire
his
distort
with
art
the
bias
in all Dos
apparent
Soldiers"
know,
we
by Jacques
sensations.
of undirected
has
what
unwillingness to
theory. He is,in
Mr.
as
"Three
Passos,
described
of
one
of this record.
from
work,
labor
and
there is a social
course
his
animal
lower
reminds
women
movements,"
in
psychologya
Of
and
men
"forced
tropisms,the
Loeb
these
of
social
Upton
clair.
Sin-
respect for
can
only
humanity; but one
fiction with
the predeprecate his dispositionto swamp
occupatio
of politics
and
is as
Passos
economics.
Dos
with
much
concerned
social problems as Sinclair; but in
his representation
of life,he goes to the deeper sources
earnest
of human
where
motivation
spread the
Transfer"
actually affects
it
the
As
He
"
it is.And
human
us
but
us
as
the
of human
shows
hattan
"Man-
In
order
might put
traits in
as
it
human
social order,
realistic.
more
philosophical,
this book, extremely modest.
labyrinthin
out,
the
we
industrial,our
our
that is more
us
nature
industrial
our
happiness.Or
shows
subsoil
has shown
round:
he
way
which
have given us
as
that
roots
he
to
other
nature
such
to
which
he
we
wander
hardly more
than
so
lessly;
hope-
suggests
that it may
exist. One
things about the book
registered
by
be
may
notion
of
Gus
about
wheat.
signof grace.
milk-wagon driver,
the
takingup
What
Ellen
somewhere
wants
"to
their
finement;
respiritual
talks
in North
to
Dakota
the
tender
bar-
and
ing
rais-
and become
go into politics
to
Harry Goldweiser
proposes
he does
take
that
free land
is
henchman.
Tammany
suspicion that
of life. It is true
way
for
remarkable
is not
way
but it is at least
McNiel,
aspiration
vague
of these wretched
worldlingsto
occasional
is the
"
better
beautiful
patheticand
most
"squirrel-cage"their
better
of the
other
or
their
there
one
from
escape
NOVEL
TWENTIETH-CENTURY
THE
446
to
for
night'sentertainment;
he
Young
Emery deliberately
goes to the dogs by way of protest
againsta world in which he can sightno guiding star. He
of
notion
has no
character, but he gives to Ellen some
ever
higher values. "Without
sayinganything he made me
feel there were
unbelievable
other things
things."
Ellen herself is anything but satisfied with her own
way.
Stan
"There
for
are
lives
for
what,
hotel
success,
?"
.
for
good
to
be
what;
lived if
the
only
opinion
lobbies, health,
Unfortunately she
and
all
to
this
you
of
didn't
mankind,
umbrellas,
does
care;
Care
care.
money,
cuits
bis-
Uneeda
she
pinwheel
spluttering
is attached
of
futility.
the
of a big steamer
from
burring boom
river. Darkly,fearfully
afar from this nonsensical
life,from
this fuzzy idiocy and strife
." The
net
upshot of her
spiritual
accounting is a fragment of Shelley.
does anything
book
who
The
in the whole
only one
about
the situation is Jimmy
Herf, the newspaper
man.
He
(with
goes into journalism in preferenceto business
his uncle
James) because he doesn't like the vision of
"Jimmy fed in a tape in and out the revolvingdoors, noon
and night and morning, the revolvingdoors grinding out
"She
hears
the
is
day
THE
day
to
SOCIAL
the Burden
when
PHILOSOPHY
of Nineveh.
has ceased
he
repudiated modern
has
what
But
this
does
he
"have
to
end
he
And
447
givesup
paper
news-
faith in words."
shaking from
Like
the
The
Christian
Wahnschaffe
civilization.
in
is
positiveway? There
that it actuallydid mean
to think
reason
something in a
that is, to John Dos Passos.
positiveway to Jimmy Herf
the first thing it meant
And
was
sion
puttingdown his impresmean
"
modern
of
Transfer/*
Since
broadly.He
theme, but
which
novels
civilization
then
he
in
conceived
has
in
book,
"Manhattan
his
subjectmore
the same
on
tetratology
is
writinga trilogyor
life as a
embracing American
have alreadyappeared I shall
whole.
The
discuss in
two
ter
Chap-
XXXIX.
It will
be
now
cuttinghas
philosophy.The
that
seen
the
its originmore
tendency
impulse
or
is
to
less in
throw
the
to
wise
breadth-
altered
an
the
social
emphasis
not
particularadventures, their
private moral problems, their triumphs and failures, so
much
as on
societyconceived as an organism, in which the
individuals are important primarilyas functions of one
other
anand of the whole. This is much
more
strikingin Dos
individuals,
on
than
Passos
the
in
problem
spiritual
"
impression that
system, but
economic
all and
back
For
give to
toward
Dos
the
of his characters
terms,
he
does
his
still conceives
Wassermann
Wassermann.
is,in individualistic
the
their
with
cure
in
religious
"
like Dostoevski.
not
approve
He
of
poor."Sentimentally his
that
give
may
the present
to
man
"sell
face is turned
problems
are
social
XXXV
LOGIC
AND
E,
EXACTLY
and
Dalloway"
Faux-monnayeurs,"
have
not
Gide
to
is
the
of
he
his
later
has
In
many
the
begin
get
everything
to
of
once
his
crowded
As
dense
an
was
in.
an
the
is his
wish
This
be
to
work
his
in
artistic
of
extent
some
closely
he
"Journal"
his
feiters,"
Counter-
his
note-book
Faux-monnayeurs."
very
itself.
During
"The
of
book.
novel
the
make
to
hope
And
me.
in
to
the
book
note-
comprehensive,
speaks
touffu, that
than
more
is, dense
or
to
make
yet
it
like
am
the
manner
this book,
is
just
the
wish
for
who
composer
dream
I can't
of
C"sar
Franck,
in
this
connection
one
of
of
seeks
an
getting
which
that
to
still
juxtapose
andante
motif
allegro.
question
have
in
do.
to
matter.
as
overlap,
with
corresponds
there
to
des
do
we
writers.
record
the
case
kept by James
those
Journal
"Le
in. In
wish
embarrasses
of
this
of
idea, and
an
taken
have
we
writing
made
he
("Les
undertaking
was
and
it
with,
with
everything
and
for
as
respects
To
In
like
composition
Edouard
cutting."
planning
which
published
of
to
in
novel
author
note-book,
which
self-conscious
most
gropings
in
the
was
kept
ideals, his
he
he
years,
progress
what
the
while
years
breadthwise
guess
one
from
1925),
"the
phrase
our
Counterfeiters"
"The
was
Transfer"
"Manhattan
with
contemporary
"Mrs.
GIDE
LIFE:
die
that
story
admirer
arose
told
and
by
translator
449
of
the
was
characters.
Conrad,
had
whether
Gide,
inclined
who
in
earlier books
some
fondness
Conrad's
to
who
one
was
(1902)is a frame
the lightin the
"L'Immoraliste"
for documents.
of Darkness/'
which
saw
same
to
NOVEL
TWENTIETH-CENTURA
THE
450
his house
view
in
of
concluded
under
of
in
high office,who
it has
So that
be able to help Michel.
may
of
beloved
of one
of those documents
the character
Thus,
his
for
concern
light fall
subject.
Point
in
from
In
several
of view
which
view
point of
from
terms
Etroite"
Porte
"La
romancers.
directions
different
the
on
same
tion
importantto any one who conceives ficof picture."First of all study the direction
the lightfalls;all the shadows
depend on that."
is
Counterfeiters"
"The
with
to reconcile
manages
his interest in having
Gide's
first
thought
was
have
to
of
the story told entirely
by Lafcadio. Lafcadio is the name
a
principalcharacter in his sotie, "Les Caves du Vatican,"
(1922);I
in
the
Bernard.
days
the
assume
book
new
But
I have
been
and
in doubt
story. It would
be
whether
recital of
in which
to
to
was
role
revive
like
"For
make
Lafcadio
he
which
interested
Later
idleness,and perversity."
through curiosity,
having the story pass through the hands of
narrators.
"I
should
like
to
that
him.
events
provide a
succession
him
of
several
he
tell
covered
dis-
himself
he
siders
con-
several
of
in-
OF
THEORIES
GIDE
ANDRE
451
cupy
octerpreters: for example, these notes of Lafcadio would
book
would
be Edouard's
the first book; the second
he
is that it is too
difficult
wishes
way
the
in
satisfied with
he is not
why
reason
of
and
events
writing another of
passage is highlyworth
the whole
ways,
"I"; there
unravel,
these
make
of
use
rather
interest
events
that
in
can't
one
the
richer
recounted
never
(and
actors
whom
on
I should
like
these
like,in the
to
narrative
demands
the
manage
various
angles)
had
have
events
which
account
that
the author,
directly
by
times, from
several
to
into
I should
texture.
the
expect
his collaboration
they give,
to
for the
some
handicapped by
work
to
timacy,
in-
in "confessions."
slightlydeformed; there is a
appear
reader in the simple fact of making his
events
if the
of
sort
tions.
correc-
drawing
right.
There
in this passage
are
interest. But
Gide's
are
forth
set
The
be
is somewhat
I'd like
"
quoting:
complexitieswhich
give it a
among
influence.
for these
says
was
latter, one
months,
those
to
he
his books,
to
that the
certain
is
develop,without
to
of several
course
writing,I
certain
are
all that
I see,
by
of
course
In
but
brought to consider
investigation,
penetration,
psychological
may,
be pushed farther in the novel
than even
proper
the
In
it so
singleinterpreter
through him all that
terpreta
of psychologicalin-
bring in
to
In
but
."
lawyer'sbrief, etc.
desire
I wish
work
to
to
lay my
in
type of novel
(le type
that it involves
half
great
a
dozen
for die
stress
of
diversity
wide
range
of
matters
moment
matter,
of human
departing from
means
du
convenu
roman),
extreme
and
on
to
have
ence.
experithe usual
he
finds
him
in many
but the difficulties
difficulties,
tend to fall away
"the moment
that he deliberately
takes advantage of the queerness"of his undertaking.
From
of
the
making
moment
this like
that I reconcile
anything else
myselfto
(and it suits
the
me
impossibility
that it should
NOVEL
TWENTIETH-CENTURY
THE
45*
of
a way
so)why try so hard to find motivation, consistency,
grouping everythingaround a central plot?Can't I find a way,
all that
with the form which
I adopt,of indirectly
criticizing
be
sort
of
thing?Lafcadio
threads
for
together;there would
talk that
significance,
without
try in vain
example would
be
tie the
to
characters, gestures
useless
an
action that
gets started.
never
Gide
wants
to
in
quite says
never
his work
make
it is he
why
type of
the usual
different from
novel:
as
why
he
so
words
many
so
here it is easy
approach to
work
be
to
wants
to
what
to
guess
the truth
of human
like
more
is after
he is after. He
He
experience.
life.And
life he
Has
nearer
his
wants
found
to
be
elusive,less formallyconsistent,than
more
surprising,
it has been
portrayed in "the usual type of novel." He
has come
under the influence of that tendency to deformaliearlier chapter.And
he
zation to which
I referred in an
of the Jameses,
from the logical
wants
neatness
to get away
the Flauberts, the Bourgets,the Prevosts. He wants
to take
of the Conrads,
the
after the manner
life by surprise,
Joyces.
more
This
is not
Vatican"
he has
new
with
notion
him.
alreadyintroduced
In
"Les
character
Caves
who
du
was
your
him.
his
to
obligations,
theories." And
us
his
in the
and
towards
ful
himself, faith-
that is to say, to
principles,
end Juliuscomes
to agree with
"
LOGIC
The
myself;and
to
that
resemble
natural.
not
was
us.
motive.
his
breaks
aback
his shins
at
or
arrives
actual
againstan
least without
without
to
without
out
withis clear
which
is his brother
is
he
is over,
of murder
any motive
the murderer
brilliant
book
the
case
sayingthat
findingso prompt
at
committed
crime
himself. And
It goes
at
the risk of
run
than
begin
ever
whatdistorting
of ourselves
made
we
reasoning,he
novel:
the murderer
Lafcadio!
rather
disguised,
curiouslyenough, before
motive,
to
line of
next
And
acters,"
of my charit first of all from
...
Pursuing this
for
live
We
the
is best in
he
I demand
this,I demanded
insure
picturewhich
with; it is absurd; in doingso, we
idea
453
which
the consequentiality,
logic,
in order
not
LIFE
AND
greatlytaken
of his artistic
confirmation
theory.
In "The
Counterfeiters"
and
parallelism
fiction.
One
of
Edouard; and
his book
of
young
is unable
he
as
understand
it. Andr"
of Gide
possibleof what
the culminatingevent
of the
and
boy in a boarding-school;
to
cannot
the ambition
and
of his book.
I don't
That
like
is
understandingit.
support of my
to
was
seems
not
to
is the suicide
book
Edouard
this event
his
that
simple reason
circumstances, and
it
fairly
I don't
says:
I grant that
...
distresses
me
like
expectingit.
an
to
find
make
too
confirmation; but
not
use
much
reality
may
thing,
any-
sufficient
fact without
intend
it
makes
imaginary author
present any
why
thought,as
it. It
anticipate
Boris
ences.
actuallyexperi-
understands
he
into
work
to
I shouldn't
motivation.
But
Gide
novelist,
is the
characters
central
he shares
much
as
But
the
quaint
logicof
the
and
reality
between
contrast
of this
is made
stillmore
come
in
my
difficulty
to
the
that it should
suicide of
The
surprised.
for I
impropriety[une inddcence],
me
to
be
NOVEL
TWENTIETH-CENTURY
THE
454
in
he is clearly
is dominated
consistency.He
and
that
And
type of novel."
"usual
is
goes
standard
the
by
why,
of the
says in
stands
under-
Gide
as
is
He
amateur,
an
the book
underlying subjectof
There
is
round
which
in the
manner
my
And
of all that.
just there
which
throws
the
fanciful
towards
Gide
the
does
book
the
him.
it
so
ficult
dif-
which
us
much
Edouard
he thinks. And
what
Life
himself
in
cloud
book
and
draws
on
out
new
it
material.
But
of
precisenature
the
writing,and just how
from
logic prevents him
the
a
proper
note-book
he
webs
so
And
of abstract
does
show
us
tion,
of writing ficway
what
he observes
him, he shows
much
faster and
while
Edouard
us
farther
is
losing
ideas like
Carlylein "Sartor
comparison),Life is pilingup
On
polarized.
make
its axis
off
the
own
Resartus"
Edouard
points,
circumstances;
to
about
is
follow.
can
focal
visionary.
and
Edouard
this book,
to
principalsubject,the
narrative
and
tell
not
is the
than
true
is the
us,
makes
it is about
efforts converge;
two
that these efforts afe
of ellipses,
the other
center
what
singlecenter
properlyspeaking no
one
and
self,
him-
write.
to
the
that, he tells
missfire." And
stance
in-
by logic
Julius,who
class with
are
not
appreciatethe
even
On
Edouard's
one
occasion
he
ideas
full
fade
into
import of
is discussing
his
COUNTERFEITERS"
"THE
work
with
himself
who
were
value, and
his mind
And
Passavant.
supplantingthe
money?"
"But
francs
with
start
why
start
"If you
would
I
writing The
the
counterfeit
speaking
And
hand
your
this idea
it is
as
an
only
worth
two
sous.
false. So
."
.
idea?"
Bernard
tiently.
interruptedimpa-
with
fact well
set
start
accord
own
is
recognizedas
not
that
.
with
realityit
In
long
so
would
of its
corne
were
is counterfeit.
ten
then, if I
reallywere
piece of counterfeit
"Well, imagine a gold piece of ten
in
asked.
francs which
It is worth
hold
change,
ex-
in his book.
characters
very
ever
you
he
novel
of
ideas
filled with
was
"Did
he asks. What
counterfeiters?
these
are
of
meant
fr"res who
de
has shown
Bernard
his young
secretary Bernard.
notion
little impatientwith Edouard's
of ideas. And
Edouard
455
and
there. If
its abode
take
up
Counterfeiters,I should
begin by exhibiting
of which
you
just
were
he throws
Now,
Bernard
Edouard
and
do
put in circulation
of young
of whom
both,
boys
of
one
Molinier.
is that
And
several
them
what
being
even
are
Edouard's
the reader
realize is that
not
by
well
of
one
known
to
band
them
nephew, Georges
does
not
know
as
yet
the
ways
Edouard's
Edouard
rival, the
has
been
Comte
de
Passavant.
So
that
while
"THE
ers
and
Vincent
each
of
one
to
mann,
this
torch
with
sense
of
fitful
says,
going
The
the
on.
author
circles
"In
[Dans
has
keep
society
the
up
la
as
vie,
dropped
widening
ne
resout;
se
into
stone
out,
settled;
to
these
infinity.
And
yet
tion
direc-
every
extraordinary
an
human
As
Wasser-
whole.
in
has
of
is
rien
and
darkness
One
nothing
characters,
Passos
inconclusiveness.
life,
other
story.
Dos
ramifications
its
predictableness,
several
illuminations.
infinite
the
of
light
to
with
like
cross-section
457
independent
attempt,
no
seems
its
his
has
whom
give
and
Georges,
makes
Gide
COUNTERFEITERS'"
life,
of
one
the
everything
tout
still
its
un-
acters
char-
keeps
continue
waters,
]"
and
XXXVI
JL
HERE
are
Andr"
Gide.
the
of
some
Gide.
of
disposition
To
of
of
Hay"
du
(1923)
famous
with
well
In
later
the
statistical
of
notation
Edward
Lord
tissue
the
its
in
organ
Counterfeiters"
makes
wherever
he
in
marine
finds
biology.
from
pigmy
He
males
thinks
parallel
his
in
he
between
it will
of
helping
it. In
might
use
human
makes
prototype
who
plants
trans-
with
another
the
grow
same
of
his
Counter
in
on,
species
his
curious
whatever
Point,"
he
the
his
note-book
curious
for
example,
the
of
Cerativid
this
information
and
animal
terests
in-
data
(Passavant),
patron
to
who
man
young
Some
himself
"Point
reading
certain
is
novelist,
the
by
point
there
is
to
by
locale.
appropriated
who
animal
an
of
animals,
and
Point,"
whether
determining
himself
are
of
"Antic
is taken
etc.,
He
Gide's
novels
part
them,
Counter
part
in
collects
behavior.
their
"Point
one
new
"The
In
in
from
of
object
of
curious
pages
famous
who
starves
mental
experi-
Huxley's
more
biologist,
experimental
in
is
there
appears
prominent
and
iniscences
rem-
introduce
their
upon
to
are
matters,
disposition
Caves"
"Les
minor
(1922)
in
as
Huxley
to
of
novels
is inclined
one
in
authors
spread
to
Vatican"
as
author.
each
begin
history. This
natural
Caves
"Les
things
these
and
that
are
the
and
(1928)
these
both
biologists
facts
Point"
striking they
So
that
assume
Counter
Aldous
between
resemblances
striking
many
"Point
Huxley's
HUXLEY
ALDOUS
COUNTERPOINT:
wants
ist
novelfacts
parasitic
Angler-fishes.
in
behavior.
pointing
the
HUXLEV
I have
of the unmotived
spoken
If
the crime
is unmotived,
may
459
in "Les
crime
the distinction
borrow
Vatican."
we
GIDE
AND
but
by Julius,
made
This
the criminal.
not
Lafcadio
kind
When
he
his brother-in-law
throws
it is
between
further
failure. Is it
his crime
action
and
of
see
thrill.
of the
himself.
resemblance
Spandrellhas
Point"?
Counter
of
nating
is the culmi-
which
Spandrell,
that of
"Point
to
door
experimentupon
fanciful
too
of the
out
du
Caves
in the
him
no
to
nearer
God.
Point"
Counter
in this novel
and
character
He
which
In
is
in "The
the work
novel
in many
ways
note-book
he keeps a
appears;
thingshe has observed,
is this. Both
there is
suggestiveof
somewhat
writinga
of Gide
Counterfeiters"
he
the
prominent
author
self.
hima
suggestingthat
in
which
he
in
cords
re-
flections
plans for his novel, and rethe techniqueof novel-writing.
on
each case
the fictitious novelist has a leaning toward
the novel
"Are
of ideas.
you
of mortal
afraid/' asked
not
turning your
but
and
parallelbetween
obvious
most
one
back
on
abstraction
the
reality,
you
and
make
Polish
lose
may
novel not
doctoresse, "that
in
yourselfin regions
of
livingcreatures
of ideas?"
"And
what
"Because
if it should
be
so?"
the novel
of ideas
[leroman
gone
cried Edouard
vehemently.
the
we
demn
con-
guiseof
but
served
novels
execrable
what
problem
in mind,
I have
it,interest
novels
than
more
me
be
may
you
of ideas. The
Novel
far
implied,as
In
far
so
present, nothing
Ideas
ideas, I
above
me
of ideas
of each
ideas
have
of the human
write such
you must
excludes
race.
books.
of sentiments,
chief defect
write
about
people who
all but
about
.01
per cent,
the real,the congenital
novelists don't
Hence
then, I
But
be
is the mouthpiece.
he
rationalizations
are
express" which
to
thing."
every-
must
personage
is that
fess
con-
in his note-book:
that is not
But
theses}.
they interest
character
theories
as
the
to
up
sure.
men;
in
possible,
as
us,
[romans
PhilipQuarleswrites
So
NOVEL
TWENTIETH-CENTURY
THE
46o
be
pretended to
never
congenital
novelist.
