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of lying has almost fallen into disrepute. Many a young man starts in life with a natural gift for exaggeration which, if nurtured in congenial and sympathetic surroundings, or by the imitation of the best models, might grow into something really great and wonderful. But, as a rule, he comes to nothing. He either falls into careless habits of accuracy – ’
Cyril. My dear fellow!
Vivian. Please don’t interrupt in the middle of a sentence. ‘He either falls into careless habits of accuracy, or takes to frequenting the society of the aged and the well-informed. Both things are equally fatal to his imagination, as indeed they would be fatal to the imagination of anybody, and in a short time he develops a morbid and unhealthy faculty of truth-telling, begins to verify all statements made in his presence, has no hesitation in contradicting people who are much younger than himself, and often ends by writing novels which are so lifelike that no one can possibly believe in their probability. This is no isolated instance that we are giving. It is simply one example out of many; and if something cannot be done to check, or at least to modify, our monstrous worship of facts, Art will become sterile, and beauty will pass away from the land.
‘Even Mr. Robert Louis Stevenson, that delightful master of delicate and fanciful prose, is tainted with this modern vice, for we know positively no other name for it. There is such a thing as robbing a story of its reality by trying to make it too true, and The Black Arrow is so inartistic as not to contain a single anachronism to boast of, while the transformation of Dr. Jekyll reads dangerously like an experiment out of the Lancet. As for Mr. Rider Haggard, who really has, or had once, the makings of a perfectly magnificent liar, he is now so afraid of being suspected of genius that when he does tell us anything marvellous, he feels bound to invent a personal reminiscence, and to put it into a footnote as a kind of cowardly corroboration. Nor are our other novelists much better. Mr. Henry James writes fiction as if it were a painful duty, and wastes upon mean motives and imperceptible “points of view” his neat literary style, his felicitous phrases, his swift and caustic satire. Mr. Hall Caine, it is true, aims at the grandiose, but then he writes at the top of his voice. He is so loud that one cannot bear what he says. Mr. James Payn is an adept in the art of concealing what is not worth finding. He hunts down the obvious with the enthusiasm of a short-sighted detective. As one turns over the pages, the suspense of the author becomes almost unbearable. The horses of Mr. William Black’s phaeton do not soar towards the sun. They merely frighten the sky at evening into violent chromolithographic effects. On seeing them approach, the peasants take refuge in dialect. Mrs. Oliphant prattles pleasantly about curates, lawn-tennis parties, domesticity, and other wearisome things. Mr. Marion Crawford has immolated himself upon the altar of local colour. He is like the lady in the French comedy who keeps talking about “le beau ciel d’Italie.” Besides, he has fallen into the bad habit of uttering moral platitudes. He is always telling us that to be good is to be good, and that to be bad is to be wicked. At times he is almost edifying. Robert Elsmere is of course a masterpiece – a masterpiece of the “genre ennuyeux,” the one form of literature that the English people seems thoroughly to enjoy. A thoughtful young friend of ours once told us that it reminded him of the sort of conversation that goes on at a meat tea in the house of a serious Nonconformist family, and we can quite believe it. Indeed it is only in England that such a book could be produced. England is the home of lost ideas. As for that great and daily increasing school of novelists for whom the sun always rises in the East-End, the only thing that can be said about them is that they find life crude, and leave it raw.
