F. THE EPIC AND THE NOVEL
17. It may be objected to this limitation of the capabilities of the novel, that it must stand on the same footing with the epic poem, which is no less made up of a texture of incident, and which, therefore, according to the present argument, can only reach the springs of man's actions from without. Such an objection has some truth with reference to the Homeric poems. These, as we have seen, have the legendary narrative for their primitive element, and in so far as they are merely a reflex of Greek life in the Homeric age, their interest is that of a novel, not properly of the epic. The true epic (of which the "Paradise Lost" would seem to be a less mixed form than the Iliad or Odyssey), no less than tragedy, seizes the idea of a self-determined spirit on the one hand, and of destiny or divine law on the other. These are the primary springs from which it makes action and incident issue, with a perfect subordination which the laws of our lower nature and of social life must prevent from being realised in the world of experience, and which the novelist therefore, tied down to the world of experience, only offends us by attempting to exhibit. The essential character of the novel is not changed by its assumption of the form of a romance. In the romantic world of the middle ages, the great Italian poets did indeed find their materials. To their eyes it was a world in which hope and wonder might roam at large: it furnished actions which, glorified by them, became manifestations of the divine and heroic in man. But it is another world as seen by the novelist, even by such a one as Walter Scott. The romantic life which he depicts is simply the life which we see our own neighbors live, with more picturesque situations, with more to excite curiosity in the reader, and activity in the imaginary hero. We gain more from him, it is true, than from those copies of the too familiar faces around us which are the staple commodity in novels of the day. He at least carries us into scenes of adventure, where we may forget the "smooth tale" of our nineteenth-century life. But further he cannot go, for he approaches men from without. He does not reach, by other methods than observation, to any a priori affection of the spirit, and to this subordinate incident. Had he done so, he could not have uttered himself in the language of common life. In the world of heroes or angels, i.e., of men idealised, to which the epic poet raises us, he sustains us by the power of verse. The exalted action and the poetic expression are as essentially correlative in the epic, as are the natural incident and the prosaic expression in the novel.
G. POETRY AND PROSE
18. The hostility of Wordsworth to the "poetic diction" of his time rested on principles of which he scarcely seems himself to have been conscious.[15] The poets of the last century had lost the genuine sense of their high calling. Their productions for the most part were, at best, practical philosophy in verse. They observed the outer aspect of things, and to make their observations poetry they clothed them in "poetic diction," which thus became offensive, because artificial—because a superadded ornament, and not the natural expression of exalted passion or the emotion which accompanies our passage "behind the veil." Repugnance to this artificiality misled Wordsworth into the celebrated assertion that "between the language of prose and that of metrical composition, there neither is, nor can be, any essential difference:" an assertion which, as prompted by a feeling of the incompatibility of poetic language with prosaic thought, is really a witness to the essential antithesis between poetry and prose. Verse is simple, harmonious, and unfamiliar. It is thus the fitting organ for that energy of thought which simplifies the phenomena of life by referring them to a spiritual principle; which blends its shifting colours in the light of a master-passion, and passes from the contradictory data of the common understanding to the unity of a deeper consciousness. Even the spiritualist philosopher, no less than the poet, would have to speak in verse, if, instead of making statements, he portrayed: if, besides asserting that "all things are to be seen in God," he sought to excite in the reader the emotion appropriate to the sight. Prose is the "oratio soluta." It is complex, irregular, inharmonious. It thus corresponds to the natural or phenomenal view of life; the view of it, that is, in its diversity, as qualified in innumerable modes by animal wants and apparent accident, and not harmonised by the action of the spirit.[16] The novelist must express himself in prose, because this is his view of life: and this must be his view of life, because he thus expresses himself. It is indeed a view which may vary according to the circumstances of the case, but only within definite limits. There is an "earnestness" about some of our modern novelists, Miss Brontë for instance, which would have seemed out of place to those of fifty years ago; but this is merely because the life they see around them is more "earnest." It presents to them scenes of sterner significance than were to be found among the coquetry and dissipation of the fashionable world or the dull courtesies of a country house. But that they do not transcend this outward life we have one crucial proof. Just in so far as each of us learns to regard his own individual being from within, and not from without, does he discard dependence on happiness as arising from external circumstances, and becomes already in idea, as he tends to become in reality, his own world and his own law. No novelist attains to the assertion of this spiritual prerogative. As we follow in sympathy the story of his hero, we find ourselves lifted up and cast down as fortune changes, our life brightening as the clouds break above, and darkening as they close again. If the author chooses to disappoint us with "a bad ending," he leaves us, not as we are left at the conclusion of a tragedy, purified from personal desires, but vexed and sorrowful, sadder but not wiser men.
FOOTNOTES:
[15] "Humble and rustic life was generally chosen, because in that condition the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings co-exist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated.... The language, too, of these men has been adopted (purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust), because such men hourly communicate with the best objects from which the best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions. Accordingly, such a language arising out of repeated experience and regular feeling, is a more permanent, and a far more philosophical language, than that which is frequently substituted for it by Poets, who think that they are conferring honor upon themselves and their art in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression, in order to furnish food for fickle tastes and fickle appetites of their own creation."—Wordsworth, Preface to the 'Lyrical Ballads.'
[16] On the relations of prose and poetry, see Alden's 'An introduction to Poetry,' pp. 23-28, 128-138, 160-164, and the references there given.
H. THE NOVEL AN INCOMPLETE PRESENTATION OF LIFE
19. By the mere explanation of the difference between the ideal and the natural, the poetic and novelistic, views of the world, we may seem to have already settled the question as to the beneficial effects of each. The question, be it observed, is not as to the comparative influence of the discipline of art and that of real life. The man who seeks his entire culture in art of any kind will soon find the old antagonism between speculation and action begin to appear. There will be a chasm, which he cannot fill, between his life in the closet and his life in the world; his impotence to carry his thought into act will limit and weaken the thought itself. But this ill result will equally ensue, whether the art in which he finds his nurture be that of the novelist or that of the poet. The novel-reader sees human action pass before him like a panorama, but he feels none of its pains and penalties; his fancy feeds on its pleasures, but he has not to face the struggle of resistance to pleasure, or the suffering which follows on indulgence. Nor is it merely from that weakness of effect which, in one sense, must always belong to representation as opposed to reality, that the novel suffers. The representation itself is incomplete. The novelist, like every other artist, must abridge and select. For many of the elements whose action builds up our human soul, there is no place in his canvas. A great part of the discipline of life arises simply from its slowness. The long years of patient waiting and silent labor, the struggle with listlessness and pain, the loss of time by illness, the hope deferred, the doubt that lays hold on delay—these are the tests of that pertinacity in man which is but a step below heroism. The exhibition of them in the novel, however, is prevented by that rapidity of movement which is essential to its fascination; and hence to one whose acquaintance with life was derived simply from novels, its main business would be unknown. They are perhaps more brought home to us by Defoe than by any other writer of fiction; but this is due to that very deficiency of artistic power which makes his agglomeration of details[17] such heavy reading to all but school-boys.