Again
he
writes:
The
Necessarily:for
of ideas
who
is that it's a
reel
made-up
off
lated
neatly formupeople
notions aren't quite real; they're
ing
Livslightlymonstrous.
becomes
rather tiring
in the long run.
with monsters
affair.
like what
is very
doctoresse:
This
know,
"You
touches
novel
Gide
and
that
but
by
always dangerous
Polish
lectuals.
present intel-
succeed
never
in
making
everything that
to
of the
aware
were
difference
is that
dangers of the
ahead
Huxley went
himself
to
the
air of abstraction."
Huxley
wisely,left
more
Edouard,
sort
Edouard
sillythings, and
but
of ideas. The
to
reader; you
they give an
wrote
Gide,
the
them
Both
and
in novels, it is
They bore
say anything
them
said
was
can
novel
the
wrote
novel
of
whereas
Philip,
ideas
about
to
his author
men.
Another
both
analogy of
musical
composition. I
have
earlier
quoted
COUNTERPOINT
LITERARY
Gide's
idea of
motif.
This
"What
in Edouard's
idea reappears
like
do, understand
to
the Art
should
not
be
possiblein
allegro
an
tention
of his in-
account
something like
possiblein music
is
me,
what
why
see
with
andante
weaving togetheran
I should
461
was
."
literature.
which
Bach's
whole
The
career.
reader
of
"Point
Huxley's remarkable
suite
in
the
minor,
human
parts. The
fugue
two
Here,
for
puts the
But
at
artist.
performance of
Bach's
he
scribes
de-
emotion:
million
eighteen hundred
something perhaps to the
It is only by considering one
understand
can
particularpart; and
one
how
of human
terms
is
remember
anything.
John
Sebastian
case.
Philipon
the
to
point
is the
the musicalization
musicali/ation
subordinating
the
are
means
the
to
time
example,
more
The
noise
resultant
parts
there
will
strings,and
in
movements
statistician,
nothing
or
of the
account
the various
In
Point"
Counter
construction.
sound.
in the
But
of
symbolistway, by
large scale, in
Beethoven.
The
on
changes of
(Majestyalternatingwith a joke,
.
Meditate
meditation
of fiction:
of fiction. Not
to
sense
note-book
on
the modulations,
still,
from
mood
to
mood.
not
merely
A theme
from
one
is stated, then
key
to
another, but
pushed
developed,
out
of
NOVEL
TWENTIETH-CENTURY
THE
462
feeling,
yet
Get
tune.
all in
this into
organicrelation
How?
novel.
to
The
Those
incredible
range
ridiculous
abrupt
of
thought
little waltz
transitions
are
of characters
and
enough. All you need is a sufficiency
contrapuntal plots.While Jones is murdering a wife,
parallel,
alternate
is wheeling a perambulator in the park. You
Smith
and variations
More
the modulations
the themes.
interesting,
difficult. A novelist modulates
also more
are
by reduplicating
shows
several
characters. He
situations and
people fallingin
love, or dying,or prayingin different ways" dissimilars solving
the same
problem. Or, vice versa, similar people confronted
with dissimilar problems. In this way you can modulate
through
easy
all the
aspects of your
write
can
you
variations
in any
of moods.
number
for the
much
So
theme,
musical
analogy.But
there
is also
passage in which,
queer. The
queerer
However
as
the
queer
the
it grows.
with
That's
astonishingnessof
any plot or
in anything.The
The
pictureis, it
the
situation
from
it will be
more
can
never
like life.
be
half
so
it is,the
would
do.
book
whole
Circus
Piccadilly
the
to
what
obvious
most
Because
could
Charing
want
be
to
odd
ment
mo-
you
in
this
get
things.Really,
everything's
implicit
written
about
walk
Cross.
kinshipof Huxley
VirginiaWoolf, Dorothy Richardson, and Joyce.But
last
sentence
reminds
us
of the
"POINT
the
COUNTER
feature
particular
makes
him
POINT'
of his "new
stillcloser akin
of
way
lookingat things'*
Wassermann,
to
463
and
Passos
Dos
Gide.
Because
the
of the
essence
of
Multiplicity
new
looking is multiplicity.
of
way
and
For
stance,
inof aspects seen.
multiplicity
of bishops;another
in terms
events
one
person interprets
in terras of flannel camisoles; another, like that
lady from
young
Gulmberg, thinks of it in terms of good times. And then there's
the biologist,
the chemist, the physicist,
the historian. Each sees,
a different
professionally,
aspect of the event, a different layer
of
eyes
What
reality.
want
do
to
is
to
with
look
all those
at
eyes
once.
Now,
is
indeed
ley
Huxthe type of novel that Aldous
precisely
Point," as
undertaking to write in "Point Counter
it was
low,"
Yelwhat
he had always written, in "Crome
this is
"Antic
the
"Those
Hay,"
later book
of views is much
multiplicity
abrupt, the "modulations"
the
the transitions
more
deliberate.
and
it appears
to
involved
with
to
(Walter Bidlake)who
man
a
undertakes
He
of temperament
woman
that in
Leaves," except
Barren
show
greater,
more
us
systematic
life as
sentimental;
succeeds
in
to
his father, an
preservingher metaphysicalcalm
husband
is
giveher
cannot
so
lost in the
figmentsof
craves;
to
his brain
novel;
Philip
technique
to
father, supposed
to
be
that
the husband,
Quarles,lost in the
of the
all
through
to
his
with
self
who
is reallygettinghimdictaphones,
with a typist,
and
makes
a
mess
more
headway
cross-word
puzzlesthan with his magnum
opus.
and
filing-cabinets
into
with
(So
his
in
Olivier
"The
to
Counterfeiters"
the
fathers
and
pass from
mothers
of the
we
Bernard
two
and
boys;
to
PRINCIPLE
THE
OF
CONTRAST
465
it is
author
makes
their
this is
But
pleasureto live.
the main
objectionto
in which
not
character
is chosen
of ideas. The
main
each
in the world
in advance
doomed
are
They
the
run
the creations
In the
of the author
"Journal" he
and
understands
he
speak that
them
watches
address
great
turned
has
Always
take
pains
he is
person
he
to
after he
only
ficial.
arti-
and
of
ing
seem-
of life.
directs them
his
to
ear
what
talk before
them
has
realize who
to
heard
them
they are.
of
againstthe danger
making
see
X
...
is that
the characters
his business
them
to
over
lends
novelist
dialogues of
always talkingfor
are
the characters
the reader.
in the
error
something
by Gide,
than
rather
comes
himself
his characters
for
his characters; he
it is
little by little he
warns
type of novel,
mechanical
in action; he hears
them, and
Especiallyhe
The
be
with
himself:
warns
they say
stand
to
danger,pointed out
The
and
this
objectionis that
to
tween
be-
still more
imaginary selves
the
own
it is their
which
others, but
and
themselves
between
merely
NOVEL
TWENTIETH-CENTURY
THE
466
that
of
explainingeverything.
speaks only for the
character
talkingwith.
himself
warns
first line of my
first book,
direct expressionof my character's state
the
From
shall be
which
than
to
In
"Point
more
or
revelatoryof his
directly
portray
that
comparison
Counter
are
sought
of mind"some
state"
subjective
for
of
the
phrase
rather
state.
with
the
not
novels
of Gide
is theoretical
Point"
impressedwith
Philip,than made
We
I have
an
the
to
shown
and
or
Dos
Fassos
talky.We are
ideas of Rampion, for example,
feel acquainted with
them
sonally.
perIn
Rampion livingintegrally.
the
of
case
relation
of his,
aloofness
it. It is
of
complain
467
Philipthere
intellectual
that
of
IDEAS
OF
NOVEL
THE
and
events
of
it live in fiction,but
that makes
have
we
does
Elinor
explicitdiscussion
not
presentationof
though
mental
senti-
the
timate
in-
body
predicaments that emin Mr. Huxley's novels
in
Peacock
Love
thing offered by Thomas
"Headlong Hall" and "Nightmare Abbey," by Norman
tellect
Douglas in "South Wind," where each character is an inhe certainlyshares some
of the
eccentric. And
sort
of
distinction
of
is the
styleof
he
does
of tone
wittybrevityand lightness
his obligations
to realism
seriously
though
is their
too
"
he
has
done
better
in "Crome
Yellow"
he
"
serve
ob-
not
takes
in this
and
spect
re-
"Antic
Hay."
is forever
Huxley
mind
explaining how
and
and
describing the
he
Thus
terms.
summary
character's
of
state
often in general
Walter's
feeling for
Marjorie:
It
that
with
was
virtue, that
twenty-two
purityof
sexual
and
Or
with
desires turned
inside out,
the
justdown
adolescent
from
ford
Ox-
stuffed with
of philosophers
poetry and the lucubrations
love
love
communion
was
talk,
was
mystics),
spiritual
and
and
the
at
companionship. [Etc.]
the
feelingof Burlap
These
agonies which
on
up
related
his
himself
were
in
feelingsfor the
wife:
tration
process of intense concenhad succeeded
in churning
grief,
Burlap,by
within
to
proportionateor
way
livingSusan. [Etc.]
no
even
the finesse of
it is also
in
THE
468
method
NOVEL
TWENTIETH-CENTURY
rather
"old
the
to
in
hat." It is,at any rate, directly
by Gide in
principleslaid down
tradiction
con-
the
he
of doubt.
"But
be
in
I think
retiring?
so
these
about
will. Some
confidence
recovers
the author
After
movement.
of the author's
he
the
of the
account
Philip's
Then
in
not
respects,
some
we
are
bit
too
position
im-
so."
need
ish
squeam-
nowadays/'
personal appearances
question of
ment
mo-
of effectiveness
is a question
appearances
of presentation.
If the author
succeeds
in
presenting his
theme
The
of mind
the author's
acter,
char-
"
shall
"
we
not
in apropos:
and
thing to do" contrary to the practiceof Meredith
to manage
James" is to give the reader an advantage over me"
things so that the reader may think himself more
intelligent
than the author, of a higher morality,and more
discerning,and,
The
as
it
were
in
spiteof
the characters
the author
That
and
discover many
the author, may
pointsin
truths in the story not
perceived by
many
himself.
is
on
his
work.
"On
the
\yrittenabout
published
one
comes
whole,"
the
novel
to
says
gratulate
con-
the
COUNTERPOINT:
reader,
a
"I
character
too
"Well,
admire
much
pleased
what
on
work
your
find
HUXLEY
earth
And
disagreeable."
most
at
but
much,
very
his
success
did
you
to
think
469
make
the
I
meant
such
the
and
such
obvious
him
is
author
reply,
to
be?"
XXXVII
VIEWS
COMPOSITE
E,
varied
EXTREMELY
of
years
the
disposition
breadthwise.
Woolf
in
In
"Jacob's
author
has
Jacob's
story
to
is
say,
follow
conclusion.
her, and
what
was
he
wisdom,
There
is
such
but
the
to
action
no
as
time
simply
one
only
might
caught
early childhood,
days
in
his
of his
of
worthy
drawing-room.
the
have
of
sight
And
of
"what
in
there
name;
of
brief
person
from
one
time
remains
is
are
had
"scenes."
of
mostly
Jacob
"met"
never
time
his
There
war.
no
line,
out-
after
seeker
glimpses
to
character
sketchy
the
of
logical
through
as
disappearance
succession
London
across
matter
of
nature
of
work."
guess
What
the
and
from
Gide
in
know
series
to
chosen
show,
to
seems
to
up")
has
telling
use
through
She
undertakes
to
(to
an
The
she
pretend
"made
or
of
That,
character
modest.
up
days
xvho
consistently
more
two
give
to
idea
the
detail.
in
novelists
it
interests
university
is
is
of
Englishman.
young
and
"constructed"
She
America
in
primarily
rejected
"construct"
(equally
events
with
who
and
phrase)
of
definitely
way
ginia
Vir-
illustrative
is
intention
consecutively
the
"Ulysses"),
Frank
works,
personality
quite
everything,
who
the
life
method.
the
Room"
of
impression
this
of
of
year
Waldo
and
extraordinary
varieties
extreme
(the
1922
England
publishing
were
in
Already
ten
of
cross-section
the
take
to
last
the
in
manifestations
the
are
young
interests
man.
this
But
observer
Mrs.
Woolf
470
is
the
essential
consistently
refuses
to
ROOM"
"JACOB'S
give us
him.
she
That,
who
people
sketch
character
any
seems
know
471
of him,
generalizeabout
to
for authors,
well
to
ordinary
life that
ists,
like all other novelof course,
very far. And
the impresto give in her book
sion
VirginiaWoolf wants
doesn't
get you
of
novelist
the
render
It is
no
trying to
use
when
open
rather
or
rather
As
clumsy
matter
novelist
without
people up.
sum
is said, nor
exactlywhat
One
to
hints,
out
put the lady'sdressing-case
mumbling:
"let me"
it.
about
is
he
tries
follow
must
the author
characterizes
is
When
them.
and
"
making general
of
the method
eschews
him.
about
statements
not
old-fashioned
the
"
therefore
life. She
ordinary
Jacob
glimpses,as he
in
relation
to
callinghim
ment
play on the beach. At Cambridge it is an assortof universitycharacters, such
as
they are, for the
the darkening of a young
man's
mind.
In
illumination
or
in drawing-rooms; those
it is the people he meets
London
rubs elbows
with at the British
he meets
at night clubs, or
In Greece
it is the lady he falls in love with.
Museum.
who
And
love him
and
the
everywhere it is the women
in from
who
men
is made,
Much
think
cherish
of
calls him.
him.
Jacob, this
The
author
"silent
likes
young
man,"
as
what
one
people
of them
her characters;
skip about among
and sometimes
on
a
singlepage she will show us
half a dozen
people in various places,all simultaneously
with Jacob. But this is not all. It is true that, in
concerned
her pictorial
are
composition,all the other figures
placedby
of them
reference
to Jacob. But
are
many
persons who
to
VIEWS
COMPOSITE
473
she goes
When
she finds it very hard to leave any one
out.
the opera
like to occupy
she would
to
placeseverywhere
in the stalls,boxes, amphitheater, gallery.She
at
once,
doesn't
"But
want
no
miss the
to
or
necessity!
choose.
must
we
"
any
Never
was
entails greater
which
one
with
contact
of patrons.
group
there a harsher
certain
pain, more
on
of
what
Matthew
VirginiaWoolf
I think
But
I seat
she
In
the
case
judgment.
ready to pronounce
gree.
degranted "tact" in considerable
not
am
be
must
"tact."
calls
Arnold
is to give a distinct
upshot of her method
self.
himand
rather charming impression of Jacob Flanders
And
is more
what
interestingstill,she has given an
is perhaps as much
impressionof him in his world. Which
For
to
as
The
book
"City
and
time
the
Block"
somewhat
to
of Waldo
Frank's
(1922;
morbid
speak. It
the best
was
I have
edition, 1932). Of
new
beauty of
would
which
to
one
take
us
this book
too
referred
the
I have
is
strange
here
no
besides,
not
understand
it well
NOVEL
TWENTIETH-CENTURY
THE
474
social unit.
is interested
He
in
the
several
sented,
preof a
persons
members
also
individuallybut
as
merely
social organism.
organism. For
Probably we had better say psychological
"social" is too fraughtwith associations. It suggests Balzac,
mum
Zola, Dreiser. It suggests sociology the family,the mini-
not
"
With
all this Frank
wage, and the settlement-house.
souls.
with
is concerned
concerned.
is not
He
as
persons
continuum,
Societyhe conceives as a sort of psychological
in which
the
lonely,are
souls, however
packed
close
gether,
to-
one
other.
aninevitablyto exert
upon
pressure
His conception is highly poeticaland mystic, and
than those
difficult of expressionin any other terms
as
so
very
of his
fictitious narrative.
own
prefaceshis
He
the reader
book
that
with
the notice:
City Block
is
"The
author
singleorganism
sures
as-
and
mysticalexperienceshadowed
follow
Number
the reader
will
thor
au-
find impossible
is the system of
have appeared,or
One
we
without
been
are
referred
introduced
to, in the
to
earlier
Clarence
ones.
In
man,
Lipper,sales-
has
for Mrs.
Luve,
published in
"Rahab,"
and
character
of Frank's
novel
in Three,
Often
two
same
more.
these persons,
as
the
actors.
BLOCK"
"CITY
minds
of others. Or
with
concerned
and
the cherished
in casual
475
center
Jewish
two
child
indirect
and
Five
couple. In
of each
that have
them"
wrote
Thus
the
then
and
Mr.
piecessomething
it or
"
what
has
Frank
not,
shall
than
feels
call it?
we
Scene."
The
is
one
is matter-of-fact.
But
idea
street,
Rice
show
to
"
us
cityblock.
have
may
Interlude"
Frank's
kind
work
Mr.
Rice
of
make
of his fourteen
collection
stand
of tales. Under-
introduced
has been
there
to
est
community of souls. The nearRice's play,
is perhaps Elmer
as
phantasmagoric as the other
of
man
had
have
authors
two
from
cue
or
the
same
but
clique,
of
that Mr.
suppose
"exIn the pressioni
Frank.
Mr.
Machine"
Adding
and
to
quite possibleto
his
"The
inventions
has
work
It is
taken
of
the
one
a
"
life.
own
managed
more
one
his
took
O'Neill
Mr.
in "Rahab"
and
been
and
"Strange
anticipatedby
were
"Holiday." If
unduly neglected,Mr.
satisfaction in seeinghis methods
Frank
may
acclaimed
his
own
take
in the
of others.
3
The
desire
same
to
build
up
set
of short
stories into
Thus
the
point.
Ernest Hemingway's
same
in
THE
476
"In
Our
sort
of
Time"
NOVEL
TWENTIETH-CENTURA
(1925)there
generalpattern
to
the
is
an
book
effort to
as
give a
whole.
futuristic
The
stories,
feet, and
perfectlywell on its own
of which
as
were
separatelypublished,now
appear
many
gnette
"chapters,"and each chapter is preceded by a brief viwhich
has
(a bit of narrative printed in italics),
nothing to do with the story proper. The first five chapters
Adams.
He
his
Nick
all about
watches
a
are
boy named
father perform a Caesarian operationon an Indian
woman;
he tells his girlMarjorie that love "isn't fun any more";
with a crazy tramp. In the later chaphe has an adventure
ters
it
after
the
would
Nick
seem
war,
skiing
reappears
with utmost
and fishingin Canada
in Switzerland
gusto.
concerned
with
American
The
interveningchapters are
back home, with various futile and silly
soldiers abroad
or
American
couples traveling abroad, and with a young
American
boy whose father is a jockey in Turin and Paris.
almost
As
for the introductory vignettes,they are
gether
altoin France, Turkey, Italy,or
picturesfrom the war
in Spain and
in Mexico.
from
bull-fighting,
of the prose
These
one
introductory vignettesremind
in italics prefixed to the chapters of "Manhattan
poems
Transfer."
vious
Only, in Dos Passos's novel they have an obrelation to the story. In Mr.
thematic
Hemingway's
the story with
book
a
they cut across
shocking effect of
irrelevance.
be so
considered, they may
riot
Esoterically
irrelevant. The
general subjectof this book, as of "Men
is the manly life,the clean life of fight
without
Women,"
is growing up, the war
and sport. While
Nick
Adams
is
going on, with its exhilaratingchallenge to courage and
has arrived himself
stoicism. In Chapter VI, Nick
the
at
wounded
Italian front and is sitting
againstthe wall of a
church.
With
of the war,
the conclusion
it is bull-fighting
which
takes its place as recurring motif. A few examples
worked
in of men
are
tame,
impotent, domesticated, just
to give the proper
shading,and the books ends with some
each
of which
stands
"
"
THORNTON
WILDER
477
and
gloriousdescriptionsof skiing,horse-racing,
fishing.
The
separate sketches
are
extremely
styleof deceptivesimplicitywhich
well
trout-
in that
done
familiar
to
As for
disciples.
Hemingway and his many
sensible
composition of the thing, it is perhaps most
consider it an amusing stunt, or maybe simply a hoax.
the
readers
is
"The
Bridge of
collection
of
American
young
Luis
stories
Lubbock's
in Rome
Cabala"
be
to
"Cabala"
his
has
some
Pictures"
into close
Each
novel.
which
"
"Roman
comes
to
Rey" (1927).Each of
so
closelyinterrelated
that it is felt
story.In "The
Percy
San
of short
by recurringcharacters
is a frame
with
Wilder
Thornton
comes
(1926)and
one
so
now
of
Then
these
is
gestion
sug-
(1923)
with
"
contact
of persons
of varied distinction, a sort of esoteric
clique,and learns the spiritual
historyof each one.
group
ment,
Bridge of San Luis Rey" we start from a docua book
by the Franciscan Brother Juniper of Lima.
and
Lima
With
the falling
of the old Inca bridge between
Cuzco
in 1714 five persons lost their lives. Brother
Juniper
is interested to know
whether
an
inquiry into the private
In
"The
lives of
the
author
tically
statisfive persons
be made
to
prove
may
providentialcharacter of God's decrees. The
these
is
not
satisfied
these
with
Brother
to
people and undertakes
fullyconscious, however, that
at "the central
passionof Dona
Pio's,
"missed
not
even
of
set
of
Juniper'saccount
forth
even
he
Maria's
Esteban's," that
what
may
he
not
life;nor
even
he
knows
have
"
got
of Uncle
may
have
NOVEL
TWENTIETH-CENTURY
THE
478
after
daughter in Spain.Part Three is named
of his extraordinarylove for
Esteban, and givesan account
tion
her
to
Captain Alvarado.
