Our supreme want to-day, if we are to continue a belligerent people, is a greater supply of able educated men, versatile men capable of engines, of aviation, of invention, of leading and initiative. We need more laboratories, more scholarships out of the general mass of elementary scholars, a quasi-military discipline in our colleges and a great array of new colleges, a much readier access to instruction in aviation and military and naval practice. And if we are to have national service let us begin with it where it is needed most and where it is least likely to disorganise our social and economic life; let us begin at the top. Let us begin with the educated and propertied classes and exact a couple of years' service in a destroyer or a waterplane, or an airship, or a, research laboratory, or a training camp, from the sons of everybody who, let us say, pays income tax without deductions. Let us mix with these a big proportion—a proportion we may increase steadily—of keen scholarship men from the elementary schools. Such a braced-up class as we should create in this way would give us the realities of military power, which are enterprise, knowledge, and invention; and at the same time it would add to and not subtract from the economic wealth of the community Make men; that is the only sane, permanent preparation for war. So we should develop a strength and create a tradition that would not rust nor grow old-fashioned in all the years to come.

THE CONTEMPORARY NOVEL

Circumstances have made me think a good deal at different times about the business of writing novels, and what it means, and is, and may be; and I was a professional critic of novels long before I wrote them. I have been writing novels, or writing about novels, for the last twenty years. It seems only yesterday that I wrote a review—the first long and appreciative review he had—of Mr. Joseph Conrad's "Almayer's Folly" in the Saturday Review. When a man has focussed so much of his life upon the novel, it is not reasonable to expect him to take too modest or apologetic a view of it. I consider the novel an important and necessary thing indeed in that complicated system of uneasy adjustments and readjustments which is modern civilisation I make very high and wide claims for it. In many directions I do not think we can get along without it.

Now this, I know, is not the usually received opinion. There is, I am aware, the theory that the novel is wholly and solely a means of relaxation. In spite of manifest facts, that was the dominant view of the great period that we now in our retrospective way speak of as the Victorian, and it still survives to this day. It is the man's theory of the novel rather than the woman's. One may call it the Weary Giant theory. The reader is represented as a man, burthened, toiling, worn. He has been in his office from ten to four, with perhaps only two hours' interval at his club for lunch; or he has been playing golf; or he has been waiting about and voting in the House; or he has been fishing; or he has been disputing a point of law; or writing a sermon; or doing one of a thousand other of the grave important things which constitute the substance of a prosperous man's life. Now at last comes the little precious interval of leisure, and the Weary Giant takes up a book. Perhaps he is vexed: he may have been bunkered, his line may have been entangled in the trees, his favourite investment may have slumped, or the judge have had indigestion and been extremely rude to him. He wants to forget the troublesome realities of life. He wants to be taken out of himself, to be cheered, consoled, amused—above all, amused. He doesn't want ideas, he doesn't want facts; above all, he doesn't want—Problems. He wants to dream of the bright, thin, gay excitements of a phantom world—in which he can be hero—of horses ridden and lace worn and princesses rescued and won. He wants pictures of funny slums, and entertaining paupers, and laughable longshoremen, and kindly impulses making life sweet. He wants romance without its defiance, and humour without its sting; and the business of the novelist, he holds, is to supply this cooling refreshment. That is the Weary Giant theory of the novel. It ruled British criticism up to the period of the Boer war—and then something happened to quite a lot of us, and it has never completely recovered its old predominance. Perhaps it will; perhaps something else may happen to prevent its ever doing so.

Both fiction and criticism to-day are in revolt against that tired giant, the prosperous Englishman. I cannot think of a single writer of any distinction to-day, unless it is Mr. W.W. Jacobs, who is content merely to serve the purpose of those slippered hours. So far from the weary reader being a decently tired giant, we realise that he is only an inexpressibly lax, slovenly and under-trained giant, and we are all out with one accord resolved to exercise his higher ganglia in every possible way. And so I will say no more of the idea that the novel is merely a harmless opiate for the vacant hours of prosperous men. As a matter of fact, it never has been, and by its nature I doubt if it ever can be.

I do not think that women have ever quite succumbed to the tired giant attitude in their reading. Women are more serious, not only about life, but about books. No type or kind of woman is capable of that lounging, defensive stupidity which is the basis of the tired giant attitude, and all through the early 'nineties, during which the respectable frivolity of Great Britain left its most enduring marks upon our literature, there was a rebel undertow of earnest and aggressive writing and reading, supported chiefly by women and supplied very largely by women, which gave the lie to the prevailing trivial estimate of fiction. Among readers, women and girls and young men at least will insist upon having their novels significant and real, and it is to these perpetually renewed elements in the public that the novelist must look for his continuing emancipation from the wearier and more massive influences at work in contemporary British life.

