Reticence in Literature
Some Roundabout Remarks
By Hubert Crackanthorpe
During the past fifty years, as everyone knows, the art of fiction has been expanding in a manner exceedingly remarkable, till it has grown to be the predominant branch of imaginative literature. But the other day we were assured that poetry only thrives in limited and exquisite editions; that the drama, here in England at least, has practically ceased to be literature at all. Each epoch instinctively chooses that literary vehicle which is best adapted for the expression of its particular temper: just as the drama flourished in the robust age of Shakespeare and Ben Jonson; just as that outburst of lyrical poetry, at the beginning of the century in France, coincided with a period of extreme emotional exaltation; so the novel, facile and flexible in its conventions, with its endless opportunities for accurate delineation of reality, becomes supreme in a time of democracy and of science—to note but these two salient characteristics.
And, if we pursue this light of thought, we find that, on all sides, the novel is being approached in one especial spirit, that it would seem to be striving, for the moment at any rate, to perfect itself within certain definite limitations. To employ a hackneyed, and often quite unintelligent, catchword—the novel is becoming realistic.
Throughout the history of literature, the jealous worship of beauty—which we term idealism—and the jealous worship of truth—which we term realism—have alternately prevailed. Indeed, it is within the compass of these alternations that lies the whole fundamental diversity of literary temper.