Pio, but is quite as much
after Uncle
he
Perichole, whom
a
The
woman.
has
trained
various
make
to
Part
great traveler
the
as
his decision
with
falls in love
his brother
when
sorrow
tragic
with
voyage
is named
Four
a
concerned
and
actress
an
as
with
the
loved
keep reappearing
characters
"
and
covers
is
an
with
The
being,or
obliterates
"
unselfish
humanity
to
multitude
that
is
There
classic,rather
whiff
no
of
it is of
structurally
man,
nor
of sins. Brother
Juniper
woven
together,
a singlepattern.
pattern made
Glenway
founded
of
time. This
"The
or
is no
It is
lives
set
in the traditional,
modernistic,
Dos
manner.
Passos. And
yet
story built around
intrigueor
upon
of time.
up of many
Wescott's
the
Joyce,Woolf,
our
in the direction
taken
than
devotion
general,which
in
The
several stories are
inspiration.
infinite cunning and ingenuity,into
narrative is brilliantly
done. It is done
the
one
is Love
motif
human
another
to
to man.
dramatic
issue,
a
compositepicture,
side by side.
a
Grandmothers"
(1927) is
"THE
GRANDMOTHERS"
479
that
life which
criticism of American
in
volume
ters's
our
abortive
is the
this
taken
and
such
Maspresses
im-
historywhat
of these
idealism
on
Brooks
Wyck
"Anthology." Throughout
him
has
strenuous
ignored,
melancholy deliberately
the fanatical Puritanism, the spiritual
prideand failure.
is no central knot of intrigue
There
or
suspense. There
line of history.
Mr. Wescott
does not
is no
chronological
method
follow
the saga-like
of Hergesheimer in "The
of the method
of
Limestone
Tree"
(1931).He has more
Conrad.
the role of Marlow
or
Alwyn has somewhat
tain
Caplives, the fundamental
Mitchell.
Like
of
fragmentariness
his information,
reconstruction; he makes
he
likes to insist on
Conrad, Wescott
back
and
on
great
the
use
forth in time. In
need
the
for imaginati
of retrospection;
chapters
he works
in several periodssimultaneously,
deliberately
interchangingdistinct planes,in the modernistic manner.
He
has not the vividness, the visual imaginationof the
born
is
weaves
writer of fiction. He
swamped by
it. We
so
much
find ourselves
material
that he
Instead
readinghistory.
of the actual
with
has
some
scene,
ing
dealhard
VIEWS
COMPOSITE
one
made
he has
a
The
the marks
of
in
and
monumental,
most
It is
the
orthodox
manner
Wharton.
it bears
But
the
and
narrative
of Edith
work.
think
I
insincerity.
and
haste
him
imitation
tolerable
strangelytouching
and
in characterization
ingeniouspiece of
most
side and
by
has
He
club. And
night
side
on
481
many
ways
the
most
views
Sumter
Fort
sense
composite
historyof
assassination
the
to
the
sections, each
of
Lincoln, it is in
of seventy numbered
in the life
moment
It is made
war.
up
presentinga
one
no
of
subdivisions
thus
of
dealing with
bringing the
hundred.
one
time, and
them
to
one
and
few
him.
The
to
event
political
typicalhuman
and
from
such
idea is
is made
confines
to
itself
ond
sec-
relate
to
the
beings
"
war
to
men,
show
and
women,
itself is the
and
on
its surface
it. According
in
come
ber
num-
persons as he is involved
exceptions,the point of view is strictly
upon
The
the
to
viduals,
indi-
other
people affected by
with
attempt
section
title. The
down
picturesup
them.
and
moments
of these characters
Each
another.
total of
no
practically
individual
chosen
Few
separate
to
the
but
it
not
statement
wave
diers
children, sol-
and
at
referred
distance
to
in the
like corks
bobbing up
carried along
necessarily
are
from
work
on
physi-
cal
direction, but
travel with
the
It
by
into
thrown
cork
waves.
not
travel in
geography prefixedto
definite
NOVEL
TWENTIETH-CENTURY
THE
482
and
moves
up
the wind
returns
to
sorrow
to
carried
the
one
them
exercise
of
out
or
specialfaculties.
their
Miss
themselves.
by
rent
cur-
and
wave
is
war
involved
tain
re-
affected
has
war
it has
another:
or
way
and
to
story of
of characters
them
each
The
privateidentity.
in
down,
same
the hundreds
does
water
carried
or
positionwith
does not permanently leave its place."
The
remarkable
most
thing about this
it
the
some
brought them
casion
given them ocit has
But
is
Scott
never
evidently
From
girlin
child
merest
in
Richmond,
New
and
national
disaster, their
feels,are
one
events,
the surface
across
individual
own
before.
what
it was
essentially
out
originalconception,and worked
both
such
as
the side of
on
have
we
Calendar
"A
before
never
of Sin"
is
work
with
of less
spread of
groups
The
of characters
action
covers
the
as
in
and
the
periodfrom
1867
ing
leav-
impressive
an
tail,
of de-
wealth
of material
fact,
fiction.
forbiddingaspect
it has much
have
we
system
Wassermann
ical
Polit-
and
nature
in American
seen
of this
sweeping
waves
It is
psychologyand
Davis
to
salvation.
it
to
poorest creole
the
of
and
to
more
the wide
alternating
Dos
Passos.
1914, with
spe-
EVELYN
SCOTT
483
in the South,
the years of reconstruction
half a
the lives of three generationsin some
cial
emphasis on
and
includes
dozen
It reaches
out
It
the ambitious
James Dolan,
include
to
ciate
asso-
Abolitionist
Geoffrey turned
George, who
is considered
George;
no
Cowley. Both
than
the
have
mulatto;
from
his brother
Yankee;
rival in the
Edwin's
and
married
wife
Geoffrey's
has saved
better
and
mob
win
Ed-
and
Thomas
business, Major
tobacco
several children
and
Major
are
no
Cowley has a son,
eight
of John Dolan
different stories. The
son
eventuallygrows
of the
of Edwin's
one
daughters; another
up to marry
daughters marries the son of Major Cowley; and before
closes we
the book
are
reading of the love-affairs of the
Georges
thus
and
started
less than
and
Besides Odessa
have many
Mimms,
we
grandchildren.
laid in Washington, Cincinnati, Memphis, Chicago,
scenes
division
The
of
in the
and
book
the
is
Southwest.
by
years;
and, within
certain days we
On
year, by the days of the month.
the stories of several different persons to follow; and
where
it is
the
essentially
separate sections
concerned,
view
we
son,
much
and
view.
and
some
concerned
most
The
of them
with
more
the
story
same
than
states
as
devoted
to
once.
Miss
of mind
observance
result is,with
the wide
effect of
far
have
even
the action
is
the
points of
involved. Thus
for a singleday
father, mother, daughter, and
are
punctiliousin
intensifythe
so
the
Scott is very
of her characters,
of the limited
point of
to
varietyof viewpoints,
in
or
discontinuity,
disparateness
484
is this
It
continuity.
narrative
which
and
which
the
into
run
What
iambic
is
It
"
Sin
is
from
by
that
and
of
dread
other
as
She
Gorgon
this
writing
She
She
will
is
lives
there
is
in
has
she
is
writing
too
well,
not
take
beyond
that
far
too
sides.
good
and
does
well.
She
She
love
not
her
no
say
"understand."
will
of
not
tory
labora-
it is perhaps
say
have
I will
is afraid
evil.
of
it is because
not
of
document.
cannot
need
drama.
she
handling
given
read,
not
rowed
bor-
devastated
thinker;
course
only
were
human
as
of
but
coolness
She
apologetic. Oh,
is
gence
indul-
izing
little sentimental-
as
any
the
strength
artist.
her
In
Melodramas."
sympathize,
not
mind.
with
If she
telligen
in-
tions
disloca-
the
by
title
Her
vocabulary,
find
to
the
from
even
understands
up.
in
or
quisite
ex-
sheer
fearful
lives
human
her
the
is her
melodrama!
refrained
does
That
"American
is ironic
formal
is her
Scott
whose
nature
weakness
sub-title,
of
hope
human
scientist.
in
motives,
could
touches
the
decidedly tending
love, the
passion.
creatures
poor
human
one
this
term
is
in
caused
of
not
the
then
subject
Her
denial
and
Dos
sometimes
prose,
Evelyn
clear,
thing
disturbances
and
pendious
com-
exposition
rather
and
and
of
And
clumsily.
heavy,
in
most
inhuman.
almost
ironic.
trifle
pentameters.
admires
one
large freight
competent
description, a
to
of
modernity
accomplished
own
cultivated,
is
in
to
her
the
of
one
the
having
carries, rather
style is
air
an
Thackeray.
or
author
This
one.
from
"modern"
so
remind
Tolstoy
book
Joyce
style.The
gives
otherwise
of
the
keeps
Passos
which
might
chronicles
What
NOVEL
TWENTIETH-CENTURA
THE
book
whether
fear
of
she
has
that
she
She
point things
being
tific.
unscien-
XXXVIII
EXPRESSIONISM:
"expressionism"
term
HE
chapter
indicate,
to
opposed
rendering
in
of
life.
opposition
main,
of
earlier
the
of
of
system
not
but
in
letter
that
to
favor
of
meaning.
familiar
interior
using
am
than
sense
fiction
of
Heinrich
Werfel,
romantics
an
the
in
in
the
of
mystical
Riikkehr
applies
school
vom
eschews
in
spective
perthe
more
actly
ex-
inclusive
more
of
later
the
men
are
fondness
German
Hauptmann,
Kasimir
Edschmid,
mainly
neo-
is shown
in
treatment,
for
legendary,
Heinrich
Hauptmann's
485
suggest
beyond
most
(for example,
Hades/'
the
with.
naturalistic
a
ject
ob-
neglect
to
expressionist tendency
and
the
the
to
"locate"
to
(the
These
detailed
themes
to
Binding,
Brod).
it
It
dimension,
help
ferent
dif-
on
of
will,
at
the
a
look
the
as
it has
suited
it is concerned
Rudolf
whom
is best
"expressionism"
which
Max
any
will
expressionist
avoidance
and
of
use
of
pretends,
the
the
of
literal
as
essence.
licensed,
It is
term
Mann,
Franz
in
that
or
symbol
meaning
the
of
the
means
object, though
meaning
which
ones,
quite
impression
make
to
the
whatever
in
is, in
by
Expressionism
an
its
express
and
the
give
cies
tenden-
precise impression
is
strictly speaking,
Impressionism
It
rendering
notation.
to
interior
thre'e
studied.
of
of
literalness
stands,
more
variety
undertakes,
It
give
to
object
manner
contrary,
realism.
head
the
at
prevailing
impressionism.
special technique,
look
loosely,
formerly
of
here
set
Expressionism
to
variety
somewhat
the
to
FRANK
WOOLF,
"Der
tastic,
fan-
Mann's
Ketzer
Soana," Werfel's
von
NOVEL
TWENTIETH-CENTURA
THE
486
"Der
Tod
des
"Unsterblichkeit," Brod's
and
the
his
Brahe's
"Tycho
title of "The
modernistic
more
The
under
Tycho Brahe").In
of
works
rather
are
if
in
bear
we
eral
gen-
tive
conserva-
broaderjand
takes onjt
term
connotation
Gottin"
einer
Gott," translated
zu
stylethese
modernistic.
mit
"Leben
Redemption
conception and
than
Weg
ing's
BindKleinbiirgers,"
mind
the
expressionist
poets (Holz, Daubler,
Stramm, Becher, Werfel) and the bolder technique of the
playwrights(for example, Hasenclever, Toller, Kaiser).
Doblin
and
The
suggests the
technique of Wassermann
novel.
wider
of expressionismin the German
possibilities
critics to apply
It probably would
not
to the German
occur
the term
to so realistic a work
as Joyce's
"Ulysses."But the
bolder
style of
the
-Walpurgisnacht
the gigantism of the Cyclops episode,and
scene,
many
other features of "Ulysses"show
to transcend
a disposition
which
the old literal realism,
a disposition
properly
may
be referred to the same
impulse.
expressionistic
"fourth-dimensional"
the
of
character
"
Wassermann
than
the
one
and
Gide
are
seeminglyarbitraryway
in
scenes
in
several
more
ers
writ-
conservative
technique is shown in
which
they set down beside
different places,giving,as
their boldness
Joyce. But
another
much
in
of truth, is a
he
makes
one
sympathy
one
it may
repudiationof realism.
of character, while
think
of Dostoevski.
with
concern
and
of Wassermann,
his Edouard
in what
of the naturalists
In this
both
that Gide
I believe
rection
lead in the dimatter
of them
is
mind
re-
largelyin
he says about
the excessive
with verisimilitude.
For,
GIDE
EXPRESSIONISM:
after all,while
Edouard
did
turn
some
get
The
and
corners
wrong
Gide says, that he has
is the most
novelists
as
487
do
can
speaking not
am
merely
of forms;
lawless
of the French
is
probably
has
always
novel.
In
the
same
from
[ressemb
lance].The
novel
erosion
that
of contours,"
has
century. Do
you
profoundlyhuman
more
because
they
not
are
pride themselves
on
"formidable
ate
speaks of, and that deliberin the Greek
made
stylepossible
the French
tragic writers of the
know
anything more
perfectand
Nietzsche
departurefrom life,which
dramatists, for example, or
seventeenth
that
known
never
than
these
works?
But
this is
precisely
real.
This
in
is in
his
very different
famous
givesthere
impel any
the
preface to "Pierre
best possibleaccount
artist
to
offered
in the main
differ.
make
him
him.
Maupassant
Maupassant
Jean." Maupassant
et
which
of the motives
careful
selection
by life,and
with
agree
that of
from
spirit
of
from
course
cumstanc
the cir-
Gide
would
It is in the
writes:
be
call themselves
In
the last
intention.
But
rence.
occur-
rather
Illusionists.
Gide
analysis,
he has
ordinary logicof
is,I fancy,an
facts." He
of mystery which
seeks
clingsto
illusionist in his
quarrel with
his illusion
human
"the
in that element
motivation,
and
NOVELS
FANTASY
OF
489
''Green Mansions"
(1904)and "A
(1930),W. H. Hudson's
Who
"The
Man
Crystal Age" (1906),G. K. Chesterton's
Was
Thursday" (1908).We have had the philosophical
of James Branch
Cabell, laid in the imaginary
romances
And
of Poictesme.
realm
de
fantasy: Walter
la
Mare's
Huxley's
(1921),Aldous
Morley's "Thunder
Townsend
the
introduced
have
Matson
Norman
French,
medieval
of the books
has
Garnett
re-
transformation
Elinor
introduced
"Lolly Willowes"
in
of animal
theme
in
Several
Left"
the
on
topher
(1921),Chris(1925).Sylvia
Yellow"
"Flecker's
and
"Crome
to
us
and
Warner
have
we
Wylie
has
tured
ven-
fantastic in "The
more
alreadytaken their
tion
prime masterpiecesof fic-
mentioned
have
the
place unmistakably among
in English at least these three: "Green
Mansions,"
Venetian
Memoirs
of a Midget," and
"The
"The
Glass
Nephew." They are fine products of the poetic imagination
of prose. But there is nothing
working in the medium
"
about
modernistic
in
them,
fantasy.For
about
any
of "Crome
In
generalthey are
of the
the
of the
except
part there
most
and
notable
"Thunder
of
is
and
reality,
gence
indul-
ernistic
nothing mod-
with
piecesnamed,
Yellow"
illusion
this un-Victorian
the mild
the
on
unbroken
for
ception
ex-
Left."
tenance
main-
classical simplicity
of method.
is
There
greater
pretensionsto
I dwell
that
reason
"
for I do
Bromfield's
books
not
"The
(1928),which
the
fantastic
one
novel
the
looselybound
the
modernistic.
period
And
which
has
it is for that
because
lence
it here; not
of its excelupon
consider it a great success.
This is Mr.
Strange Case of Miss Annie
Spragg"
is modernistic
discussed
of
in
the
piecesof
in somewhat
preceding
this novel
the
same
way as
teen
chapter.The fourare
so
many
varia-
tions
This
theme.
abstract
an
upon
NOVEL
TWENTIETH-CENTURY
THE
490
might
which
theme,
Norman
France
or
delighted the heart of Anatole
and fertility
fertility
Douglas, is seemingly that of human
and times of considerable
cults. It bringstogetherpersons, places,
is the god Priapus,dug up in the
There
diversity.
lady of
garden of an Italian villa occupiedby an American
American
is an
spinsterin the
religiousbent. There
have
Italian
who,
town
death, is found
her
upon
have
to
ceived
re-
of which
are,
an
moreover,
in
History
curious
and
and
There
between
1840 and
him
are
circumstances.
forth
between
England;
behind
leaves
Prostitution.
of
characters
back
and
and
all innocence,
mental
monu-
other
many
quently
passes freIllinois, Illinois
One
Italyand
1870, 1870
and
the present
time.
This
book
is what
Gide
would
call
be
It will
item
curious
for
of
collectors
amusing
in execution.
confused
in
sotie. It is
philosophic
turn.
The
modernism
assumed.
can
write
VirginiaWoolfs
novels
As
one.
her
revolt
of Mr.
from
in many
further
Bromfield
has
modernism
ways,
literalness,two
of her
of her
air of
is in her
in any
examples
an
way
bones.
but
She
tional
tradi-
the
expressionism,of
books
must
being
serve,
(1931).
of
the
Mrs.
life
"ORLANDO"
of the
about
Under
written.
was
he
less of this
ambition
Charles
be
the
in
expressionistic
bachelor, sometimes
and
at
or
man
regard it as
phases virile
to
It
is
married
often
has
the
and
V.
enlargement
of her
or
secret
man,
wife,
doubtful
(I suppose)
is sometimes
He
spinster;
whether
he
is
was
regard
it
possible
its various
effeminate
times,
as
kind
on
more
unmarried.
or
possible to
dream
fulfilment
continues
Queen Anne,
George
Elizabethan
in
stantinopl
Con-
to
It
variouslyinterpreted.
historyof English literature in
"
Victoria.
ambassador
has been
book
The
of
that of
married
woman,
the book
time
He
lived
ing
age he writes accordheroic in the seventeenth
"
period it was
one
had
in each
period
the
at
of the book.
in the time
Augustan
who
one
and
woman
writer; and
is
II, while
the end
to
styleof
the
century,
into
turns
sex
to
to
491
under
of
wish-
imaginative
consider
to
and
a
multiple personality,
protest against
the too narrow
has
labelingof anybody. Virginia Woolf
suffered under
doubtless
the stigma of her sex; and there
is a good deal of quiet satire on the way men
hole
try to pigeonit
study
in
This
women.
to
male
The
than
at
disguiseand engage
point of the book
least
all." In
of her
many
at
times
seems
body,
to
be
that
be
to
would
in
appear
there
that
each
is
more
individual
amalgamates
and
has,
tain
"Cap-
controls
drives out
to
chapter Orlando
car; and at each turning she summons
last
her
thousand
superiorities
pertain
ap-
selves. She
in a motor
"Thirty-six;
but a million thingsas well."
Orlando, then, is not a figuredrawn
nature:
he
whole,
activities.
in men's
die
on
and
privileges
potentially,
many
country-placein
one
in each
person
one
chose,
self, the
them
of certain
because
woman,
Orlando
reflects
car;
from
on
her
woman.
her
gated
varie-
Yes,
"life." He
is
image,
an
NOVEL
TWENTIETH-CENTURY
THE
492
Hobbes's
like
philosophicalabstraction
of
truth
"
be
thinks,
amusingly rendered
in this way.
there is nobody who
Waves'*
In "The
nature
convenientlyand
can
human
most
changes his
sex
or
less than
even
or
personalities
subject of fiction; they are mere
and
Three
less integrated.
men
or
psychicentities more
three women,
they are shown from earlychildhood to old
age graduallygrowing into separate and sharply defined
stances
circumIt is, on
the whole, very similar
personalities.
which
work
them
upon
in very
ways; for
it is only
different
essence
narrative
in which
entirelymade up of soliloquies
explain themselves to themselves
of
their
book
dialogue.The
or
the several
at
various
is
acters
char-
stages
playing together,then at
in business
school, at collegeor in society,
or
family life.
They begin togetherin one house, they drift apart. But
don
twice they all come
together.They dine togetherin Loncareers
bid
to
later
farewell
dine
they
each
realizing,
their
own
to
what
one,
in
which
the
about
themselves.
course
the others
not
by
like,and stiffening
Court,
quotationmarks in
their thoughts
themselves
these passages
utter
There
person
one
are
years
of
way
characters
one
Percival; and
one
to
is
soliloquyis as sheer
plays. "Thoughts
not
friend
togetherat Hampton
I call
Soliloquies
Such
their
individualities
of them,
one
children
as
"
in
person
no
pretense of realism
convention
about
thousand
in
in
as
that
themselves"
is so
thousand
of
"
here.
bethan
Eliza-
but
of
precisein
spection;
intro-
knows
much
so
WAVES'9
"THE
about
himself.
493
selves.
them-
way
associate
course,
with
this author.
be
To
she
sure,
is
never
the
jects
adjustmentto different subnine,
and intentions. In "Jacob'sRoom"
she uses
the femiin "Mrs.
evasive manner
of Dorothy Richardson,
of Joyce, in
manner
Dalloway" the allusive, elliptical
"Orlando"
In "The
what she calls "the biographicstyle."
guished
Waves"
she reminds
and over
us
over
againof that distinof free verse,
Richard
writer
Mrs.
Aldington
("H. D.").I do not call it imitation, but kinship.
