An Englishman Looks at the World / Being a Series of Unrestrained Remarks upon Contemporary Matters

by H. G. Wells

I name "Jean Christophe" as a sort of archetype in this connection, because it is just at present very much in our thoughts by reason of the admirable translation Mr. Cannan is giving us; but there is a greater predecessor to this comprehensive and spectacular treatment of a single mind and its impressions and ideas, or of one or two associated minds, that comes to us now via Mr. Bennett and Mr. Cannan from France. The great original of all this work is that colossal last unfinished book of Flaubert, "Bouvard et Picuchet." Flaubert, the bulk of whose life was spent upon the most austere and restrained fiction—Turgenev was not more austere and restrained—broke out at last into this gay, sad miracle of intellectual abundance. It is not extensively read in this country; it is not yet, I believe, translated into English; but there it is—and if it is new to the reader I make him this present of the secret of a book that is a precious wilderness of wonderful reading. But if Flaubert is really the Continental emancipator of the novel from the restrictions of form, the master to whom we of the English persuasion, we of the discursive school, must for ever recur is he, whom I will maintain against all comers to be the subtlest and greatest artist—I lay stress upon that word artist—that Great Britain has ever produced in all that is essentially the novel, Laurence Sterne....

The confusion between the standards of a short story and the standards of the novel which leads at last to these—what shall I call them?—Westminster Gazettisms?—about the correct length to which the novelist should aspire, leads also to all kinds of absurd condemnations and exactions upon matters of method and style. The underlying fallacy is always this: the assumption that the novel, like the story, aims at a single, concentrated impression. From that comes a fertile growth of error. Constantly one finds in the reviews of works of fiction the complaint that this, that or the other thing in a novel is irrelevant. Now it is the easiest thing, and most fatal thing, to become irrelevant in a short story. A short story should go to its point as a man flies from a pursuing tiger: he pauses not for the daisies in his path, or to note the pretty moss on the tree he climbs for safety. But the novel by comparison is like breakfasting in the open air on a summer morning; nothing is irrelevant if the waiter's mood is happy, and the tapping of the thrush upon the garden path, or the petal of apple-blossom that floats down into my coffee, is as relevant as the egg I open or the bread and butter I bite. And all sorts of things that inevitably mar the tense illusion which is the aim of the short story—the introduction, for example, of the author's personality—any comment that seems to admit that, after all, fiction is fiction, a change in manner between part and part, burlesque, parody, invective, all such thing's are not necessarily wrong in the novel. Of course, all these things may fail in their effect; they may jar, hinder, irritate, and all are difficult to do well; but it is no artistic merit to evade a difficulty any more than it is a merit in a hunter to refuse even the highest of fences. Nearly all the novels that have, by the lapse of time, reached an assured position of recognised greatness, are not only saturated in the personality of the author, but have in addition quite unaffected personal outbreaks. The least successful instance the one that is made the text against all such first-personal interventions, is, of course, Thackeray. But I think the trouble with Thackeray is not that he makes first-personal interventions, but that he does so with a curious touch of dishonesty. I agree with the late Mrs. Craigie that there was something profoundly vulgar about Thackeray. It was a sham thoughtful, sham man-of-the-world pose he assumed; it is an aggressive, conscious, challenging person astride before a fire, and a little distended by dinner and a sense of social and literary precedences, who uses the first person in Thackeray's novels. It isn't the real Thackeray; it isn't a frank man who looks you in the eyes and bares his soul and demands your sympathy. That is a criticism of Thackeray, but it isn't a condemnation of intervention.

I admit that for a novelist to come in person in this way before his readers involves grave risks; but when it is done without affectations, starkly as a man comes in out of the darkness to tell of perplexing things without—as, for instance, Mr. Joseph Conrad does for all practical purposes in his "Lord Jim"—then it gives a sort of depth, a sort of subjective reality, that no such cold, almost affectedly ironical detachment as that which distinguishes the work of Mr. John Galsworthy, for example, can ever attain. And in some cases the whole art and delight of a novel may lie in the author's personal interventions; let such novels as "Elizabeth and her German Garden," and the same writer's "Elizabeth in R|gen," bear witness.

