Elementary Guide to Literary Criticism

by F. V. N. Painter

NATURE AND CLASSIFICATION OF FICTION

68. Definition. Fiction is that form of prose narrative in which the characters, scenes, and incidents are partly or entirely imaginary. In its highest form it is a sort of prose epic; and Homer's "Odyssey" finds a parallel in Fénelon's "Telemachus." In the arrangement of characters and incidents to form a plot, fiction resembles the drama; and at the present time every notable work of fiction is apt to make its way to the stage. Like poetry in general, fiction has its principal source in the creative imagination, which, working on the basis of experience, modifies or produces character, scene, and incident.

A common division of fiction, though not consistently observed, is the novel and the romance. The novel is a fictitious narrative in which the characters and incidents are in keeping with the ordinary train of events in society. Goldsmith's "Vicar of Wakefield," which brings before us the simple life of a country pastor, may be taken as a type. A romance is a fictitious narrative in which the characters and scenes and incidents are uncommon, improbable, or marvelous. Scott's "Ivanhoe" may be taken as a representative of the best type of romance. The one form of fiction may readily shade into the other, and it becomes difficult in some cases to determine the classification; but in general the two species are clearly marked.

69. Romanticism. During the past century there were two far-reaching movements in the field of fiction. Both came in the character of a reaction; taken together they have given greater breadth and depth to this department of literature. The first movement, which dates near the beginning of the last century, is known as romanticism. It was a reaction against the formal and the conventional. Romanticism may be defined as liberalism in literature; it is a breaking away from authority and a return to nature. It manifested itself in two particulars both in fiction and poetry: first, there was greater freedom in subject, form, and character; and second, there was a return to the past, particularly to an idealized age of chivalry in the Middle Ages. Scott was the great leader of the romantic movement both in poetry and in fiction. In their wide range of character and incident, and in their idealization of the past, the Waverley Novels are in general perfect types of romanticism.

70. Realism. Realism came about the middle of the Victorian era as a reaction against romanticism. It was born of the scientific spirit, which rendered the public dissatisfied with fanciful pictures of past ages and with the impossibilities of wild romance. Realism, as the word indicates, adheres to reality. Discarding what is idealistic or unreal in characters and situations, it aims at being true to life. All the great novelists of this period—Dickens, Thackeray, George Eliot—were in the best sense of the word realists.

As an effort to represent life as it is, the worth of realism must be acknowledged. In its proper application it places the novel on an immovable basis. While idealism shows us how life might be or ought to be, realism shows how it actually is. Unfortunately, realistic writers have not, in many cases, been true to their fundamental principles. The great continental leaders of realism—Tolstoi, Zola, Ibsen—have been tainted with a fatal pessimism. Realists of this type seem to see only one side of life,—the darker side of sin and wretchedness and despair. They often describe what is coarse, impure, obscene. No doubt their pictures are true as far as they go; but the fatal defect of their work is that it does not reflect life as a whole. It does not portray the pure and noble and happy side of life, which is just as real as the other.

Except in the hands of genius, realism is apt to be dull. It gives us uninteresting photographs. There are times when we do not care so much for instruction as for amusement and recreation. This fact opens a legitimate field for the imaginative story-teller. There is to-day a decided reaction against realism in the form of what has been called the new romanticism. It does not present to us elaborate studies of actual life, but entertains us with an interesting or exciting story. Stevenson, Weyman, Hope, and Doyle have been leaders in this movement, and some of the most widely read novels of the past few years have belonged to this new romanticism.

71. Idealism. The influence of idealism in fiction should be recognized. It may tinge the work both of romanticism and of realism. It is, perhaps, to be regarded as an atmosphere rather than as a method. The aim of idealism is to soften the hard realities of life. It in a measure portrays things not as they are but as they should be; and as far as it definitely pursues this course it presents a contrast to realism. It naturally chooses for the most part the nobler types of character; and to the villains that may be introduced it metes out in due time a merited punishment. The trials of life are brought to happy issue. The hero and heroine, both somewhat above the characters of ordinary life, at length triumph over all the obstacles that beset their path. Kept within due bounds, idealism gives a hopeful and uplifting tone to fiction; but without careful restraint it is in danger of becoming false and injurious. It presents to the young a caricature of the world, and exposes them, at a later period, to bitter and dangerous disillusionment. Among our greatest novelists an idealistic tendency is very perceptible in Scott and Dickens.

72. Component Elements. In every important work of fiction there are six things to be considered, namely, the characters, the incidents, the environment, the plot, the purpose, and the view or philosophy of life. The first three elements constitute the materials out of which the novelist builds his work; the last three supply the general plan by which he builds it. The excellence of the work, as in architecture, depends both on the character of the materials and on the manner in which they are put together. When Solomon constructed his famous temple he not only used cedar and gold but also joined them together according to a wise design and noble purpose. These various elements are worthy of separate consideration.