Rebecca
West
points out, very justly,that Virginia
Woolf
is a philosopher
she is not
writingfiction. Of course
from
who
a systematic
reasons
one
philosopher,
premises,
using abstract terms
susceptiblepresumably of precise
definition. She is a person with a bent for speculation,
which
she appliesto human
This she undertakes
personality.
with images drawn
from
the worlds of
to adumbrate
realityand fancy.In short, she is a poet.
she has wide
same;
Rebecca
she
is
critic
"
comes
talkingabout.
but
into
only
Not
is
this
person
is she
and
"
she
(1929). Like
is
originalityfine
and
acuteness
of
powers
who
knows
critic of unusual
a
rare
qualitiesin
chapterwith
"Orlando"
and
her
novel
"The
what
"Harriet
Waves,"
And
she
Hume"
"Harriet
NOVEL
TWENTIETH-CENTURY
THE
494
personality.
study in human
philosophical
has a quaint and
This
book
originalstyleworthy to be
is a pleasantprimwith Elinor Wylie's.There
mentioned
ness
the boxand formalityabout it like that of Mozart
or
letters.
bordered
gardens of eighteenth-century
is
Hume"
is
There
effort
no
and
Hume
Harriet
at
realism.
Arnold
The
main
two
Condorex,
not
are
characters,
of oppositetendencies
people as representatives
Harriet
nature.
nature,
musician, stands
concerned
the
Condorex,
while
the
Hume,
with
the
stands
politician,
real
much
so
in human
for the
eternal
templative
con-
verities,
life.
but ineffective in
is innocent
contemplative nature
is capable of great accomplishmen
practicalaffairs;the active nature
is too
but given to compromise. He
much
and
interested in the art of negotiation,
very successful in
derstanding
negotiatingwith himself. In short, he is a self-deceiver,unneither himself nor
the contemplativenature,
But
she, the contemplative
though he is susceptibleto her charm.
The
nature,
does
understand
him.
thoughts at
both
critical moments,
and
She
here
again
has, in fact,
in the
comes
she
reads
makes
thereby
his
them
exceedingly uncomfortable.
other elements
many
into
of three ladies turned
There
legend
and
of the
the appearance
dead. These
are
Harriet
beer, and
drink
of sheer
are
with
the
who
man
fantasy
"
the
ple,
poplar trees, for examin the last chapter of the spirits
ghosts too, policemen who
queer
Hume
tion
calmly discussingthe situa-
and
then
killed himself.
not
am
who
in the
reallybut
to
the
each
fable
two
appear
sides of one
as
separate individuals
individual.
own
They
ways;
are
are
tracted
at-
they dis-
"HARRIET
and
agree
end
make
succeeds
each
in
HUME'
other
495
active
unhappy; the
killingthem
both.
life
In
in the
one
they
cannot
are
combined
them
Hume"
in
in
in
the
tendencies
two
singleindividual
departsvery far from
a
is much
the
myths.
And
which
the
world.
in
"The
combined
fable which
it
dissimilar
in such
expressionsof
in
"soliloquies"
so
that is embodied
are
have
"Harriet
In
found
separate
the conditions
novels
two
could
never
often
are
made
are
truth
same
againstthe
he
person who
"realistic"
one
the
same
action
re-
novel.
Waves"
analysis,
prove, on
be a curious combination
to
of elements.
They represent
the "stream
of consciousness"
of the several characters.
They include
in
undifferentiated
one
perceive through
think, and
what
without
combination
more
senses,
feel about
what
these people
they consciously
and one
they
being actuallyconscious of it. The
is found
in Joyce, though probably
of
sense
their
what
mass
the
differentiation
themselves
between
other
ansame
with
conscious
and
unconscious.
That
stem
Waldo
all the
from
Joyce
Frank's
(1923).There
me
guess
"stream-of-consciousness"
at
seems
novels
is much
German
be
to
"Rahab"
writers
indicated
by
(1922)
in his futuristic
influences; the
the
and
do
not
dates
of
"Holiday"
that makes
manner
influence
of
post-
impressionist
paintingand sculptureis evidentlystrong in
him. What
I wish here to dwell
is his specialtechnique
upon
for distinguishing
between
separate layersor states
of consciousness.
In
"Rahab"
he
presents
woman
whose
life
spiritual
is
At
times
Mr.
497
still
of notation
Frank
farther. There
FRANK
WALDO
EXPRESSIONISM:
much
ordinary
thought, prose thought, as we
say, but something
may
more
purely emotional, wellingup from the depths of personality.
tion
definiThey involve what we may call a poetical
of
feels
There
that
passages
the character
the author
too
he
are
not
are
the situation
or
indicates
with
so
he
as
but
long dash,
the
of
form
impelled to give the distinguishing
is
one
in "Rahab"
passage
in which
these
to
verse.
all
shown
are
Waves";
like her
and
characters
I cannot
dialogue of soliloquies.
few excerpts will give a notion
of
a
quality.
they
it
include
mute
in
engage
all, but
if
its method
its
not
MANGEL:"I
I
of filth. If I could
made
am
am
dirty Jew
feel" this
His
body
(There
You
are
one's
But
is the
What
SUSAN
one
use
he
of
tells Statt
picks the
on,
the
having
that
ask
myself no
horror, O
If I asked
torrent
no
love
to
to
soul.
kiss his
body.)
me:
One
has
soul says
My
he
is
a
a
:-
"I
me
is he?
I would
when
smells
nose
dirtyJew!
use?
makes
He
.
who
is beautiful.
is the
What
No
Statt
straighterbecause
times
are
soul
"My
is
But
.
hate
question.
of horror
question.
smut
from
smut
comes
beautiful
one's
back,
soul?
dirtyDutchman.
nose,
mountainside
"The
Is
steep, is
I
I mount,
I
erect;
am
snow.
mount.
my
the torrent,
the horror, O
and
shoulders
my
feet
sharp.
Freeze
"
NOVEL
TWENTIETH-CENTURA
THE
498
the flood
Down-pouring
If I asked a question.
.
in verse
these soliloquies
largeextent
represent
the
latent or implicitthought rather than any of which
conscious. And
to explain
character is definitely
they serve
do himself. Such a use
better than he could possibly
him
in "Holiday."This is,in my
is even
of them
more
striking
successful of all Mr.
Frank's
novels,
opinion,the most
though it is clear enough why it has been neglected.In
offends too many
his pure estheticism, Mr. Frank
dices,
prejuand social as well as esthetic. "Holiday" is a
moral
deeper than
study of the psychologyof lynching,and
attraction and repulsion.It
the psychology of race
that
Nazareth.
is laid in a small gulf town,
symbolicallynamed
To
"
"
There
and
is of
course
behind
the
two
white
Nazareth
who
creatures
and
are
the
black
Nazareth,
of
protagonists
by
In
fear and
hatred.
respects the
many
in technique.
But
point.At
certain
book
I
is remarkable
must
confine
of
for its
myself to
originality
single
simple conversation
between
a
girland her father on the subjectof negroes,
there suddenly emerges
a
poeticaldialoguebetween the
white and the black races.
The
speechof white and black
is doubly distinguished,
that of the white race
being in
prose and
in
roman
moment,
out
verse
and
"HOLIDAY"
printedin
but
World
italics.It is
I shall try
tire,
impossibleto givethis colloquyenchoose the most
significant
passages.
to
of Nazareth;
499
worlds
of Nazareth
speaking:
cannot
alive.
shadow
blossomin'
is yo'sister,
"Whah
is de sister ob
Whah
Yo'
smilin'
am
sun
walk
"I
soil,and
on
I need
food and
shout
"When
Her
you make
upon
.
soil
warm.
to
live. But
house.
You
.
stays in
earth
are
you. Within
i must
you
my
earth
scatter
I need
and
Mah
Ian'?
Dixie
too:
sow
stand
the
up!
my
You
Dixie Ian'
on
goes down
dusky love shines in de welcomin'
night.
de
voice
"All
sun
cool
am
the world's
white. Honor
sky and
The
color: and
Pride
the world.
melon
de
as
is white.
is white, and
and
sun
my
don'
Whah
count.
Ah
Ah
Ah
Ah
You-all don'
count
I must
and
hold
my prideagainst
is
white.
The
Christ is
History
All
birthright.
beloved
the eyes of my
to
high whiteness.
"You-all
[etc.]
her
and
trees
lips
else
.
the
come
in?
mule
girL
.
Whah
.
do
you-allcome
soil:
thirsty
[Etc.]
do you
color.
.
in?
You
"
earth!
Don't
leave
won'
Le's
look
"I
won't
What
kin
leave
do
love
"Whar
O
An'
de
crops
An'
de
cotton's
An'
de
Like
be!
me
dreams!
my
dream
and
ghost.
blood.
Like
earth.
[Etc.]
[Etc.]
spent.
am
What's
that
to
Get
you?
down!
should
Why
stay down?
singin' strong.
is
village
our
stalkin'
fo' you-all?
you?
and
slumber
of love
Leave
eyes.
be?
me
Stay
are
white
hot
your
my
Ian'
come,
hungers,
out!
.
[Etc.]
everywhere.
Ah
"My
be?
de
fum
you
"You
into
Ian',
away
see
break
me
blossomin'
Come,
rolling
standing,
"Shouting,
Be
NOVEL
TWENTIETH-CENTURA
THE
500
is in,
made,
watermelons
ripe. [Etc.]
"
crush
"I'll
I'll hold
hate.
drouth
white
If
you!
you're
If
you!
the
exalt
color
and
are
you
well
dry
watch
love,
seed
and
and
the
white
my
fruit, watch
blind
my
of
eyes
my
women!
not
offer
judged
on
does
be
a
terrible
the
Of
value
found,
life, for
boldness
for
a
one
of
hint
of
of
esthetic
and
originality
most
vivid
see
how
we
of
can
his
important
fact
interest
of
fail
power.
try
to
invention.
scope,
Frank
work
not
features
widest
and
Mr.
His
I will
grounds.
not
the
involved
solution.
I do
psychological
representation
here
problem
least
purely
it. But
on
the
the
social
of
must
to
put
edge
acknowlHe
has
American
a
symbolic
XXXIX
ABSTRACT
CERTAIN
hard-boiled
the
elements
the
poetic
Mrs.
COMPOSITION:
lies
It
(see Chapters
material
and
comment
history
in
of
Joyce)
of
character
often
in
its
abstract
the
has
And
sophical
philo-
of
of
which
(as
broadest
the
with
has
work
makes
of
the
character
in
whole
fiction
twentieth-century
the
parently
ap-
chronicles
correspondence
the
composition
the
place
is often
symbolic
portions.
in
larger bearings
and
motifs,
of
realistic
plainly
the
dling
han-
persons
private
takes
material
This
or
because
poetic
sense
the
themes
but
these
which
suggests
told.
baldly
so
unrelated
to
and
contrapuntal
many
into
Frank
Mr.
XXXVIII)
to
insertion
general
more
like
the
of
lives
the
corresponds
which
in
ordering
in
freedom
writers
merely
XXXIII
freakish
of
of
not
from
passages
have
composition
expressionism
Woolf.
of
realists
their
of
PASSOS
DOS
that
think
us
so
post-impressionist
painting.
in
Thus
"Manhattan
the
to
of
reference
individual
and
the
But
the
far
chapters.
prelude
they
columns.
city
than
were
like
Rome
reader
chapter
One
was
knows
of
"There
held
well
Their
the
on
broad
that
what
up
501
subject-matter
matters
of
the
"Metropolis,"
Babylon
arches
are
they
headings,
was
scriptive
de-
purpose
implications
is entitled
Athens
often
so
serve
chapter
were
brick.
are
city life,
the
than
wider
begins:
built
and
fixed
pre-
poems
prose
they
setting.
physical, and,
than
more
have
important
more
the
the
while
chapters,
several
of aspects
far
Transfer"
veh;
Nine-
and
gold
of
is
marble
rubble/'
not
the
materials
of which
out
inevitablythese
of the
and
with
cars
of
city."One
with
The
War.
their
to
woven
built
were
the reminder
and
names
hurrying
is
them
the World
Babylons
preludesdeals
the herded
the
of the
associations
moral
NOVEL
TWENTIETH-CENTURA
THE
5o2
own
green
"towards
the
but
the
of how
greed.One
stop-go signals
the
glow over
connected
themes
of many
chapter entitled "Nicolodeon"
and
and
eyes
black
hands
neckties
blocks."
enormous
vision
and
coalesce, and
The
we
into
blue
esthetic and
chunks,
the
into
cal
philosophi-
realize how
nature
Dos
Passos
and
material
had
knew
aspect of
our
fail
to
the
author's
an
attitude
attitude
toward
life. The
of these
a
reader
stories
who
cannot
sufficient notion
the civilization he
is
mains
re-
of
ing:
portray-
withal
"The
some
of
42d
Parallel"
(1930) and
in
civilization in our
time. The
first one
survey of American
deals with the period between
into
entrance
1900 and our
the war,
the second
the
(somewhat overlapping) covers
"THE
whole
and
war
down
novels, there
of these
each
In
the
periodof
PARALLEL"
4*D
to
in
the
Day
five persons
make
chosen
to
Armistice
but
are
1919.
of
out
up his
characters
whose
the
503
other
many
in contact, and
second
volume
some
of
middle-
as
than
or
of the
for any
sections
in "Manhattan
characters
Transfer."
general much
longer,and the doings
from day to day,
of the character in question are followed
have the impresfrom year to year. So that we
sometimes
sion
narrative very different from
of a flowingundramatic
The
in
are
the dot-and-dash
the
the
But
of the old-fashioned
manner
features
several
keep
which
author
the
of the character
these
books
novel.
confines
One
notable
from
is the
himself
question.So
is absolute
this confinement
it still
in
rambling
suggests
novel before
ideals.
of "dramatic"
advent
It almost
within
far
each
to
as
having the
strict fidelity
the point of
I have
observed,
section. And
what
is the
ness
incomparable faithfulthe narrative
is given, in each case,
with which
the
of the character
undue
concerned, though without
tone
The
dominant
characteristic
exaggerationof idiosyncrasy.
of all these people is that they are justordinary Americans,
makes
more
of the whole
narrative
tone
prevailing
speech and feeling.
ordinary American
and
In
the
"The
42d
Parallel"
from
two
of the characters
is that of
are
in every
young
place to placeengaging
variety
is a stenographercoming from
labor. Another
of unskilled
liams,
an
ordinary middle-class family. Her brother, Joe Wilappears as a leadingcharacter in "1919." He is just
and who, having deserted
can't stand it at home
a boy who
men
who
go
19*9"
Crillon, and
Wilson
with Mr.
sleeklycollaborating
of the Versailles Treaty. At
manufacture
four
5"5
people
these
bottom
snobs, and
and
all sentimentalists
are
in the
the
colored
doings is discreetly
spiritual
complexion.
the tasty
of their
pink
Dos
Passos
the self-denying
art of Mr.
Nothing displays
more
eloquently than the rigor with which he has kept
himself
of these records.
out
Nowhere
intruded
has he
to
what
us
we
should
think
advantage of
with
nests
these
sentimentalists, who
the
The
them.
about
"ideals"
current
the
to
their
feather
and
it touched
as
war,
how
know
fighting-men,
Soldiers"
long since "done" by Dos Passos in "Three
with "1919"
that picturecan
(1921).But not even
compare
for the ghastlylightthrown
what
call the marwe
on
may
ginalaspects of war. For most of these people the war was
from
box seats, a
seen
simply one grand picnic,a "show"
was
chance
to
home,"
and
and
more
loose
cut
then,
of
means
the
from
and
over
moral
above
restraints
all that,
"back
of
good living
making
ghastlythan
counselors
public-relations
conferringwith Standard Oil
of the world's resources.
the proper disposition
men
over
There
is
one
character
with
whom
although he
completely,
matter-of-fact
ton, who
Jew, "who
makes
way
as
alwayssaid
is treated
the
he wasn't
are
we
rest.
Jew
in the
That
the end
he
able
same
is Ben
of
to
Comp-
"1919." He
was
an
sympathize
jective,
ob-
is a
American
506
THE
because
he'd
TWENTIETH-CENTURA
been
25th Avenue
This
born
in
in Flatbush
young
NOVEL
and
earlyespouses
man
and
Brooklyn
theyowned
the
lived
their
2531
home/'
own
of the
cause
at
working-
the
jector,
ob-
is
has devoted
himself
of his
gratification
Dos
Passos
was
statement
objective
to
own
comprehensive
in
of
went
to
stick
in the lives
the
on
in these books
an
plain
to
pf his
intention
its scope
than
in "Manhattan
hit upon
three different devices for
the reference
One
unselfish than
more
appetites.
of what
he had
he
cause
evidentlydetermined
characters. But
And
any
no
ten
less
fer."
Trans-
ing
enlarg-
of his chronicle.
these is called
the
Camera
Eye.
It consists
of
forty-oddshort piecesdescribingmoments
in the life of
a growing boy and
then the same
boy grown and servingin
the Red Cross during the war.
There
are
suggestions
many
that this boy and man
the author
himself. In "The
was
42d Parallel" he is seen travelingabroad, at school in England,
river steamer
on
a
in Chesapeake Bay, going to
church, at the university("four years under
the ether
in a great many
cone"). In "1919" he is shown
places
during his
and
be
service in France.
understands
Child
nothing;and
or
man,
he
sees
thing
every-
these
piecesare likely
cal
rhetorior
logical
Eye that one traces
jumble of impressionswithout
It is in the Camera
organization.
the influence of Joyce and the "stream-of-consciousness"
system of notation. Perhaps by the Camera
Eye, Mr. Dos
Passos wishes to indicate a way of seeing things directly
to
or
507
and
the process of interpretation
intervened
of order
to give a semblance
naivelybefore
has
is
EYE
CAMERA
THE
and
seen
what
to
idealistic view
and
consistent
tion
elimina-
of life.
from
And
in which
dazzling,bewilderingcubist compositions,
fragments of so many
disparateobjectsare set side by
these
in the
side, often
with
often
sentence,
same
tion
punctua-
no
of natural
of mind.
And
then
realizes that
one
what
have,
we
is a
actually,
each
one
as
so
of
of balance, contrast,
principles
the best
to
render
to
crazed
world.
terms
spiritfaced
sensitive
in
Not
every
of
art
with
writer
I
But
and
tion,
propor-
and
the disgust
the
could
am
loathing
actualityof
be
trusted
inclined
to
with
think
of the
many
work
war-
the
that
firmest
of this extraordinary
writer.
The
second
of
the
reference consists in
in the United
devices
for
series of sketches of
States
author's
during
the
enlargingthe
men
prominent
period covered.
Such
are,
in "The
Jack Reed,
liberal
Hibben,
or
the
of bankers
and
how,
by
the
TWENTIETH-CENTURA
THE
5o8
his
particular"slant"
author
on
Thus
each
on
suggest the
can
NOVEL
tone
of these head-liners,
one
of his
the civilization
they represent.
Mr.
features
Dos
Passes
tary
personal commen-
the shallowness
and
cerity
insin-
liberalism
"
of the Unknown
Soldier.
It is done
in somewhat
the
ner
man-
the same
of Sandburg'smagnificentpoem
on
spirit
selves
subject,"And So To-Day." These two piecesare in theminteresting
examples of abstract composition. And
sioned
of disilluthey both render
forcefullythe commentary
and
America
American
Dos
Passes' third
up
device
is named
of
newspaper
from
from
the
to
such
events
are
forty of
They are
some
head-lines, stock-market
as
the Boer
serve
reports,
the
purpose,
with
their
Roosevelt's
bolt
of time
War,
of the
feature
books.
two
with
militarism.
There
moving-pictures,"Newsreel."
these newsreels
scattered through the
made
associated
false sentiment
the
on
the assassination
Jaur"s,the
Armistice.
is much
But, what
more
important, by their
items they suggest the mennews
tality
jumble of miscellaneous
which
produces and is fostered by the newspaper,
that epitome of our
civilization. Any reader who is puzzled
of every conceivable
by the way in which news
type is all
Republican party,
of
NEWSREEL
509
ternate
togetherin paragraphswithout punctuation,and alwith head-lines in every degree of bold type, need
of reading the daily
manner
only stop to consider his own
run
paper
or
"
want
at
on
and
air.
hot
political
is
there
ties,
personali-
this. Mr.
it than
Malcolm
Cowley,
and
in a significant
highly favorable review of "1919,"
remarks
that, "in themselves, judged as writing/'these
But
newsreels
"are
to
more
This
successful."
not
be
may
But
true.
we
Along
the
is the
there
benefitingby
are
innocent
the
and
men,
home,
with
the
WAR,
And
CONTROL
then, with
PLANS
the
war
jETNA
TO
Armistice,
songs,
THE
which
MANS,
GERMORE
LEAD
as
we
MARKET.
the
hear
Internationale
more
BY
EXPLOSIVES,
and
more
of Burleson
of Polish
labor
vice
ser-
from
STIMULATED
OF
CONTINUES
BY
RATHER
INDUSTRY
begins to displacethe
of strikes and
and
industries
LOST
MOVES
STEEL
AFTER-WAR
STEEL
to
of the
war:
FERTILIZER
CRUCIBLE
songs
the war
from
reference
recurrent
FINISHED
FREELY,
frivolous
ordinary news
SUGAR
HAWAIIAN
and
putting down
the book
progresses,
the
of the
news
To
beginsto
CANADIANS
COMPLETE
PROMISE
KEEP
SOYONS
and
eleven
.
were
men
killed
saddest
and
mercury
the result of
seriouslyas
in the priming unit
de
of
MENTO
SACRATO
TRY
LAPSE
COLHARD
KAISER.
of them
DUPES
CALIFORNIA
BRITISH
HANG
as
LES
READY
GENERAL,
epitomizingthe
life.
spiritual
out
RUN
AGAINST
begin to range
meaningful pattern like the pieces of
Certain
paragraphs of fragmentary news
stand
GAINS
MENACE
CITY,
separate items
These
FLEET,
PAS
VERDICT
TO
of
STRIKERS
BOLSHEVISM
ESCAPED
SAYS
CAMP,
YORK
RENDERS
WORKERS,
TO
GREATEST
NEW
OF
TIEUP
QUICKLY
JURY
WORLD'S
BOLCHEVISTE,
TRAVESTI
DU
of
NE
ing.
bewilder-
meaning
singleday:
head-lines
STREET,
WALL
and
thread
consistent
BRITISH
IN
RIOT
IN
HIGH
HAVE
U. S. MUST
SAYS
be less chaotic
day begins to
musing reader
run
through the
NOVEL
TWENTIETH-CENTURY
THE
5io
an
themselves
a
in
puzzle-picture.
items
begin to
ironies
of
our
social
twenty-threeinjured,some
explosionof fulminate of
of the cap works
one
of the E. I.