‘In France, though nothing so deliberately tedious as Robert Elsmere has been produced, things are not much better. M. Guy de Maupassant, with his keen mordant irony and his hard vivid style, strips life of the few poor rags that still cover her, and shows us foul sore and festering wound. He writes lurid little tragedies in which everybody is ridiculous; bitter comedies at which one cannot laugh for very tears. M. Zola, true to the lofty principle that he lays down in one of his pronunciamientos on literature, “L’homme de génie n’a jamais d’esprit,” is determined to show that, if he has not got genius, he can at least be dull. And how well he succeeds! He is not without power. Indeed at times, as in Germinal, there is something almost epic in his work. But his work is entirely wrong from beginning to end, and wrong not on the ground of morals, but on the ground of art. From any ethical standpoint it is just what it should be. The author is perfectly truthful, and describes things exactly as they happen. What more can any moralist desire? We have no sympathy at all with the moral indignation of our time against M. Zola. It is simply the indignation of Tartuffe on being exposed. But from the standpoint of art, what can be said in favour of the author of L’Assommoir, Nana and Pot-Bouille? Nothing. Mr. Ruskin once described the characters in George Eliot’s novels as being like the sweepings of a Pentonville omnibus, but M. Zola’s characters are much worse. They have their dreary vices, and their drearier virtues. The record of their lives is absolutely without interest. Who cares what happens to them? In literature we require distinction, charm, beauty and imaginative power. We don’t want to be harrowed and disgusted with an account of the doings of the lower orders. M. Daudet is better. He has wit, a light touch and an amusing style. But he has lately committed literary suicide. Nobody can possibly care for Delobelle with his “Il faut lutter pour l’art,” or for Valmajour with his eternal refrain about the nightingale, or for the poet in Jack with his “mots cruels,” now that we have learned from Vingt Ans de ma Vie littéraire that these characters were taken directly from life. To us they seem to have suddenly lost all their vitality, all the few qualities they ever possessed. The only real people are the people who never existed, and if a novelist is base enough to go to life for his personages he should at least pretend that they are creations, and not boast of them as copies. The justification of a character in a novel is not that other persons are what they are, but that the author is what he is. Otherwise the novel is not a work of art. As for M. Paul Bourget, the master of the roman psychologique, he commits the error of imagining that the men and women of modern life are capable of being infinitely analysed for an innumerable series of chapters. In point of fact what is interesting about people in good society – and M. Bourget rarely moves out of the Faubourg St. Germain, except to come to London, – is the mask that each one of them wears, not the reality that lies behind the mask. It is a humiliating confession, but we are all of us made out of the same stuff. In Falstaff there is something of Hamlet, in Hamlet there is not a little of Falstaff. The fat knight has his moods of melancholy, and the young prince his moments of coarse humour. Where we differ from each other is purely in accidentals: in dress, manner, tone of voice, religious opinions, personal appearance, tricks of habit and the like. The more one analyses people, the more all reasons for analysis disappear. Sooner or later one comes to that dreadful universal thing called human nature. Indeed, as any one who has ever worked among the poor knows only too well, the brotherhood of man is no mere poet’s dream, it is a most depressing and humiliating reality; and if a writer insists upon analysing the upper classes, he might just as well write of match-girls and costermongers at once.’ However, my dear Cyril, I will not detain you any further just here. I quite admit that modern novels have many good points. All I insist on is that, as a class, they are quite unreadable.
Cyril. That is certainly a very grave qualification, but I must say that I think you are rather unfair in some of your strictures. I like The Deemster, and The Daughter of Heth, and Le Disciple, and Mr. Isaacs, and as for Robert Elsmere, I am quite devoted to it. Not that I can look upon it as a serious work. As a statement of the problems that confront the earnest Christian it is ridiculous and antiquated. It is simply Arnold’s Literature and Dogma with the literature left out. It is as much behind the age as Paley’s Evidences, or Colenso’s method of Biblical exegesis. Nor could anything be less impressive than the unfortunate hero gravely heralding a dawn that rose long ago, and so completely missing its true significance that he proposes to carry on the business of the old firm under the new name. On the other hand, it contains several clever caricatures, and a heap of delightful quotations, and Green’s philosophy very pleasantly sugars the somewhat bitter pill of the author’s fiction. I also cannot help expressing my surprise that you have said nothing about the two novelists whom you are always reading, Balzac and George Meredith. Surely they are realists, both of them?
Vivian. Ah! Meredith!