Now, all this time I have been hacking away at certain hampering and limiting beliefs about the novel, letting it loose, as it were, in form and purpose; I have still to say just what I think the novel is, and where, if anywhere, its boundary-line ought to be drawn. It is by no means an easy task to define the novel. It is not a thing premeditated. It is a thing that has grown up into modern life, and taken upon itself uses and produced results that could not have been foreseen by its originators. Few of the important things in the collective life of man started out to be what they are. Consider, for example, all the unexpected aesthetic values, the inspiration and variety of emotional result which arises out of the cross-shaped plan of the Gothic cathedral, and the undesigned delight and wonder of white marble that has ensued, as I have been told, through the ageing and whitening of the realistically coloured statuary of the Greeks and Romans. Much of the charm of the old furniture and needlework, again, upon which the present time sets so much store, lies in acquired and unpremeditated qualities. And no doubt the novel grew up out of simple story-telling, and the universal desire of children, old and young alike, for a story. It is only slowly that we have developed the distinction of the novel from the romance, as being a story of human beings, absolutely credible and conceivable as distinguished from human beings frankly endowed with the glamour, the wonder, the brightness, of a less exacting and more vividly eventful world. The novel is a story that demands, or professes to demand, no make-believe. The novelist undertakes to present you people and things as real as any that you can meet in an omnibus. And I suppose it is conceivable that a novel might exist which was just purely a story of that kind and nothing more. It might amuse you as one is amused by looking out of a window into a street, or listening to a piece of agreeable music, and that might be the limit of its effect. But almost always the novel is something more than that, and produces more effect than that. The novel has inseparable moral consequences. It leaves impressions, not simply of things seen, but of acts judged and made attractive or unattractive. They may prove very slight moral consequences, and very shallow moral impressions in the long run, but there they are, none the less, its inevitable accompaniments. It is unavoidable that this should be so. Even if the novelist attempts or affects to be impartial, he still cannot prevent his characters setting examples; he still cannot avoid, as people say, putting ideas into his readers' heads. The greater his skill, the more convincing his treatment the more vivid his power of suggestion. And it is equally impossible for him not to betray his sense that the proceedings of this person are rather jolly and admirable, and of that, rather ugly and detestable. I suppose Mr. Bennett, for example, would say that he should not do so; but it is as manifest to any disinterested observer that he greatly loves and admires his Card, as that Richardson admired his Sir Charles Grandison, or that Mrs. Humphry Ward considers her Marcella a very fine and estimable young woman. And I think it is just in this, that the novel is not simply a fictitious record of conduct, but also a study and judgment of conduct, and through that of the ideas that lead to conduct, that the real and increasing value—or perhaps to avoid controversy I had better say the real and increasing importance—of the novel and of the novelist in modern life comes in.

It is no new discovery that the novel, like the drama, is a powerful instrument of moral suggestion. This has been understood in England ever since there has been such a thing as a novel in England. This has been recognised equally by novelists, novel-readers, and the people who wouldn't read novels under any condition whatever. Richardson wrote deliberately for edification, and "Tom Jones" is a powerful and effective appeal for a charitable, and even indulgent, attitude towards loose-living men. But excepting Fielding and one or two other of those partial exceptions that always occur in the case of critical generalisations, there is a definable difference between the novel of the past and what I may call the modern novel. It is a difference that is reflected upon the novel from a difference in the general way of thinking. It lies in the fact that formerly there was a feeling of certitude about moral values and standards of conduct that is altogether absent to-day. It wasn't so much that men were agreed upon these things—about these things there have always been enormous divergences of opinion—as that men were emphatic, cocksure, and unteachable about whatever they did happen to believe to a degree that no longer obtains. This is the Balfourian age, and even religion seeks to establish itself on doubt. There were, perhaps, just as many differences in the past as there are now, but the outlines were harder—they were, indeed, so hard as to be almost, to our sense, savage. You might be a Roman Catholic, and in that case you did not want to hear about Protestants, Turks, Infidels, except in tones of horror and hatred. You knew exactly what was good and what was evil. Your priest informed you upon these points, and all you needed in any novel you read was a confirmation, implicit or explicit, of these vivid, rather than charming, prejudices. If you were a Protestant you were equally clear and unshakable. Your sect, whichever sect you belonged to, knew the whole of truth and included all the nice people. It had nothing to learn in the world, and it wanted to learn nothing outside its sectarian convictions. The unbelievers you know, were just as bad, and said their creeds with an equal fury—merely interpolating nots. People of every sort—Catholic, Protestant, Infidel, or what not—were equally clear that good was good and bad was bad, that the world was made up of good characters whom you had to love, help and admire, and of bad characters to whom one might, in the interests of goodness, even lie, and whom one had to foil, defeat and triumph over shamelessly at every opportunity. That was the quality of the times. The novel reflected this quality of assurance, and its utmost charity was to unmask an apparent villain and show that he or she was really profoundly and correctly good, or to unmask an apparent saint and show the hypocrite. There was no such penetrating and pervading element of doubt and curiosity—and charity, about the rightfulness and beauty of conduct, such as one meets on every hand to-day.