Powder
Nemours
...
quartet of sailors.
have
three
we
where
from
Camera
is
Newsreel,
the
keep
to
broad
for
the
have
the
elements
disposition
found
it
with
the
disposition
to
be
first
weakly
world,
creation
more
of
unusual
significance
this
blindly
combination
and
so
in
great
which
novelists
now
makes
writing
Dos
in
lems
prob-
striving
forward
will.
group
strong
so
his
Passos
English.
craft.
one
no
indulged.
society,
the
as
conditions
of
command
goes
is
be
to
writer,
one
pattern.
moral
precious
and
pear,
ap-
spondences
corre-
concern
struggling
consciousness
group
first
industrial
the
to
less
or
combination
important
itself
adjust
first
at
subject
Leviathan,
that
with
of
technique
sentiments
precious
is
concern
to
new
their
we
out
related
novelist's
their
And
may
this
author's
with
fondness
the
significant
in
well
the
The
individuals,
met,
how
obscure
view.
they
end
regard
to
few
cunningly
the
clear
organism.
with
longer
His
be
now
social
entire
an
will
the
issues,
composition
up
their
in
wider
have
we
unrelated
result
to
the
composite
the
have
to
to
The
citizen.
which
build
however
and
And
alive
511
commentaries:
prominent
again
to
PASSOS
briefer
on
cutting,
which,
are
of
Here
parts.
breadthwise
also
sketch
background
their
play
persons
these
perpetually
one
social
of
four
to
one
Eye,
effect
DOS
COMPOSITION:
ABSTRACT
of
And
the
of
the
to
the
It
is
social
it
most
is
BERLIN"
"ALEXANDERPLATZ
513
standing forth
at an
angle found along
river banks and givinga notion of geological
history.Only,
in "Alexanderplatz"it is the present social organism, the
Franz
of life known
stratum
Berlin, where
Biberkopf
as
the author
lies embedded
like a living fossil,of which
points in
the story we
come
upon
distinct like outcroppingsof rock
wishes
to
There
around
give us
is
exhibit.
representative
the Alex'*
entitled
section
whole
passages
in which
makes
he
of Men
Handful
"A
of
sort
inventory
life in the
"
reminding one
discomforts.
and
comforts,
of Dos
of murders,
Passos, with
invasion
the
jail-breakings,
and
of the market
his
upon
of
for
most
car
with
some
privateerrands,
There
order.
Such
thematic
slaughter-houses.
(Let
There
is
Franz
fact
to
Biberkopf.The
statement
pigs whose
on
flesh is
the
to
relate
and
the humane
more
realistic
of
livelyaccount
squeamish readers
these
passages
to
merely makes
dealing with
necessary
eaten.
But
no
to the dealingsof
impliedapplication
beingslike our hero.
one
him
curiosity
imagination
and
all
the
once
strictly
symbolic
more
author
be
can
Ameri-
follows
with
is the detailed
effort
tions,
condi-
by
than
more
person
material
Berlin
no
count
ac-
comic
neighborhood theaters. As
lines as by Joyce in "Ulysses,"and
steps off
detailed
livelyand
being performed
operas
much
is made
of street-car
of
at
author
newsreels
are
disasters,stock-market
street-car
automobiles,
There
of the
skip.)
the story of
matter-ofa
calves
can
fate with
and
miss
the
poor
man
hu-
is
There
of which
device
one
much
with
tunes,
chain
Franz
that
is the
very beat of
the clack-clack
the
which
to
Passos
Dos
of
accompaniment
ballads.
and
popular songs
of these cheap and
the rhythm of our
machine
the
runs
and
by Joyce
of
snatches
the obsession
all know
used
That
is fond.
Doblin
his narrative
We
NOVEL
TWENTIETH-CENTURY
THE
5i4
sentimental
hectic
pulse,the
our
belted
of the
strapped.
are
we
his
celebrates
He
Watch
and
lease
re-
the Rhine."
on
and more
his thoughts are
the story goes forward
more
likelyto be involved with music-hall songs. They thrust
real or imagithemselves
into the midst of conversations
nary
As
Ich
"
kiisse Ihre
thinking,whatever
and
and
meter
All his
evidence
the
(how
dead
was
judgeswere
chase)when
damned
those damned
fellow-man, he
his honor's
whimpered, why
imagine
can
of this device
his
chased
hounds
One
ballads.
of romantic
mistaken
the
idle
you
me),
shield
was
ruin
can't
see
your
enough,
way
you
Death."
is the
"There
is
old
German
ballad
of "The
spoken
less
guiltoh
did
me,
And
justdo
I
on
the
German,
story. That
for
the pursuit,
Man,
out.
can
were
his
broken.
oppress, why
fast
run
availed
what
prating,
for him
(the chase,
they had
sentence
is
into rhyme
,fall
to
conscience, since
One
tends
crying,all
waiting.Though
the
happens to him,
tawdry rhetoric
he
Whatever
Madame.
Hand,
ating
acceler-
of
the
Dance
of
death
related
mower
set
of themes
i$ taken from
the Bible*
At
and
more
515
the
frequent intervals, as
more
find inserted
we
DOBL1N
COMPOSITION:
ABSTRACT
story progresses,
quotations
tions
Apocalypse, imaginary conversa-
from
So
under
done
and
they
there
and
sun;
had
no
oppressionsthat
all the
the
behold
and
comforter;
of such
tears
dead
and
time
praisedthe
as
are
were
pressed
op-
of the pressors
opcomforter.
fore
Whereside
the
on
they had no
are
already dead.
I praised.
To
everything a season;
time to keep, and
time
to
a
sew,
dead who
lie sleepingbeneath
the
but
power;
I praisedthe dead which
The
the most
work,
German
symbolic devices.
considered
and
the
of the
was
time
to
rend,
to
cast
away.
trees.
basic
it is intruded
in which
way
other features more
There
are
Wassermann,
point,walk
main
and
this is felt
the hero
the
midst
reminiscent
such
Gide,
beside
into
and
the
as
of his story.
of Dostoevski,
angels who,
talk with
him.
at
But
one
in the
realistic work.
And
the
strictly
expressionism(in the broad formal sense)consists in the
of the general themes
the privatehistory
superposition
upon
of Biberkopf, their interweaving with it. It is these
it but actuallymaking a
to
themes, apparently unrelated
to
be
it, which
on
spiritual
commentary
for this highlymodernistic
furnish
the
of
portrait
fourth
a
man.
mension
di-
XLI
STREAM-OF-CONSCIOUSNESS
of
type
HE
narrative
its
pointed
Lauriers
there
is
have
suggested
many
of
the
was
in
origin
English
and
Joycejf
them.
novel
"stream-of-
term,
Mr.
how
and
Browning
the
in
perhaps,
himself
Joyce
has
DujardinJL_.V.Les
Edbuard
by
has,
before
sont
Frank
in
that
out
the
and
in
exemplification
best
its
Richardson
Dorothy
of
novels
has
applies,
consciousness,"
which
to
ses,"
"Ulys-
intdrieur.
anticipated
Carlyle
and
how
peculiarities of this method,
of it contemporaneously
using features
Waldo
with
Joyce.
/ In
Mrs.
probably
the
of
followers
the
Woolf
who
Dalloway"
"To
of
it in
time
from
(both
Faulkner
William
and
the
Lay
Dying"
XLVII
that
in
such
1930).
has
of
suggestions
"The
American
call
It
in
of
is
in his
and
it. It
work
first half
Thomas
as
Asch's
used
Anderson
"Dark
it
"
"The
intermittently
more
has
Laughter";
see
Tragedy."
Chapters
out
crops
Nathan
of
"Blue
occasional
quite consistently
the
516
for
sistently
Con-
"Amants,
make
different
Angel"
through
method
to
"Mrs^
is
his
Aiken
Doblin
very
(1929), and
(1930). Sherwood
this
Conrad
seem
Fury"
by
by
and
Homeward,
"Look
Day"
Dreiser
time
and
in
of
use
in
especially
is
it
frequent
most
Larbaud
Val"ry
Passos
passages
to
Wolfe's
"Pay
Dos
Richardson,
method
Lighthouse.'/The
(1923)
(1927).
Voyage"
use
by
amants"
heureux
the
method,
the
followed
Miss
makes
stream-of-consciousness
and
and
Joyce
by
Sound
in
been
and
XLVI
"As
enced
influeven
and
USNESS
STREAM-OF-CONSCIO
It is
an
infection
which
to
sooner
or
may
disease. It is probable that
one
that
mild
any
of this
symptoms
reached
it has
classical methods
more
is liable; almost
one
any
later manifest
517
of narration
and
its climax,
will
But
prevail.
left its
epidemic will have
fiction in English.It represents an
ment
enlargestamp
upon
is
of technical procedures which
too
precious to be
altogetherabandoned.
that the streamof-consciousness
I have pointed out
type
the
and radical development from
is a new
of narrative
novel. Uts definingfeature
subjectivismof the well-made
in our
of the element
of incoherence
is exploitation
scious
constream-of-consciousness
the
This
process.
and our
normal
characterizes
incoherence
abnormal
of
states
both
our
mind/Thenatural
sociation
as-
of ideas is
an
and
wind
It is
it is
likelyto
be
at
the mercy
of every
stray
suggestion.
deliberate
our
action, that
the
determination
our
energiesto
moment
we
will and
our
chaos
The
most
of
the
steadiness
of will
to
bring all
bear
But the
a definite line of action.
upon
let go control
of our
relax, the moment
we
fall back
into the welter, the
attention, we
natural
complicatedselves.
novel has generallyconcerned
itself with that which
interests men,
action; and the subjectivemoments
are
such
day
an
what
and
our
as
bear
upon
definite
of
amount
extraordinary
call passivestates
we
may
by what
Arnold
pointedout
how
terms
"our
line of conduct.
sense
states
In
shown
our
in
undirected
for conduct."
for conduct"
I have
appears
in
the
NOVEL
TWENTIETH-CENTURA
THE
518
histories
of
and
all
ideas
is
The
directed
not
hero
does
of Mr.
not
of
He
the
is
woman
Aiken's
believe
"Blue
Voyage"
in his
"schism
in
literature, an
of
is
for
sciously
con-
man
nature,"
duct."
con-
writer
erotomaniac,
sibly
pos-
"
first-cabin snob.
This
"inferiority
complex,"
insomnia
pasassociation of
victim
of abnormal
state
again, the
controlled
by a "sense
and
sufferingfrom
who
into
sensation, in which,
to
their
In
"introvert."
how
consciousness
siveness
the
regularlythe stream-ofpeople,or
applied to abnormal
followers, it is remarkable
to
Leopold Bloom,
fairlynormal people,
Henderson,
Miriam
"
state
and
in which
serves
to
aggravate
produces an
he
cannot
his
obstinate
chronic
state
of
and
bad
conscience.
working, cannot
The
stream-of-consciousness
technique
DISORDERED
shows
itself
chieflyin
MINDS
519
for
imaginary disputes
himself
and
between
himself, and for dream
phantasies
thrustinginto the midst of his actual experiencewith an
he gets good and drunk
It is only when
air of equal reality.
He
is
becomes
that the narrative
typicalof this manner.
riding in a taxi with several other roisterers, and the fragments
of conversation
taxi-driver
drunken
"pied"
are
of
the
up
in
various
a
passengers
and
suggestive of
manner
the
the
state.
bits
broken
The
penchant
of
conversation
quently
fre-
they
"Jacob'sRoom"
meant
are
meaningless babble of "society"
In "Blue
it comes
to Jacob'sears.
as
Voyage" the medley
into Demarest's
of
of smoking-room talk is woven
stream
cence,
reminisconsciousness, along with his own
self-searchings,
bits from
and
the ship'sregulations,
fragments of
poetry and popular song. The chapterends with a dialogue
and
Demarest
Demarest
between
Two-prime, the latter
to give advice
being one part of his splitpersonalitycome
in contemporary
to
suggest the
to
novels.
rather
appear
In
another.
Doblin's
whole,
there
however,
nothing to
place that
the
incoherent
of his driven
difficult about
this
rative,
nar-
The
one
of consciousness
stream
becomes
Biberkopf, under
life,goes
Evelyn Scott,with
nothing
the reader
make
is where
is
the
insistence
strain
of his head.
temporarilyout
all her
markedly
terrible
on
subjectivestates,
FAULKNER
WILLIAM
lation
they bear
confounded,
worse
Maury
Maury. And
to
it
that he is referred
so
Besides
to
which, there
named
turns
then,
sons,
reasuperstitious
to Benjamin,
changed his name
now
by another.
by one name,
of this method
of different
characters
brother, and
confusion
make
to
that, for
out
two
are
Quentin, one
variant
now
5*1
one
of
niece
Benjy.
section,
is used
sexes
in
the
life of
"
the normal.
Mr.
In
Faulkner's
next
novel, "As
representingso
by
fifteen different
different
many
Lay Dying/1
facets
of
the
ple,
peo-
this lurid
delayedburial of a woman
gem. It has to do with the much
of her family.They are poor farmer
folk,
by the members
ignorant, shiftless, "misfortunate"
in
warped by poverty and privation,
traits of human
nature
What
this
redeems
truthfulness
These
and
terribly
creatures,
the
whom
primary
appear
horrible
bits of
the
by the character
itself is
to
marvel
himself
in
the
as
audience.
guage
lan-
The
a
local
language
is the
reproductionof
idiom.
But
what
is
psychology
"
way
the
deep
as
the
mind
down
remarkable
than
reflection in these
works
for
the
naive
records
in the
of the
largelyinstinctive beings,sunk
of an
decayinghumus
author's desire to keep his hands
these sharp, lifelike contours,
they are
It is the
smooth
more
ancient
off,not
which
ture.
culto
pro-
TWENTIETH-CENTURA
THE
NOVEL
the
in the childlike
again,it is
Here
boy,
very young
has become
most
with
the disordered
or
One
curious
ideas of death
of his coffined
mind
of these characters
marked.
and
mother;
and
is
man
touched
brothers
the
that
author
resorts
his
to
device
of what
is
another
in
of
ond
sec-
two
using
chosen
not
to
make
marked
any
use
of
the
stream-of-
this may
be a significant
technique. And
relative popularityof this writer is a strange
fact. The
phenomenon, so almost unbearably painful is his subjectof the greatest literary
talents of our
But he is one
matter.
day. "The Sound and the Fury" and "As I Lay Dying" are
distinguishedbooks; but so are "Sanctuary" and "These
of the stream-ofabandonment
13." If Mr. Faulkner's
it is a notable
consciousness
technique is permanent,
sign of the times.
consciousness
the
whole
rative
very objectivenarhis discontinuous
within the separate piecesof which
he makes
of the
use
as
compositions are made
up. Such
Dos
Passos
givesus
stream-of-consciousness
Transfer"
seems
our
and
on
technique mainly
and
"
in the Camera
highly appropriate to
confused
mechanical
Eye
the
in
tan
"Manhat-
general razzle-dazzle
existence, and
causes
"
of
little
to
difficulty
observe
this element
how
confusion
of Stan
state
fire.Such
are
has
his work,
In
leads
Emery
which
certain
moments
casions
oc-
state
is the drunken
settinghimself
his
to
on
into
thrown
been
again,we
marked
more
strain. Such
unusual
or
5*3
becomes
the character
where
of mental
reader.
interested
an
PASSOS
DOS
JOHN
on
Korpenning haunted
of Bud
by
whirling words"
when
of the Pulitzer
out
Building
Jimmy Herf comes
after an
shift, tired out, thoroughly discouraged
all-night
his married
life, but a free man,
over
jubilant at the
porter.
rethought of having thrown
up his job as a newspaper
Again
have
we
Words
store
his
ails him,
obsession
the
of words
printed page,
"
of words
less
or
what
are
and
on
of "wild
jumble
their
advertisements
from
confused
togetherand
emptiness and
run
own
in
Spring rich
gluten.
bite,THE
in every
and
his
in
state
of
Chockful
.
OF
more
suitable
manner
to
nerves.
of
light
golden richness, deALL, spring rich
DADDY
items,
newspaper
THEM
BERT.
ALgluten. Nobody can
buy better bread than PRINCE
Wrought steel,monel, copper, nickel, wrought iron.
loves natural
All the world
BARGAIN
that
beauty. LOVE'S
suit at Gumpel's best value in town.
plexion.
Keep that schoolgirlcomJOE KISS, starting,
lighting,ignitionand generators.
in
Express service
of
the demands
in every mellow
than a million
Than
million
to
meet
words, than
that million.
gang
left him
so
God
of spring.O
over
the demands
meets
they got
tired of booktalk
Keep
for dead
was
and
on
a
million
him
bench
million
the
words.
covered
"All
Ben."
in the Park.
words.
.
can't
proletariat,
right hand
The
Yonkers
They
stuck
"But
Jimps
you
him
I'm
understand?"
THE
524
Jimmy
sits
NOVEL
TWENTIETH-CENTURY
on
bench
in
muses
on
"
life. His
twenties
are
all convicted
condemned
and
to
riot. "And
deportationas bad citizens. So his fancy runs
I sit here, thought Jimmy Herf, printitches like a rash
as
I sit here pockmarked with print/'
inside me.
hattan
Fantasy,or day-dream, is a recurringfeature of "ManTransfer"
it is of "Ulysses."
The
characters are
as
forever
taking flightfrom the pedestrianactualityinto
vision of ideal performance.Jimmy as a child, on
some
his way
the candy-store,
to
imagines himself on rollerskates, shootingbandits with an automatic
tious
gun. Poor caulittle Ed Thatcher, publicaccountant,
self
imagineshimand swaggering
taking a plunge in the stock-market
millionaire.
banker,
a
James Merivale, the hard-boiled
est
imagineshimself making a floweryspeech,full of the high-
sentiments,
In
at
each
dinner
case
of the
the vision
American
has
This
is not,
of
course,
the
as
Bankers
vividness
of
an
the actual.
thing in
new
sociatio
As-
fiction. The
of the new
is rhetorical. It lies in the
method
peculiarity
the actual leaves off and
author's neglectto indicate where
the imaginary begins.The
same
thing appliesto passages
of
retrospect and
reminiscence
thrust
into
the midst
of
ter
present experience,to dialogue carried on by the characand one
with himself, and in generalto the thousand
matters
on
more
to
the
or
which
allusion
in his mental
comment
places,persons, moods
and a cross-section of
interchangeable,
present
less
he makes
scene.
Times,
are
the
CINEMA
525
posed
thoughts is like a view of the earth's strata exby a geologicfault.
A
more
enlighteninganalogy is perhaps that of the
the sort cultivated in Germany,
especially
moving picture,
character's
Russia, with
France, and
its generous
of cut-back, of
use
to give the
views, all meant
symbolic themes, of dissolving
than that of a mere
picturea wider and richer significance
It is probable that
story told in chronologicalsequence.
"themoving picturehas had a very strong influence on the
technique.And
effective in the long run,
stream-of-consciousness
fails
able
be
be
to
say: Such
to
and
such
we
method
this
nique
tech-
shall doubtless
is
not
practicable
it may
be
practicable
however
word-pictures,
picturestaken on a photographicplate.
for
for
where
Other
features
origin perhaps
of the stream-of-consciousness
in
imagist poetry,
in
some
have
of
their
the
many
which
marked
the periodbetween
schools of French
poetry
symbolism and the war, in Dada and later French schools,
expressionistic
perhaps in German
poetry. The
theorists of expressionism
explainthat poets of this school
of puttingtogethernot
much
so
proceedon the principle
their appeal
to make
words, which are meant
as
sentences
directlyto the imagination,and which, accordingly,often
connection.
The
aim
to be wanting in strict logical
seem
in their originalpicturesque(imagistic)
words
is to use
without
regard for grammatical conventions
punctilious
sense,
for the distinction between
even
or
parts of speech;
verbs, for example, being freelyinterchangeable with
even
or
it will
where
it is free
such
In
and
serve
verse
all these
"
free-verse
movements
same
"
shaping for
in German,
impulse to get
selves
them-
French,
rid of the
baggage
excess
form,
in
in
And
some
more
inventing a
was,
been
example of the
The
time-spirit.
while
there,
be
to
sure,
most
use
of
is that with
has
the
characters.
be
traces
been
in
same
expressing themselves,
ing
largelya device for dramatiz-
of it may
purelyobjectivekind.
and
the
for
so
was
consciousness
of the
the
it
novel
perhaps by the
essentially
expressingthe same
means
the
stimulated
on,
difference
was
in the novel
the
going
main
in
is that
poets, but
shorthand
new
poets
of
here
us
has
movement
the
imaginativeshorthand, which
erally
gendecidedly effective, but which
it unprepared.
who
came
upon
cases,
concerns
this aim,
of
pursuance
kind
puzzled readers
What
ured
thought and traditional measfor the poet's
direct expression
formal
of
find
to
temperament.
were
NOVEL
TWENTIETH-CENTURY
THE
526
books
stream-of-consciousness.