And if the novel is to be recognised as something more than a relaxation, it has also, I think, to be kept free from the restrictions imposed upon it by the fierce pedantries of those who would define a general form for it. Every art nowadays must steer its way between the rocks of trivial and degrading standards and the whirlpool of arbitrary and irrational criticism. Whenever criticism of any art becomes specialised and professional whenever a class of adjudicators is brought into existence, those adjudicators are apt to become as a class distrustful of their immediate impressions, and anxious for methods of comparison between work and work, they begin to emulate the classifications and exact measurements of a science, and to set up ideals and rules as data for such classification and measurements. They develop an alleged sense of technique, which is too often no more than the attempt to exact a laboriousness of method, or to insist upon peculiarities of method which impress the professional critic not so much as being merits as being meritorious. This sort of thing has gone very far with the critical discussion both of the novel and the play. You have all heard that impressive dictum that some particular theatrical display, although moving, interesting, and continually entertaining from start to finish, was for occult technical reasons "not a play," and in the same way you are continually having your appreciation of fiction dashed by the mysterious parallel condemnation, that the story you like "isn't a novel." The novel has been treated as though its form was as well-defined as the sonnet. Some year or so ago, for example, there was a quite serious discussion, which began, I believe, in a weekly paper devoted to the interests of various nonconformist religious organisations, about the proper length for a novel. The critic was to begin his painful duties with a yard measure. The matter was taken up with profound gravity by the Westminster Gazette, and a considerable number of literary men and women were circularised and asked to state, in the face of "Tom Jones," "The Vicar of Wakefield," "The Shabby-Genteel Story," and "Bleak House," just exactly how long the novel ought to be. Our replies varied according to the civility of our natures, but the mere attempt to raise the question shows, I think, how widespread among the editorial, paragraph-writing, opinion-making sort of people is this notion of prescribing a definite length and a definite form for the novel. In the newspaper correspondence that followed, our friend the weary giant made a transitory appearance again. We were told the novel ought to be long enough for him to take up after dinner and finish before his whisky at eleven.

That was obviously a half-forgotten echo of Edgar Allan Poe's discussion of the short story. Edgar Allan Poe was very definite upon the point that the short story should be finished at a sitting. But the novel and short story are two entirely different things, and the train of reasoning that made the American master limit the short story to about an hour of reading as a maximum, does not apply to the longer work. A short story is, or should be, a simple thing; it aims at producing one single, vivid effect; it has to seize the attention at the outset, and never relaxing, gather it together more and more until the climax is reached. The limits of the human capacity to attend closely therefore set a limit to it; it must explode and finish before interruption occurs or fatigue sets in. But the novel I hold to be a discursive thing; it is not a single interest, but a woven tapestry of interests; one is drawn on first by this affection and curiosity, and then by that; it is something to return to, and I do not see that we can possibly set any limit to its extent. The distinctive value of the novel among written works of art is in characterisation, and the charm of a well-conceived character lies, not in knowing its destiny, but in watching its proceedings. For my own part, I will confess that I find all the novels of Dickens, long as they are, too short for me. I am sorry they do not flow into one another more than they do. I wish Micawber and Dick Swiveller and Sairey Gamp turned up again in other novels than their own, just as Shakespeare ran the glorious glow of Falstaff through a group of plays. But Dickens tried this once when he carried on the Pickwick Club into "Master Humphrey's Clock." That experiment was unsatisfactory, and he did not attempt anything of the sort again. Following on the days of Dickens, the novel began to contract, to subordinate characterisation to story and description to drama; considerations of a sordid nature, I am told, had to do with that; something about a guinea and a half and six shillings with which we will not concern ourselves—but I rejoice to see many signs to-day that that phase of narrowing and restriction is over, and that there is every encouragement for a return towards a laxer, more spacious form of novel-writing. The movement is partly of English origin, a revolt against those more exacting and cramping conceptions of artistic perfection to which I will recur in a moment, and a return to the lax freedom of form, the rambling discursiveness, the right to roam, of the earlier English novel, of "Tristram Shandy" and of "Tom Jones"; and partly it comes from abroad, and derives a stimulus from such bold and original enterprises as that of Monsieur Rolland in his "Jean Christophe." Its double origin involves a double nature; for while the English spirit is towards discursiveness and variety, the new French movement is rather towards exhaustiveness. Mr. Arnold Bennett has experimented in both forms of amplitude. His superb "Old Wives' Tale," wandering from person to person and from scene to scene, is by far the finest "long novel" that has been written in English in the English fashion in this generation, and now in "Clayhanger" and its promised collaterals, he undertakes that complete, minute, abundant presentation of the growth and modification of one or two individual minds, which is the essential characteristic of the Continental movement towards the novel of amplitude. While the "Old Wives' Tale" is discursive, "Clayhanger" is exhaustive; he gives us both types of the new movement in perfection.