The novel-reader of the past, therefore, like the novel-reader of the more provincial parts of England to-day, judged a novel by the convictions that had been built up in him by his training and his priest or his pastor. If it agreed with these convictions he approved; if it did not agree he disapproved—often with great energy. The novel, where it was not unconditionally banned altogether as a thing disturbing and unnecessary, was regarded as a thing subordinated to the teaching of the priest or pastor, or whatever director and dogma was followed. Its modest moral confirmations began when authority had completed its direction. The novel was good—if it seemed to harmonise with the graver exercises conducted by Mr. Chadband—and it was bad and outcast if Mr. Chadband said so. And it is over the bodies of discredited and disgruntled Chadbands that the novel escapes from its servitude and inferiority.

Now the conflict of authority against criticism is one of the eternal conflicts of humanity. It is the conflict of organisation against initiative, of discipline against freedom. It was the conflict of the

priest against the prophet in ancient Judaea, of the Pharisee against the Nazarene, of the Realist against the Nominalist, of the Church against the Franciscan and the Lollard, of the Respectable Person against the Artist, of the hedge-clippers of mankind against the shooting buds. And to-day, while we live in a period of tightening and extending social organisation, we live also in a period of adventurous and insurgent thought, in an intellectual spring unprecedented in the world's history. There is an enormous criticism going on of the faiths upon which men's lives and associations are based, and of every standard and rule of conduct. And it is inevitable that the novel, just in the measure of its sincerity and ability, should reflect and co-operate in the atmosphere and uncertainties and changing variety of this seething and creative time.

And I do not mean merely that the novel is unavoidably charged with the representation of this wide and wonderful conflict. It is a necessary part of the conflict. The essential characteristic of this great intellectual revolution amidst which we are living to-day, that revolution of which the revival and restatement of nominalism under the name of pragmatism is the philosophical aspect, consists in the reassertion of the importance of the individual instance as against the generalisation. All our social, political, moral problems are being approached in a new spirit, in an inquiring and experimental spirit, which has small respect for abstract principles and deductive rules. We perceive more and more clearly, for example, that the study of social organisation is an empty and unprofitable study until we approach it as a study of the association and inter-reaction of individualised human beings inspired by diversified motives, ruled by traditions, and swayed by the suggestions of a complex intellectual atmosphere. And all our conceptions of the relationships between man and man, and of justice and rightfulness and social desirableness, remain something misfitting and inappropriate, something uncomfortable and potentially injurious, as if we were trying to wear sharp-edged clothes made for a giant out of tin, until we bring them to the test and measure of realised individualities.

And this is where the value and opportunity of the modern novel comes in. So far as I can see, it is the only medium through which we can discuss the great majority of the problems which are being raised in such bristling multitude by our contemporary social development Nearly every one of those problems has at its core a psychological problem, and not merely a psychological problem, but one in which the idea of individuality is an essential factor. Dealing with most of these questions by a rule or a generalisation is like putting a cordon round a jungle full of the most diversified sort of game. The hunting only begins when you leave the cordon behind you and push into the thickets.