It did
found
not
in
its most
Still^
stop
tive
narra-
acteristic
char-
to
passages devoted
tures
of the peculiar fea-
and
Certain
of the
Taxi"
has her
lover say:
Streets
coming fast.
One
Wedge
It has
been
of himself
that is
of
view.
the
as
It
while
moving
is
not
of
the
away
from
me.
in
person
the streets
thinking.It
senses
that
vehicle
to
think
But
stationary.
depends on the point
are
tell
us
the
taxi
is
and
for
custom
convention
you
the
street
FUTURISTS
household
word.
SYMBOLISTS
AND
of
One
them
537
Italian-French
the
was
futurist, Marinetti.
And
so
end.
it
through
out
when
." Or
Endless
"
up
climbing
"
in Frank:
can
Passos:
stood
street
engine were
read
How
long.
in Dos
The
fire
we
Block.
and
read
we
the window.
hookandladder
licketysplit
is the
surprisedwhen
not
are
looked
"He
on
we
"
Here
feet, pushing
my
me?
Block, push it behind
Feet push, behind, little bits of the Block."
push
And
this is but
and
writers of fiction in
in the
conventions
of ways in which
poets
have ignored the popular
of dozens
out
one
time
our
of facts
statement
and
physical,
optical,
And
for
all, of course,
psychological.
freshness, intimacy,and immediacy of
Another
Corbiere
and
thing, in
sentimental
or
serve
changes
the familiar
the
effect.
may
haps
perof the symbolist poets like Tristan
to certain
nances,
Jules Laforgue. This is the love of disso-
of sudden
poeticalto
of greater
of the stream-of-consciousness
feature
be traced
sake
the
and
novel, in the
verse
for sardonic
into
in
from
tone
the
itself,for
ironic. It shows
introduction
passages
commentary
on
they
meanness
one
of noble
of lines
in which
the
and
elevated
can
and
only
prosi-
sonance
the shriek of disordinary experience. Sometimes
is produced by a burlesque distortion of the noble
line. In Demarest's
fantastic visions between
sleep and
stones
tombwaking, he sees old Smith, as a satyr, pursued among
by a skull-faced creature, evidentlybent on punishing
him for his fondness
for chorus-girls.
is felled like
"He
To
what green altar, oh mysteriouspriest?
And
all
an
ox.
his crispyflanks in garlicdrest." Smith
is here doubtless
ness
of
of
sort
and
This
tiresome.
dream-proxy for
made
ridiculous, in
easilybecome
Discreetlyused,
may
it is clear how
tragicdivorce
himself, thus
Demarest
parody
mechanical
it may
be
ficed
sacri-
of Keats.
trick and
grow
effective. And
very
of futility,
well it expresses that sense
of the
the ideal and the actual, which
between
is
DREAM
the
represent
of
state
is
followers
these
of
tricks,
illustrate
to
those
mind
of
delirium:
their
main
the
point
with
of
the
in
to
that,
technique
is
which
passive
mind,
of
the
chaotic
the
by
to
be
type,
to
or
which
the
used
in
on
applied
limits
the
to
to
neurotics
to
of
states
obsession
or
consciousness
sensations
will
normal
stream-
occasional
the
of
play
indicates
believe,
likely
in
The
invariably
bordering
mind
discussion
our
began.
either
of
use
in
we
almost
individuals
states
moderate
"introverted"
unbalanced
normal
over
but
significance
is
extremely
an
undirected
And
make
Joyce
technique
of
persons
given
ideas
associating
and
of-consciousness
and
of
manner
5*9
sleep.
The
of
DELIRIUM
AND
is
tions,
associa-
and
rational
within
future.
conduct.
which
this
XLII
THE
LS
in
looks
ONE
effort
the
The
best
of
and
the
(1929);
and
"Iron
"A
Native
of
Man"
(1930);
"Bottom
"American
Each
of
one
and
these
narrative
methods.
fashioned
novel,
expressionistic
kinship
Gould
James
and
and
less
Son
Mr.
of
with
Dos
range
Cozzens,
Perdition"
than
of
of
that
that
(1929)
his
very
and
"S.
$3"
of
have
they
and
interesting
San
Pedro"
tain
cer-
with
simpler
Faulkner,
and
them
the
points
Faulkner,
sets
old-
having
as
Passos
their
with
or
Faulkner
S.
ality,
personin
is much
alone
vocabulary
in
out
method
Dos
Road"
regular
novel,
William
their
But
Dahl-
Caldwell,
the
respects
with
Passos,
than
with
stands
some
tive"
Fugi-
Edward
variations
minor
work
In
Cozzens.
intellectual
wide
class.
their
novel,
Callaghan,
marked
own
well-made
the
(1929)
"Tobacco
novel
contrast
Arms"
to
Erskine
of
his
has
by
with
modernistic
less
whose
But
features.
common
of
writers
his
distinguish
can
one
and
(1931),
tales
novels
"Strange
(1930);
the
his
Morley
novels
Over"
(1930);
Dogs"
Earth"
his
and
Never
"It's
of
tales
the
Time"
Cxsar"
"Little
Burnett
(1929),
Argosy
and
R.
W.
stories
Our
"In
Farewell
"A
simple.
the
(1927),
and
(1926)
novels
(1928)
berg's
Rises"
Also
Sun
the
are
tales
Women"
without
"Men
of
books
his
"
promise
what
of
cult
mind
in
of
movements,
the
call
I have
what
writers
significant
I shall
of
Hemingway
(1925)
"The
is what
one
SIMPLE
recent
among
distinguish
examples
Ernest
THE
OF
about
to
strikes
most
CULT
Cozzens,
in
another
novels
"The
(1931),
has
THE
CULT
OF
SIMPLE
THE
531
the
and
in subject-matter
strong suggestionof Conrad
mechanical
of character, as well as in more
interpretation
aspects of technique.And
Conrad
with
no
would
one
think
of associating
cult of the
simple.
I am
In certain
considering reflect
respects the men
prevailingtendencies in present-dayfiction. The author is
in the background, except in cases
kept as much as possible
is identical with the leadingcharacter, as
the author
where
sometimes
and Caldwell.
in Hemingway
At any rate, there
is no
there to manipulate our
one
sympathies or point the
of exposition
is a minimum
moral. There
as
distinguished
from
straightnarrative. The
plots are simple, and the
for
need
stories move
no
straightforward with practically
any
circumstances.
Whatever
the
explanationof antecedent
point of the narrative, emotional or intellectual,these men
the details
leave it to be gathered from
all prefer to
of the story. For all the imponderable "values," they prefer
of implicationto that of explicit
the method
statement.
These
men
are
as
known
well
stories
as
I fancy,from
They take their inspiration,
the tales of Maupassant, and very likelyalso from
Joyce
fluence
in his "Dubliners"
(1914).I think I can trace also the in-
of
Sherwood
"Winesburg Ohio"
repudiatethe
and
hard-boiled
might
been
call them
Anderson
in
in his
would
less
doubtmen
(1919).But the new
romantic
of Anderson.
Literal
sensibility
is what
they aim to be. Neo-realistic we
in contrast
discussingin
in these
the
and
to
most
last dozen
other
of the writers
chapters.This
writers, is for
I have
whole
thing a
reaction
the psychological
trend
againstthe subjectivism,
has been
which
so
strong in serious fiction since the days
of Eliot and
Meredith.
And
it is in reaction againstboth
the subjectivismof the well-made
novel and
that of the
stream-of-consciousness
writers, against the sentimental
subjectivismof Hugh Walpole or Joseph Hergesheimer
and
Freudian
against the ironic and
subjectivism of
movement,
one
NOVEL
TWENTIETH-CENTURY
THE
532
mind
stuff of the
so
only to
they are bent
And
man.
say, is
serves
the natural
to
artificial
much
wrap
on
guise
dis-
and
up
divestinghim
altogetherof ideologicaltrappings,whether
ethical, rational,
sentimental-erotic.
or
which
but
has
taken
of
hardest
all in
is a very pertinent
passage in "A
has been
officer who
the ambulance
in which
There
Italian
campaign
rhetoric of
him
the view
been
have
expresses his
war.
that "what
done
feelingtoward
Italian
patriotic
has been
America.
young
Farewell
done
had
this
to
Arms,"
through
the
the
tional
conven-
expressedto
summer
not
can-
in vain."
not
say
honor,
names
numbers
courage,
of
or
hallow
obscene
were
the numbers
villages,
of regimentsand the
of
roads, the
dates.
beside
names
the
of
concrete
rivers,the
HEMINGWAY
ERNEST
This
will suggest
distinct
very
factor in
one
widely prevalentin
the
literature. Of
not
make
this
which
cynicalphilosophy,
and
much
too
of the World
which
had
years ago
France. In any case
Anatole
War
is at
least
old
as
we
find in these
Err
to
we
must
occasion
an
as
brilliant
reluctance
leads
course
so
notable
life,
philosophyof
world, which
modern
in recent
tone
533
for
Byron
as
in
exponent
an
writers
new
and
adjectives
of markedly ideal or rational connotation.
tain
Passing a cerwith any
judgment on life,these writers are disgusted
the truth. And
to soft-soap
being
terminologywhich seems
artists,they have taken the truth for their subject,
literary
that it is an esthetic pleasureto have it shown
in all its
so
nakedness.
Plain words
for plain things,is their motto.
on
Of
course
no
one
live
can
philosophy,some
all have
in lieu of almost
been
found.
ment.
overstate-
some
tive
posi-
And
conduct.
these
men
virtues. In
for certain
to
seems
"A
well
Fare-
the characters
serve
two
reader
of the
book.
in
lovers. And
nearest
than
have
every
of: the
is the
rather
of
it is pluck that
Arms"
nouns
altogetherwithout
code
their admiration
to
abstract
employ
to
away
one
both
to
the
of their conversations
what
we
might
the
to
That
brave."
a
professing
system of values.
The
love.
greatest of virtues
The
the
But
without
on
an
titled
Among
lover
the
lust. In "The
novelist
in which
has
always been
multitude
forgiven a
was
apology, to
love and
go
true
for the
no
writer dare
favorite old
distinction
Also
four
Sun
Rises"
of sins.
or
refer,
between
five
men
along with
expeditionto Spain to see a bull-fight,
Englishlady,who is a desperatenymphomaniac.
them
all, this Lady Brett is fondest of the one
named
NOVEL
TWENTIETH-CENTURA
THE
534
but
Jake;
physically
been
he, unfortunately,has
needs,
to
The
asks her
honor.
is
so
much
another
now
in love with
sentimental
one
one,
out
to
determines
will
last
now
ruin
to
to
be
of his
her
a
panions.
com-
that he
of
woman
heroics, but
what
I feel rather
damned
Mr.
Hemingway gives us
versation
sufficiently
suggestedby this fragment of a conat a bar. It is Lady Brett talkingwith
Jake.
be
"You
know
"You
should."
"You
know
it makes
one
good, Jake."
feel rather
to
be
bitch."
"Yes."
"It's
sort
worked
never
"Should
Mr.
we
have
"Some
"He
of what
we
have
instead
of God."
I said.
"Quite a
lot."
life
to reduce
Hemingway is evidentlydetermined
its simplest elements.
And
these are
to
physical move*
words
ments,
spoken, and physicalsensations: heat, cold,
thirst,sleepiness,
pain,and the like. On the subjectiveside,
the "fun"
of fishing,
he admits
camping out, and watching
and such simple states
as
a bull-fight,
"feelingfine."
is never
tired of eating and
He
drinking, especially
drinking,and this last for two seemingly opposed reasons.
In the first place it is a simple physicalact, hard
mentalize,
to sentiwhich
fundamentals.
And
to
brings us down
out
then, on the other hand, the hard drinking suggests withthe rather desperate and
disillusioned
any comment
of his people. When
is in the maternity
Catherine
state
and her lover's heart is torn
with impotent rage
hospital,
and
novelist would
grief(as the old-fashioned
say) Mr.
HEMINGWAY
ERNEST
535
down
I went
down
and
me
table
took
wet
my
from
across
and
coat
the
Here,
Arms''
and
asked
plat du jour
was.
again, is
earlier passage
from
''A
an
and
sentence-structure
dialogue.The
A
He
and
with
papers,
would
and
out
the
poured
have
to
the
ice and
the door.
shut
soda
slowly
tell them
very
I would
soda.
"About
"What
how
Catherine
of
not
was
way
one
was
the
to
the
whiskey
sensible
and
way.
of the
Good
tion
atten-
reading
him
pany.
com-
the
papers
whiskey.
them
much
thin from
too
have
to
character
tell how
suddenly be
not
bottle of
could
you
waiter
way's
Heming-
to
the
ice into
the
over
back
I went
and
beer
soldier is in bed
pleasantparts
are
you thinking,darling?"
whiskey."
about
whiskey?"
"About
The
get
That
pleasant.It
"What
place at
Farewell
keeping
justbrought whisky.
to
up
the
Catherine
nurse
of
something
convalescent
has
servant
went
came
bestowed
the
I sat
people at
drinking
was
the cafe.
to
me
down
which
of the
showed
and
who
elderlyman
an
hat
the door
out
them
bring
whiskey was
of life.
nice it is."
made
face. "All
right,"she
said.
two
rather
passages
sentence
exceptional
with
STYLIZATION
tions
the
recorded;
are
537
emotions
left
are
be
can
doubt
no
inferred.
be
to
of sensitive
readers
is that
has
he
give them
is particularly
to
as
sense.
We
are
so
that in such
writers
fresh and
works
and
this
as
seem
we
honest
of the "nice"
lavender
And
to
the
breathe
then
realize
we
when
it is deliberate and artful, can
simplicity,
in dress or in
whether
be a most
tellingfeature of "style,"
have been observing in Mr. Hemthe fine arts. What
ingway
we
is a deliberate conventionalization, or "stylization"
In its own
of story-telling.
fashion, it is as conventional
as
the art of Edith
Wharton
or
Virginia Woolf. Only, for
that
mere
certain
readers
less
nonsense
Here
for
of the
and
in certain
about
once,
the
there
moods,
to
seems
be
of Hemingway.
conventionalizing
is a convention
working in behalf
say,
natural.
we
simple and
types of character
The
tend
the
toward
It is
and
and
"A
so,
or
No
to
Arms"
what
I suppose,
But
doubt
uncivilized.
in this group
of writers
plain in occupation and psychology.
simple and
that the people in
true
Farewell
featured
are
"The
world-weary
would
people who
often
be
Sun
and
Also
"advanced,"
called
sturdilyrefuse
esthetic,as they refuse to be politeor
the most
word
correct
to
apply to
They represent a deliberate return
they
are
Rises"
cated."
"sophistito
be
tellect
in-
"moral."
them
to
is
the
NOVEL
TWENTIETH-CENTURY
THE
538
without
"Men
is made
rough
boy.
life
our
of
also, naturally,
and
Women"
"In
Our
Time"
"American
a
and
that
love."
"making
In
Andrew
Earth"
render
of these
Some
the
sketches
psychologyand
done
are
with
much
engaged
in
Caldwell's
interest
of
consummate
deceptively
simple,but nothing could convey
and
with more
delicate humor
the charm
and sensibility
naivete
and "Where
of boyhood than "Molly Cottontail"
the Girls were
And
there are
other piecesin
Different."
which
handled
with
the same
brutal subjectsare
more
art.
They
are
artful naivete.
Mr.
boiled
is
as
Smollett, and
social document
some
ways
Mr.
to
Pio
Burnett
in
almost
of
no
This book
pure vernacular.
little interest, comparable in
of Madrid.
Baroja'snovels
"Little
Callaghan in
for their heroes simple men
of bootlegging;Mr. Burnett
Caesar"
and
Mr.
"StrangeFugitive"have taken
engaged in the riskybusiness
has turned
In Mr. Burnett,
in "Iron Man."
to prize-fighters
while
the simplicityis no
doubt
has no
deliberate, one
of conventionalization.
These
sense
are
simple records of
simple people,and that is all there is to it. And while this
work
has
"human
art.
significant
An altogether
different
matter
is the
overtones
primitivismof
of
Mr.
THE
CULT
SIMPLE
THE
OF
539
in
"As
behavior
of civilized
people.
all primMr. Faulkner's
characters are not by any means
itives,
His primitivism
though they tend to be degenerates.
is a true
dramatic
projectionof the dim and groping soulwaters
backlife of well-meaning creatures
confined
to the muddy
And
of ignorance, indigence,and superstition.
over
all his work
playsthe lightof a reallyintellectual,if tragic,
estimate
of the whole
business.
dead
to-night,"thinks
scatter-brained
pitiful,
the
lawyer
heroine
for her
"Better
if she
were
"Sanctuary" of
in
the
of that story.
the child,
thought of her, Popeye, the woman,
all put into a singlechamber, immediate, profound;
Goodwin,
the indignation and the sura single
prise.
blottinginstant between
For
me,
And
too.
He
I too;
cauterized
Very
is Mr.
similar
Caldwell's
thinking how
out
that
in theme
to
"Tobacco
the
were
only solution.
of the world.
tragicflank
Faulkner's
Road."
"As
Mr.
moved,
Re-
Lay Dying"
Caldwell's
people
less
shiftless,footpoverty-stricken,
Mr. Faulkner's
and characterized
as
by
Mississippians,
the same
callous selfishness,the growth of extreme
proverty
which
The
misfortunes
and
ignorance.
they bring down
themselves
horrid. Only, in Caldwell's
are
as
grotesquely
upon
most
varietyof na"ivet",they take on a humorous, an alRabelaisian
cast. And
yet, such is the qualityof his
are
feeling,the very farcical elements
synthesizedin an
imaginativewhole which is notable for a kind of strange
atmospheric beauty.
are
Georgia crackers, as
Mr.
Caldwell
makes
more
of the
economic
conditions
reduced
that have
many
land
of
moment
make
to
has
enough
to
his
feed
stir the
to
spring,when
fulfil his
piety of
their
to
the
of
moral
sense.
think
not
that
knows
the
from
and
God
tended
in-
And
the
burnt-
longing
ancient
and
to
Hebraic
crude
strange combination
Their
could
spring comes.
smoke
so
for
he
fever of ineffectual
destinyas a tiller of
these people makes
want
seed
factory,where
soil when
lands, he is roused
over
family. He
smells
he
borrow
to
yet he does
in
For
pitiablestate.
unable
And
work
to
this
to
been
cotton.
going
him
each
his farmer
he
now
years
plant his
NOVEL
TWENTIETH-CENTURY
THE
540
with
childlike
teristic
philosophy,expressed in their own
simple and characlanguage, keeps recurring in identical terms
throughout the book, giving it rhythm and pattern, like
the incremental
repetitionof the old ballads.
In this respect it suggests Hemingway, as Hemingway
suggests Anderson,
it is Anderson
three
virtue
he
and
of
has
Anderson,
whom
poeticbloom
qualityof his own
a
soft
Gertrude
Caldwell
there
that
is
sets
most
on
resembles,
him
apart from
by
But
all
others.
such
as
matter
one
may
Toronto.
is the
see
any
Each
day
in taxis in the
streets
of
CALLAGHAN
MORLEY
but hazardous
complicationswhich
formulation
he is
liked
found
the
by
tryingto
willingto
think
to
it necessary
but
emotion,
of the
impulse
commit
to
cool, reasonable
who
man,
him
of strong
for he was
matter
ethical
an
justas essentially
in
smiled, pleased
of beard, he
first of all,with
never
himself
hurriedly,so looking at
move
It was,
his
of "It's
hero
say:
glass,feelingthe slightgrowth
his calmness.
no
againstthe intellectual
feelingsand motives where
rationalize
himself
to
of
are
easy
benefit
set
to
story seems
Never
Over,"
murder,
dead
not
of his character's
the
He
is
Callaghan
falls an
the other
prey to sentimental
to him.
Mr.
541
matter,
an
When
he
goes
the priestof an
admit
never
Still,such
And
of the
to
which
hears
man
from
would
Hemingway
fundamental
"the
nity
dig-
spirit."
ideal formulations
one
Mr.
of his books:
never
scents
conventional
more
been
abstraction
into
of the human
had
who
man
sufficient and
are
in him
writers.
the musk
His
and
lavender
of
descriptions
tion
ac-
plain.The great
bulk
of the record
and
is made
up of simple movements
acters'
element
in the charsensations; and these are the principal
conscious
limited
process. Extremely simple and
the adjectives
are
employed to characterize feeling.
are
The
himself
very
good, simple,joyfulfeelingremained
bathroom,
sounds
effective,but
in Callaghan.
extremely rare
in
with
him
in the
shaving,and
a
only
the
finger,practised
one
in the house,
was
between
scene
two
which
quiet words
an
to
be.
street
on
Over"
of "It's Never
ing
exchang-
corner
acknowledgement
an
are
it
one
like Hemingway,
entirely,
conclusion
lovers
longer.No
hour
he wanted
the way
gets, almost
The
by implication.
is
scales for
everythingwas
effects he
Emotional
NOVEL
TWENTIETH-CENTURY
THE
542
of the end
of their love.
They
at
were
blowing and
it was
the other. A
go
carried
this
hat with
hand
one
and
coming
was
car
wind
stopped.The
car
was
and
her
they went
to
chapter
the words
talking.
on
It is doubtless
in
the
such a cold
away. It was
importantLillian should not miss the car than
more
they should
where
holdingher
was
the wind
speak,but
wind
corner
Lillian
with
down
coat
the
all the
that
significant
Americans
are
of
one
"
discussed
writers
Mr.
them,
Cal-
The
laghan,a Canadian.
Englishhave seldom been able to
like a plain man,
condescension
without
treat
a plain man
and patronizinghumor.
with
They have been wonderful
with peasants, with servants
seen
as
gentlefolk,
by their
"
masters
viewed
very
with
"
from
hard
eccentric
the
in the
to
view
are
middle
class,
it is
men
period covered
If there is a
the lower
vantage-groundof
for them
of class. To
types from
two
Bennett
most
and
notable
exceptions
Lawrence.
in the
Englishnovel to-daywhich
correspondsto that noted in this chapter,it has not come
attention. The
failure of Mr.
in "Angel
to my
Priestley,
Pavement"
of
(1930),to give a reallyconvincing treatment
clerks
in
"The
Water
movement
business
office,that of Mr.
A.
P.
Herbert,
in
than
Gipsies" (1930), to render in more
picturesquefashion the life of bargemen, the drearyprolixity
of Mr. F. O. Mann
in his pictureof cockney life in
THE
"Albert
Grope"
under
and
plain
origins,
"The
he
see
fiction
of
picture
from
of
genuine
in
her
be
can
"even
do
has
as
away
become
party.
with
souls."
The
enough,
for
it. But
every
are
to
as
much
associated
merit
me."
a
And
of
The
of
the
with
for
simple,
the
but
fiction
book
tea-table
as
of
of
and
as
treating
beings
getting
down
it tends
sentiment
die
senting
pre-
honest,
is in
is that
given
organizers
human
as
ing
feel-
different
manner
artificialityof
the
the
has
labor
her
advantage
subject
exclusively
essentially
Vorse
life
the
that
see
and
and
all
at
Heaton
workers
plain
as
not
is
(1930).
of
picture
style
without
"Jews
own
cannot
proletarians
as
"proletarian"
bathed
mill
the
But
and
plain people
descension
con-
enough
it is
And
are
is
not
you
but
Side,
of
material
characters
her
of
tone
intelligent
interesting
"Strike"
made.
own
there
His
feeling. Mary
account
this
his
of
disabilities
about
does.
most
stories
excellent
of
want
Simple
obvious
are
those
to
proletariat.
his
the
"simple
most
talking
East
"bourgeois"
us
to
is
the
which
in
For
Gold
the
on
poor
the
of
this,
them.
for
(1930)
the
it
of
Michael
as
Money"
of
its defect.
reason
no
for
advantages
advantage
these
their
from
spite
In
avoid
tradition
suffer
is
compensating
take
aristocratic
an
there
quality
of
of
reason
Story
Polly."
cap
handi-
the
suffered
The
to
treatment
America
in
we
Mr.
unable
was
the
of
advantages
of
by
Wells
"Kipps:
of
us
labor
Mr.
his
History
in
and
in
not,
Soul"
writers
Even
543
remind
to
serve
English
tradition.
mistake
all
SIMPLE
THE
OF
(1931),
which
aristocratic
if
CULT
to
that
week-end
TEST
THE
have
reported to
POPULARITY
OF
545
given a
not
was
as
if there
were
of distinction
into
grown
the part of
want
and
the
have
number
considerable
length, a
at
suppose
time.
been
widely
in
spiteof
classics almost
cultivated
even
that
treated
I have
never
the
at
to
whom
writers
twentieth-century
the
box
readers.
It
novelists
between
of agreement
great body of readers, the writers
of thing and
their patrons
sort
wishing to produce one
wishing to read a quite different sort. This situation is not
peculiar to the novel. At the present time it is equally
in poetry, painting,and
music.
marked
Can
we
possibly
heartedly
wholeis even
that Cezanne
yet as widely and
suppose
admired
is it
not
notorious
down
cram
Now,
And
F.
Watts?
say, G.
like Stokowski
that conductors
have to
us
composers
I am
well
of this
that
the
most
tinguish
dis-
arts
that many
interpretation
They simply indicate, such
have
of the
themselves
and
the
age?
facts.
mass
instinctively
protect
audiences
of the
aware
stage, and
let
as,
entered
upon
decadent
ears.
there
our
are
own
too
not
mentality and
many
our
alternatives
own
to
cultural
this
status.
hypothesis
TWENTIETH-CENTURY
THE
546
requiredat
the public
to make
generation in which
that accordingly there is a
his idiom, and
least
with
familiar
interval
normal
NOVEL
of
at
least
of years between
this is not
because
the
score
tion
crea-
And
genius
appreciation.
the
is an
eccentric, speaking a different language from
public.It is often that he recognizesbefore them, and
makes
hearts.
articulate, the language of their own
and
Still,it may
be
that
true
the
between
is
than
acute
more
usual.
the
at
present time
public and
And
in the
the
case
the
creative
understan
misartist
of the twentieth-
it is easy to distinguish
the features that have
the intellectual
temporarilyalienated readers, even
among
novel
century
the
"lite. In
so
first
prominent
"modernists."
their
in what
place,there
both
in the well-made
the writers
Where
characters
have
subjectivism
extreme
novel
and
been
most
among
the
interested
Yeader
would
be
told
is the
what
Butler.
And
century
dramatic,
to
make
more
them
in
order
vivid
and
chosen
by
twentieth-
make
their
narratives
intimate
and
real, often
to
more
serve
man,"
down
sitting
in his
Well, it is
the
in
has
specialist
precisionand
the educated
for
easy-chair
true
in
day
our
elaboration
reader
SAT'
TO
"SOMETHING
not
547
ment.
evening'sentertain-
an
arts,
scientist
of the
layman
for
possible
something out
was
make
to
sciences,
in the
as
of Darwin;
where, without
or
writingsof Newton
trainingin the higher mathematics, he must
specialized
ing
give up in despairall hopes of coming near an understandof the
of Einstein.
the
But
educated
the
master
great difficulty,
man
technical
new
without
can,
too
refinements
in
persuaded that it
is worth
his while. Even
fiction he is willingto approach
with the alert faculties of a student rather than the flabby
provided only that
passivenessof the tired business man,
of it.
he has a strong expectationof gettingsomething out
the arts, and
he
will do
great Russian
The
so
if he
novelists
is
once
in their time
all read
were
with
because
they
passionateinterest, partly of course
of genius,but partlyalso because
felt
men
were
they were
to have
something of prime importance to say concerning
life and
the spiritual
the right approach to problems of
social organization.For similar reasons
Eliot, Meredith,
read with intense interest. And
and Zola were
more
recently
Wells and Galsworthy have been widely read for what they
had
Of
to
say.
the earlier
felt
to
readers, to be
"modernists,"
have
sure,
something to
have thought
altogethersound,
vitiated by
is somewhat
is
not
own
there
the
one
who
is
is Lawrence.
say
that what
most
he
sex
fevered
has
erally
gen-
Many
to
say
philosophy
strain of his
and
even
servatives
conmore,
make-up. But more
are
coming to recognizehow much of significance
has made
writer of genius who
is in the one
a special
emotional
NOVEL
TWENTIETH-CENTURA
THE
548
in
study of
honest
sex
time. Which
our
has the
to
most
say.
circumstances
several
But
in effect,that he is the
means,
militate
who
one
be obtained
widely read. His most important work cannot
in English-speaking
countries
without
breaking the law.
critical that it seems
his spiritis so corrosively
Moreover,
reader to leave nothing standing.It makes
to the average
feel
when
confronted
as
with
Joyce
going, a period
comfortable
readers
makes
this
one
not
are
of
the
and
Sons,"
them
more
is
"nihilism"
transition, of ruthless
of values.
transvaluation
a
felt,in "Fathers
of ydung Bazarov.
is typical
of the period through which
we
are
this
In
Petrovich
Pavel
them
But
this
to
conscious
be
criticism
and
of
molting is not
are
going through it,and
who
gratefulto the man
state
of their discomforts.
Besides,
so
"
"
lines.
That
there
is such
connection
profound metabolism
stronglyimplied in all the novels of
state
and
and
some
more,
as
in the
Dos
spiritual
social body, is
our
Passos. And
more
as
something
nihilism
between
NIHILISM
LITERARY
ingwa%, Faulkner.
these
men,
not
accustomed
to
which
for
the
vast
of
want
which
better
term
stronglyfelt
is
like Knut
writers
What
And
and
humaneness,
549
may
certain
in
Thomas
and
Hamsun
obtained
call
we
tinental
Con-
Mann.
their ruth-
by
and
valuable, but they
something significant
have
paid a high price for it. They have certainlyhad
structi
something to say, but it has been mainly critical and deis
lessness
But
conscientious
of
vehicle
the
to
Passes, while
the
found
realist, has
lectivist ideal
bound
Dos
remaining
within
means,
which
him
win
guiding
own
attention
the
star.
of serious
that
of
And
the
the
col-
this is
readers
not
whole
is, in
continuation
of
a
ways,
of "art for art's sake/'
many
movement
nineteenth-century
Under
the
head
of
"art
and
decadence.
another
The
of artistic
the artist
to
independence,which
treat
any subjectthat to
of conventional
"
of
has
what
been
is suitable
the
breath
notions
for artistic
"
most
treatment.
of
harboring
right of
respec
good, irreactionary
the
asserts
him
one
fused
con-
trine
first is the doc-
seems
often
This
of progress in the
But
closelyassociated
often
tendencies,
two
them
are
the
doctrine
the
tion
condi-
arts.
with
cen*
tury,
was
the
between
prime
side of the
art
interests of
of letters into
art
writers to make
many
and life,and to divorce
of
disposition
distinction
from
NOVEL
TWENTIETH-CENTURA
THE
550
artificial
their work
mere
men,
"art
an
manifests
movement
itself
or
of
he
men,
subjectson
I will
actually bored
not
the
the
normal,
his back
them,
upon
fringesof life.
turns
remote
assert
with
that
in the authors
of these
either
we
have
primary
and
terests
in-
finds his
is
lustra
largelyilbeen
considering.I will
has little or
nothing to
cases
Virginia Woolf
the truth is simply that she deals with elusive
say, when
of psychology.I
and
imponderable but essential matters
have been
will not say that these twentieth-century
writers
attention
the subjectiveside
in giving so much
to
wrong
in taking so much
interest in abnormal
of experience,or even
imply
not
that
types and
thought
and
action
those
is
in which
the connection
largelybroken.
These
between
important
being made a
are
worthy perhaps of
main subjectof literary
art through a period of one
tion.
generaMorbid
psychology is,after all,a natural preoccupation
of a scientific age. And
already,I think, the serious
reading public is coming to recognize the high interest
and importance of this work.
aspects of human
Only, looking
nature,
forward
to
probable developments
in
in writers as distinguish
anticipates,
those we
have been considering,
as
a movement
from
this intense subjectivism,
in favor of a closer
away
connection
between
thought and action. I certainlydo
not
incontinentlythat
expect serious novelists to abandon
psychological
intimacy which has been the main fruit,and
the
coming generation,one
PROGNOSTIC
the
well
raison
with
use
551
greater economy
the devices
for
they may
securingpsychologica
the
trend
same
in writers
is evident
with
more
the reaction
that
writers
present-day
of admired
masters
in
should
period.It is open
Thackeray to employ
win
our
could
gratefulplaudits.I
be
found
centuries
of the
novel's
have
no
in contemporary
the
to
any
the genius of
any writer with
somewhat
awkward
and sprawlingmethods
and
imitate
of that
doubt
the
master
that
amples
ex-
fiction of every
throughout the two first
existence.
TION
RECAPITULA
553
and
to whatever
they
giving a greater finish and precision
do. It has tended
as
to keep the writers themselves
as much
possibleout of the picture.It has made them more
strongly
conscious of the several units of composition,however
ceived
con-
and
arranged
it has made
in relation
to
Above
another.
one
all,
importance of the
point of yiew, whether
subjectiveor objective,whether
fects.
shifted for designed efnarrowly limited or deliberately
This
them
of the artistic
aware
influence
is
in
strongly felt
writers
diverse
as
as
Wilder, Hemingway,
Faulkner.
closelyassociated
limited point of view is
in
so
the
who
with
the
the
do
not
technique of
well-made
to
seem
the
has
novel
And
the
timacy
psychologicalin-
the
well-made
felt in many
have
been
left
much
concerned
in many
ways
heritagewhich it
that
formal
with
novel
rence,
others, like Law-
So
matter.
Passos,
will be difficult
Still less
unaffected
and
altogetherto renounce.
likelyis it that the coming
by
supplenessof
treatment,
of
the
narrative
which
of greater
and a more
described
under
the
"Expressionism."If
sometimes
been
carried
be
freedom
tive
imagina-
headings
the
writers
by
away
their
of the
techniquehas, at
every
novelists to
cannot
life and
by an individualistic
experiments in form
system
as
likelythat
have
its followers
the form
affected
these
favor
method,
I have
"Impressionism**and
new
in
movement
should
writers
of ethics. From
those
Dos
tradition
in the time
such
varied
of
will be
to
"takes/* it is inevitable
come.
established
And
that future
which
whether
will
or
not
writers will be
bias
(thesociological)
by the philosophical
the expression.
experimental forms were
of which
In
valuable
much
to
the
the
adapt,
such
guard,
the
general,
too
the
NOVEL
TWENTIETH-CENTURA
THE
554
to
genius
new
effective
elusive,
have
writers
new
be
of
future
he
technique,
means
protean
of
thing
see
may
will
that
for
we
fit
to
abandon
hardly
capturing,
use
aside.
thrown
thoughtlessly
the
in
brought
call
taking
Life.
ments
instruever
How-
modify,
gether
altooff
its
BIBLIOGRAPHICAL
IN
first
MY
interest
special
bock,
of
chapter
Grabo,
the
in
points
of
as
have
an
with
form
are
"A
of
which
the
of
the
form
Burrowes
Lathrop
"Scheherazade,
Carruthers
the
"The
(1928).
Days
to
the
hand
of
Ford
of
Death
Conrad"
Joseph
Madox
is of
Ford,
of
by
both
Henry
by John
Novel,"
Earliest
the
the
from
(1929), being
course
the
mentioned
be
from
Novel,
English
Home
(1908;
Novelist,"
might
the English
of
Future
the
Bliss
Clayton
by
Manual
"A
also
Here
(1921).
or
of
F.
Matthews
as
on
Whitcomb
L.
Fiction,"
Brander
by
by
Charles
by
of
slightly enlarged
Art
"The
Fiction"); and
of
Selden
by
Novel,"
Methods
suggestive
Fiction,"
Prose
Novel,"
introduction
an
of
Study
Lub-
studies
Other
often
are
of
those
Wharton.
of
books
recent
technique"
Edith
in
republished
Art
and
art
several
with
Forster,
technique
Hamilton,
mentioned
connection
Muir,
novel
NOTE
entertaining
and
suggestive.
Of
period
covered
Century
"The
of
by
Schirmer
(1926);
Michaud
Roman
der
(1926). I
to
Abel
those
of
"The
Advance
(1916);
und
(1921;
edition,
Gegenwart,"
make
respectively).
of the English
anglais
Roman
Zeit,"
Novel,"
by
edition,
by
W.
1928);
by
"Der
Ernst
F.
Elizabeth
d'aujourd'hui,"
of
particular acknowledgment
by John
indispensable handbooks
555
ists,"
Novel-
American
neuesten
am"ricain
American
"Le
"A
(1925);
American
1922
the
are
Weygandt
and
English
Roman
Zeit
important
most
(1921
der
during
English
Cornelius
Chevalley
Modern
"Le
in
"Contemporary
Roman
"The
neuesten
by
Phelps
Lyon
(1926;
should
the
made
be
englische
(1923);
Drew
R"gis
also
William
"Der
1925);
study,
Doren
Van
temps," by
notre
A.
Carl
should
Novel,"
novel
and
Novel,"
by
the
English Novel,"
American
Mention
of
this
by
the
both
de
histories
general
by
englische
Vowinckel
ness
indebtedMatthews
and
Manly
NOVEL
TWENTIETH-CENTURY
THE
556
Edith
ture"
Litera(revisededition, 1928) and "Contemporary American
edition, 1929).
(revised
the more
lish
Among
important historical studies of the Engnovel before the twentieth
Development
century are "The
L. Cross (1899);
"The
of the English Novel," by Wilbur
English
and
"The
Novel," by Sir Walter
Raleigh (1894);
English
Novel," by George Saintsbury(1913).More
comprehensive and
the record
bringing
of the
Novel
tory
the present is the excellent "Hisand
Morss
Lovett
in England," by Robert
down
to
Helen
1600-1740," by
and
with
America,
"How
writers
young
fiction market, but
service
are
to
study of
this
various
far above
our
an
fall below
hand,
of Zola's
"Le
09),or
which
as
the other
of the essays
can
entitled
on
edition
the novel
and
Novel,"
keep
are
not
have been of
may
their eye on
the common
worth
mentioning in
to the point
Hardly more
Theorie
"The
Writer's
have
"The
of his novels
des Romans,"
Rollo
Art"
much
and
tales
as
(1907-
Walter
have
Brown
been
in
veniently
con-
the
(1924).Other books of a
to yield to
the historical
Novel
Eighteenth-Century
Practice," by Charles
by
son,
by Maupassant, James, Steven-
Norris, which
Frank
specialreference which
of technique are
student
and
the tance
hardly overestimate
imporexperimental" (1880),of James's
brought togetherby
Theory
Write
it.
one
York
Eliot, Conrad,
volume
to
form.
art
Roman
the New
prefacesin
to
handbooks
On
obliged
German
Lukdcs
Georg
the novel
"How
Saleable
Write
to
C. E.
Herbert
Collins,Sensation
Huffman
in
(1920);
Novelists," by Walter
NOTE
BIBLIOGRAPHICAL
C.
by
P.
Martino
Sabatier
(1928); "The
Ulysses," by
Since
I deal
of
list
on
of Thomas
"A
Clayton
Hamilton's
I:
(1931);
historical
side
it is
help
books
and
along
largely
earlier,
to
novelists
only
articles
Novel,"
as
by
too
classic
the
with
myself
bibliographies
of
works
("The
well
with
as
Wilbur
English Literature,"
Messrs.
American
in
there
L.
Novel"),
Alfred
H.
will
Upham
have
the
future
the
an
up
be
to
Home,
list
"The
more
found
in
Myers,
Perry,
Modern
Typical
(1917).
of
novel
the
to
Whitcomb,
"The
may
novel.
the
English
attention
are
and
enormous
the
or
of
special
XLII,
Chapter
Cross,
(1928), and
form.
left-wing writers,
book
which
Cross
in
writers, especiallyon
calling
following:
by
tendencies
recent
novel,
the
prose.
literature,
draw
to
easy
and
verse
post-war
forecast
to
and
critical
tional
emo-
This
in
nam
Put-
underlying
very
discussed
dealing
content
less extensive
Doren
to
now
wishing
persons
be
of
(Part
the
on
resulting
to
confined
in
selections
the
reference
on
the
I will
gandt,
with
above-mentioned
Van
Caravan,
European
considerable
contains
which
philosophical import.
on
would
again,
once
of Fiction."
Art
of "The
made
no
Seidel
New
book
incidental
It
or
of the
philosophical impulses
is thrown
alone.
and
of their
of
Henry
book
bearing
be
only
this
while
light
the
matter
is much
And
subject, mentioning
give
Literature"
Spirit in European
Spain, England, and Ireland), edited by Samuel
France,
While
I will
be
and
(1922).
the
Short
my
(1918)
story,
should
of
Anthology
an
mention
James"
Henry
the
Joyce's
"James
I will
also
of
with
"Manual
Special mention
in
short
the
of
Study
and
(1927);
Hardy"
all
at
that
on
Canby's
Myers
Method
Josephson
of Characterization
Study
(1931). Here
"The
hardly
books
L.
Matthew
by
Pierre
by
Goncourt,"
des
Time,"
Gilbert
Stuart
Tecftnique
"The
Walter
by
monographs
own
His
Realism,
Later
Novel,"
and
"Zola
Empire,"
le Second
sous
(1913); "L'Esth^tique
(1920);
British
r"iliste
Roman
557
and
the
WeyEnglish
Forms
of
INDEX
devoted
chapters mainly
to
general
numbers
page
author's
the
Conrad,
Aiken,
518,
516,
"The
Death
268,
de
of
540;
Marriages,"
Maurice,
281,
309;
Bird,"
268,
Baum,
Vicki,
Beach,
Joseph
of
Henry
Matthew,
Arnold,
Nathan,
71,
517
473,
5i9
Jean,
Georges
Emile,
Augier,
Austen,
39,
Park,"
Prejudice,"
544;
231,
and
hanger
Bach,
Wives'
Honore"
Balzac,
224,
325-328,
"Le
"Ursule
Com^die
Pere
de, 57,
371,
series
426,
Humaine,"
474,
148,
147,
122,
148;
keit,"
551;
258;
Blake,
"La
Boucher,
559
246,
D.,
542;
70,
257-259;
Clayda
"Hil-
Twain"),
Stahl,"
515
485;
486
316
Francois,
84,
90
452
73,
257-259
"Jacob
Rudolf,
Paul,
235,
382,
"These
514,
William,
Bourget,
247
J.
339,
232,
("Clayhanger,"
245,
The,
Binding,
Goriot,"
Mirouet,"
Bible,
461
Car-
461
231,
Tale,"
238-246,
232,
Beresford,
Sebastian,
Johann
268,
Lessways,"
Irving, 63
86;
Thomas
von,
21,
263,
238-242,
Babbitt,
Prose,"
of
Ludwig
Old
"Pride
144
look
Out-
R., 486
Arnold,
"The
144;
"The
557;
Pierre-Augustin
Johannes
389,
308,
480
Method
de, 90
238-245,
153
Jane,
"Mansfield
Warren,
"The
557
Bennett,
Jean-
see
Georges
Aubry,
Hotel,"
American
Beethoven,
Aubry,
Little
186
Technique
Becher,
516, 518,
Day,"
"Pay
on
Jardin
"Grand
Beaumarchais,
223
"Le
488
James,"
Hardy,"
419
413,
92,
der
un-
"The
Charles,
"The
424
George,
Arliss,
book
75-78
James,
Baudelaire,
Ohio,"
85, 86;
i,
Sir
for
Aristotle,
the
107
B"r"nice,"
531
107,
of
In
otherwise,
to;
281,
"Poor
"Winesburg
107;
Aristophanes,
title
Maurice,
White
"Dark
276, 278,
274,
278,
276,
274,
White,"
named.
Barrie,
"Many
516;
the
Barres,
Sherwood,
Laughter,"
Asch,
Voyage,"
179
Anderson,
under
Baring,
176
"Blue
519
Hero,"
309,
given
book
or
specificallyreferred
or
72,
29,
528;
Richard,
Aldington,
author
the
refer
numerals
roman
pages;
name.
Joseph,
Addison,
to
to
are
it is discussed
where
refer
numerals
Arabic
NOTE:
"Unsterblich-
847
INDEX
"The
"The
of
Son
San
"S.S.
531;
530,
Bridge,"423
Hart,
Crane,
Stephen, "Maggie,
Red
of
Girl
Badge
XXXIV,
320,
Development
L., "The
"H.
(Mrs.
Richard
"The
XIV,
and
Vita
"La
Daubler,
Alphonse, 72,
Daniel,
Defoe,
Veal,"
Mrs.
Nuova,"
Punishment,"
77, 131
William,
Morgan,
Quincey, Thomas,
Imagistes,"385
of
138, 149-151,
12, 55,
60, 124-
hardt," 330;
Myself,"323;
"The
Financier,"
"The
329;
"Sister
Carrie," 321,
Alexandre
Dumas,
Alexandre
Three
Modern
Meere
und
516; "AlexXL,
519;
Giganten,"
"Les
Lauriers
(fits),
153
(pere),56,
Musketeers,"
11,
457,
217;
39
Eddington,
A. S., 221
Edschmid,
Kasimir, 485
Einstein, Albert, 526, 547
Eliot, George (Mary Ann
Evans), 4,
13, 14, 18, 21, 30-34, 35, 38, 44, 54,
248, 255,
19, 20,
30,
129,
129;
"The
Mill
Erasmus,
144,
257;
19, 30-32,
512
Passes, John, 7,
lish
Eng-
555
Dumas,
"The
Ger-
Elizabeth, "The
Novel,"
Genius,"
"Jennie
5*7" 530.
325,
328, 516,
324,
"35
XXXIV,
323,
about
323;
XXVII,
114,
AmericanTrag-
Dujardin, Edouard,
sont
coupes," 516
Dos
321,
Book
324,
Memoirs
*44,
"Berge,
"A
520;
Drew,
55g
60
Charles, 4, 7,
11,
322,
Apparition
156, 354; "Robinson
De
129,
77
Midget," 489
Dickens,
Wind,"
308; "South
75, 274, 277, 278, 467
"The
De
"Des
Possessed," 155-
Norman,
"Dawn,"
Crusoe," 205
la Mare, Walter, "The
De
of
Dogs,"
Charles, 547
Theodor,
486
Daudet,
435;
161, 340
Aldington),
"Bottom
155-161,434,
99-101,
edy," 320,
413, 424,
Darwin,
Karamazov,"
157-161,434;"The
538
Dante,
50*.
Dreiser, Theodore,
398"493
Dahlberg, William,
530.
501,
522;
Douglas,
D."
476,
449,
522;
64, 278,
"1919,"445, XXXIX,
Brothers
Courage/'321
Cross, Wilbur
Transfer,"
"Three
399; "The
Crane,
of
4"d Parallel/'XXXIX,
"Manhattan
522-524;
601
Frank,
Crane,
561
83
Waste
on
the
291
Wednesday,"
Land,"
423
INDEX
562
Private
Helen
Troy,"
Life of
75
"Sanctuary,"
539;
and
Sound
"These
539;
Fury,"516,520,
the
521,
13,"522, 539
Fielding,Henry,
38,
522,
5x2,
"The
11,
84, 179,
307,
History of Tom
51,
546; "The
a
Foundling,"
255,
4,
26-29,
308, 334,
Jones,
119,
229,
213,
237,
Flaubert,
4, 59,
341;
de Saint Antoine,"
"La
"Madame
144, 257;
Tentation
341
Chancery,"^249-252,
255,
273; "To
273); "A
Comedy," 246
(includes
following, "The
White
ver
SilMonkey," 259; "The
"Swan
Spoon," 249;
Song,"
249)
Garnett, David, "Lady into Fox,"
the
489
Edward,
Gide,
452,
Conrad:
339,
Stand
Could
More
"No
"Romance"
E.
Forster,
Novel,"
"Fra
359-361,365;"A Man
Up," 15, 247, 361;
Parades," 247, 361;
(with Conrad), 344;
Not," 247
Do
"Some
brance,"
Remem-
M.,
10;
"Aspects
(ElbertHubbard),
60
Fragonard, Jean-Honor^,90
France, Anatole, 71, 78-84,85, 279,
467; "L'lle des Pingouins," 79;
"Monsieur
Bergeret a Paris," 80"Thai's,"
83;
79
Franck, C"ar,
320,
"Rahab,"
470,
475,
475,
501,
495,
498-500;
495-49^
466,
du
can,"
Vati-
458, 459;
("The
XXXV,
"Les
terfeiters"),
Coun-
458-465,
487; "L'lmrnoraliste,"
450;
"Le
Journal
des
Faux-monnayeurs,"
449"
451*
452.
"La
Porte
Etroite," 450
Gilbert,
Stuart,
Gladkov,
Fedor
"James
Ulysses/'418-421,557
Gissing,George, 59
Joyce's
Vasilevich,
ment,"
"Ce-
107
von,
55,
55i
Gold,
Michael,
Money,"
Goncourt,
"Jews
without
543
Oliver, 176
Goldsmith,
Julesand
Edmond
de, 4,
Lacerteux,"
"Germinie
237;
"Madame
*35;
131"
449
Waldo,
527, 546,
day,"
553; "City Block," 473*475; "Holi-
Frank,
453,
425,
of the
5, 74, 555
Elbertus"
Caves
Faux-monnayeurs"
"The
Personal
337
"Les
515;
450,
from
49,"107, XXXV,
Andre,
(formerly Ford
Madox
"Letters
Joseph Conrad,"
Gauguin, Paul, 9
486, 490,
247
Ford
Ford,
273; "In
Garnett,
Fletcher,
247; "The
Gorki, Maxim,
Gervaisais," 135
179, 330;
"Bystander,"
101
Grabo,
the
Carl
H,, "The
Novel," 5, 555
Technique
of
563
INDEX
Dark
Julian,"The
Green,
Journey,"
283,
225
224,
Three
"The
Holz, Arno,
of
terials
of Fiction," 555, 557; "Maof Fiction,"
Methods
and
the Art
Hamsun,
"The
Charles
Home,
11,
Hardy, Thomas,
178, 186, 239, 255, 330,
140-144,
368, 546, 551; "Desperate
331,
Remedies,"
Crowd,"
Madding
from
"Far
234;
141,
the
142,
257,
140,
257;
Native,"
of
"Tess
234,
142-144,
on
Walter,
Hauptmann,
Gerhardt,
258;
143,
140;
Hazard
W.
"Der
Ketzer
Nathaniel,
Hazlitt, William,
Ben,
53,
107
H.,
314
366
(quoted),
Hemingway, Ernest, 314, 330, 396,
540-542, 548, 553; "A
504. 53""-538'
Heine, Heinrich
Farewell
to
Arms,"
476,
530,
538;
"The
Women,"
Sun
Also
Herbert,
A. P., "The
Water-Gipsies,"
"A
330;
"Green
"A
Crystal
Mansions,"
10,
193. 489
Hueffer, Ford
Madox,
Ford, Ford
see
Madox
Charles
Huffman,
Herbert,
Eighteenth-Century Novel
Practice," 556
Sard, see
Robert
Lovett,
Morss
"The
in Theory
Helen
"Les
817,
258,
Mise"ables," VI
Leigh, 367
A. S. M., 216, 313
49,
107,
XXXVI,
83
107;
Fortunes," 308
Huxley, Aldous,
486
"The
Home,
Dean,
of New
Hudson,
Hutchinson,
485, 486
Soana,"
Hecht,
the
143
Hasenclever,
von
Tower,"
Woodlanders,"
Hawthorne,
257,
D'Urbervilles,"
the
of
Return
419-421,
William
and
258; "Jude the Obscure," 143, 234,
of
"The
Casterbridge," Hughes,
Mayor
369;
"The
F.
of the
Technique
Age," 489;
392
93,
Odyssey,"405,
426
Howells,
555
209.
Pennys," 282,
486
"The
Homer,
Clayton, "A^Manual
Hamilton,
Black
285, 286
Counter
"Those
Barren
278, 369, XXXVI;
Leaves," 463
Joris-Karl, 418; "En
Huysmans,
Route,"
247;
"La
Cath"drale,"
Ibanez,
Vicente, "The
247
Cathedral,"
317
Ibsen, Henrik,
153, 182
Irwin, Wallace, "The
Days of
Her
Life," 286
542
James, Henry,
131,
132,
XVIII,
4, 7, 16, 21,
26, 107,
XIX,
241,
298, 301-303,
242,
286, 287.
INDEX
192,
195,
289,
210-212,
302;
"The
American,"
301; "The
Awkward
301,
293,
194-197,
Age,"
205, 214;
Golden
283,
de
of
Portrait
son,"
Hud-
Lady," "pi,
Fount,"
29ir"**rhe Sacred
of
"The
Poynton,"
Spoils
214;
198,
197,
204,
214-217, 218,
Tragic Muse,"
205,
316;
Screw,"
204,
Maisie
"What
205,
Dove,"
344;
209,
198,
the
302
409
223,
rad,
Con-
Life
"The
of
Art
Thomas
Hardy," 142
Johnson, Samuel, 55
Josephson, Matthew, "Zola
Time,"
and
5*4"
"Dubliners,"
549.
553;
Portrait
of the
Man,"
Artist
406, 407,
415;
278,
307,
6, 8, 274,
43J.
425-429*
420,
437"
"A
531;
Young
"Ulysses,"5,
as
XXXII,
319,
47""
531;
"Work
422-424,
528
279,
5!9*
486,
in
dc, 186
513,
"The
Burrowes,
"Aaron's
Rod,"
"Fantasia
of
the
Unconscious,"
"Lady
373;
372.
Lover," 369, 370; "The
"The
367, 368;
369; "The
376, 377,
Chatterley's
Lost
Plumed
369, 374-
378, 381;
369, 378,
384;
369;
"Women
Whjte
in
Girl,"
Serpent,"
Rainbow,"
"The
and
"Sons
379,
381, 382,
368,
Peacock,"
Love,"
237, 319,
381-383
"Dusty
swer,"
An-
280
324,
"Babbitt,"
Loos,
264, 265,
Helen
Novel
Lubbock,
320
"Gentlemen
Anita,
Blondes,"
Lovett,
Lowell,
ress,"
Prog-
heureux
Novelist,",555
D.
332, XXX,
Lewis,
443,
515.
of the
Art
Lawrence,
His
XXXII,
Lathrop,
557
Joyce, James,
318, 331, 332,
516
Henry
Lovers,"
Letters," 365
Lionel,
Johnson,
204,
of
Wings
Jannings,Emil,
of
Turn
Knew,"
"The
282;
"The
208,
246
Alphonse
amants,"
of
Ring
"Madame
310;
302JJ'Roderick
Lowensko'lds,"
Europeans,"
198-203, Lamb,
293; "The
Mauves,"
the
Bowl,"
302,
291,
"The
301; "The
214,
228,
227,
204,
Prefer
293
Robert
Morss
(with Hughes,
Sard),"The
History of the
in English,"5, 556
Amy, 386, 398, 526
Craft
of
Percy, "The
Fiction,"
5-8,
555;
"Roman
tures,"
Pic-
477
au
Jusserand,J.J.,"Le Roman
temps
de Shakespeare,"556; "Le Roman
anglaisdu i8me siecle,"556
Lucian,
83
Lukacs,
Georg,
Romans,"
"Die
Theorie
des
556
Kerr,
Novel:
Elizabeth,
"The
Fictional
Scientific
Age,"
Sequence
Method
544
McFee,
247
Kipling,
Rudyard, 205,
of
339
William,
MacLeish,
10
Archibald,
386
565
INDEX
McNally,William,
Manet,
"House
ished
of Van-
Splendor," 286
"The
Edouard,
140,
"The
124
Matthews
(with
John
Rickert, Edith), "Contemporary
Manly,
American
Literature,"
British
temporary
"Con-
556;
Literature,"
556
F. O.,
Mann,
Grope,"
^'Albert
"Die
Heinrich,
Mann,
Hades,"
vom
Mann,
485
106-117, 180,
Thomas,
266,
330,
542
RUckkehr
255,
Venedig"
Venice"), 106; "Der
tain"),
Zauberberg" ("The Magic Moun"Der
106;
in
in
("Death
le Second
sous
Empire,"
Norman,
Matson,
"Les
River
's
Magic,
4"9
Somerset,
10,
Bondage,"
Maupassant, Guy de,
237
Human
222,
137
C.
238, 330,
223,
to
"Pierre
487,556;
305, 401,
inort,"
124,
"Of
232;
4, 39, 205,
341,
531;
"Fort
213,
Woman,
la
Vie," 124
"Une
Maynadier,
Gustavus
the
Howard,
L., "The
Mary,
"Midnight
of
Study
British
of
"Son
D.
H.
ism,
Real-
Later
Characterization
Novel," 557
Newman,
Frances,
233,
246;
dings,"
Wed-
322;
10
Isaac, 547
Martin
Andersen,
"Pelle
"The
"Ditte,"
the
Norris, Frank,
Mrs.
of the
of
Newman,
Nexo,
234
Meeke,
in
Story
on
Walter
Newton,
Andre", 107
Mauriac,
Myers,
Prose
the
ace
pref-
122-124,
comme
of
Rise
Study of English
Fiction 1600-1740,"556
Morley, Christopher, "Thunder
Novel:
Jean,"
ct
Fountain,"
"The
E., "The
Lawrence,"
Maugham,
"Evelyn
144;
Lake,"
135, 137, 257; "The
"Sister
Teresa," 135,
137, 138, 280;
the
557
"Spoon
479
Meeker
"
135-137,
Innes,"
Muir,
Anthology," 478,
Waters,"
"Esther
305;
124,
i,
107, 320
r"iliste
Roman
"Le
Feverel,"
Shaving
35, 36, 40-44, 138; "The
of Shagpat," 40
am"riMichaud,
R"gis, "Le Roman
cain d'aujourd'hui,"555
Moliere
(Jean-Baptiste Poquelin),
138
Moore,
George, 5, 18, 21, 59, 135"Confessions
of a
Young
138;
Morgan,
246
P.,
of Richard
Ordeal
Morgan, Charles,
106-117, 257
Martino,
Crossways," 138;
the
Man,"
"Buddenbrooks,"
549;
of
"Diana
Conqueror," 246
Octopus,"
556; "The
Pit," 322
544
Melville, Herman,
Mencken,
Meredith,
107
L., 71, 339
George, 12, 16, IV, 51, 53,
O'Neill,
H.
Owenson,
Eugene,
475
Miss
"Strange
lude,"
Inter-
Sydney, 544
54,
Pater, Walter,
286
207,
INDEX
566
Thomas
Peacock,
Love,
Hall,"
"Headlong
"Nightmare
467;
279,
Abbey," 279, 467
Perry, Bliss, "A Study of
above
tion."
Fic-
Prose
555, 557
Peterkin,
Mary," 832
Phelps, William
Lyon,
of the
vance
Ad-
"The
English Novel,"
555
Walter
Phillips,
and
Sister
"Scarlet
Julia,
Collins, Sensation
Novelists,"
408
Poe, Edgar Allan, 202, 205, 209, 344
"Dommens
Pontoppidan, Henrik,
Dag," 247; "Emmanuel,"
247;
Promised
Land,"
247
Marcel, 452
552;
"Angel
385-387, 395,
396; "rtoneycomb," 385, 387, 397,
Roofs," 385, 386398); "Pointed
Tunnel," 394
388; "The
Richardson,
Fortunes
247
Richard
of
"The
Mahony,"
includes
(thisseries
Thule,"
Handel,
Henry
"Ultima
224)
Samuel,
Harlowe,"
55;
"Clarissa
275
Roberts,
Great
Elizabeth
Meadow,"
Rolland,
276
Remain,
55;
Christophe," 246,
Rolvaag, O. E., 232,
the
Earth,"
"Jean-
250
268; "Giants
246;
246
Rousseau,
Jean -Jacques,55
Ruskin, John, 207
Father's
"The
Madox,
237,
in
"Their
God,"
la
Sabatier, Pierre, "L'Esth"tiquedes
269; "A
membrance Goncourt," 557
temps perdu" ("Reof Things Past"),39,
Saintsbury, George, "The
English
cludes
Novel," 556
(the above series in255,
du
V, 246, 250
"Le
C6t"
de
Guermantes,"
Saint-Simon,
Claude-Henri,
Comte
de, 53
401)
Samuel,
Caravan,"
"The
European
557
Jean, 320
Raleigh, Sir Walter,
Novel," 556
Racine,
Ransom,
ing,
follow-
the
542
Marcel,
Recherche
Putnam,
includes
series
"Backwater,"
Richardson,
556
"The
423* 443'
"The
English
der
Zeit," 555
"Fra'ulein Else,"
neuesten
Schnitzler, Arthur,
i45" 231
"A
Calendar
Wave,"
of
481,
92
482, 519, 520
Pierre-Auguste,124
Scott, Sir Walter, 55, 217, 544; "Guy
Reymont, Ladislas, "The Peasants/'
of
Heart
Mannering," 234; "The
246
"The
chine,"
MaMidlothian,"
"Ivanhoe,"
Rice, Elmer,
14-18;
Adding
"Street
Scene,"
178,
234
475;
475
Richardson, Dorothy, 7, 332, XXXI,
Sedgwick, Anne
Douglas (Mrs. Basil
Rascoe, Burton,
Renoir,
567
INDEX
de
Selincourt),287-291,302,
"Franklin
Winslow
Little
"The
Kane,"
French
314;
290;
"Phili^pa,"
290;
Shakspere,William,
Shaw,
George
"With
388-390;
"Mary
Olivier," 237
Sinclair, Upton, 445
Smollett, Tobias, 126, 138, 178;"The
of Peregrine Pickle,"
Adventures
"The
Adventures
Random,"
248,
409;
Roderick
Imagist
Sophocles,551
"Some
Poets,"
409,
of
538
385
Gertrude,
"Geography
540;
Making of
Plays,"528; "The
"Tender
tons,"
ButAmericans,"
528;
"Le
Stern,
Rouge
G.
("Tents
et
225-227;
Parme,"
225;
"The
Journey through
Italy," 76; "Tristram
Balfour," 207;
Hyde,"
206,
17,
193,
"David
369, 556;
"Dr. Jekylland Mr.
"Kidnapped,"
234;
Master
217; "The
trae," 206, 207, 258
Stong, Phil,
Shandy,"
Louis,
205,
Stout, Rex,
and
France
399, 528
Robert
339,
turne,"
216, 309; "Noc-
Frank,
Thackeray,
Makepeace, 4,
7, 14, 16, 77, 84, 94, 138, 149-151.
XV,
History of
389, 484, 551; "The
Esmond,"
Henry
"Vanity
193;
Fair," 18, 20, 64, 164-176,243, 293
Toller, Ernst, 486
H.
M.,
10
18,
21,
"Barchester
334"
22,
Towers,"
"Frainley
235-237;
23,
Parsonage," 236
Turgenev, Ivan, 101,
131-135, 179,
and Sons," 132-
"Fathers
548; "A
Steppes," 208
Lear
King
135,
Sigrid,39,
Undset,
XXII,
273; "The
Son
Avenger,"
of
the
272
(thisseries
"The
Mistress
of
Ballan-
"How
268)
Upham,
Alfred
of
Forms
Van
Van
Novel,"
274,
American
Van
includes
Cross,"
of
271,
100,
Typical
557
American
"Contemporary
Novelists," 555
Jules,70
272;
235
Carl, "The
555, 557;
lowing,
fol-
Husaby," 267,
H., "The
Gogh, Vincent,
Verne,
the
English Literature,"
Dine, S. S.,
Doren,
"Kristin
246;
64, 246, 257, 266-
Lavransdatter,"
"The
205-208,
225-227
Matriarch"
Israel"),
247
Sterne, Laurence,
Stevenson,
le Noir,"
B.,
of
Beyle),
de
Chartieuse
of
Algernon Charles, 64
238, 369;
528
(Henri
Talc
274
237"
and
"La
Swinburne,
Stein,
Stendhal
71
Michael," 247;
247; "Pan
Fire and Sword," 247
248,
Forge,"247;
Store," 247
Bernard,
May,
"The
Swinnerton,
Sinclair,
T. S., "The
Stribling,
9,
220
569
INDEX
547;
"Le
"Lourdes,"
log'-ioG,
"Ve'riteY'
Rougon-Macquart,"
no,
experimental,"
Roman
105,
106,
series
"L'Assommoir,"
"Les
no;
122,
247;
includes
838;
556;
this
326,
238,
390,
104,
391;
following,
the
"Nana,"
105,
238,
104,
257,
105,
257
(7)