The old classification of novels, based on the two most necessary elements of a drama, divided them into novels of plot and novels of character. To these we have of late years added novels of incident or adventure, novels of conversation, novels of manners, not to speak of “novels with a purpose,” which are sermons or pamphlets in disguise. No one doubted to which of these categories Trollope’s work should be referred. There was in his stories as little plot as a story can well have. The conversations never beamed with humour like that of Scott, nor glittered with aphorisms like those of George Meredith. The incidents carried the reader pleasantly along, but seldom surprised him by any ingenuity of contrivance. Character there was, and, indeed, great fertility in the creation of character, for there is hardly one of the tales in which three or four at least of the personages do not stand 123 out as people whom you would know again if you met them years after. But the conspicuous merit of Trollope’s novels, in the eyes of his own countrymen, is their value as pictures of contemporary manners. Here he may claim to have been surpassed by no writer of his own generation. Dickens, with all his great and splendid gifts, did not describe the society he lived in. His personages were too unusual and peculiar to speak and act and think like the ordinary men and women of the nineteenth century; nor would a foreigner, however much he might enjoy the exuberant humour and dramatic power with which they are presented, learn from them much about the ways and habits of the average Englishman. The everyday life to which the stories are most true is the life of the lower middle class in London; and some one has observed that although this class changes less quickly than the classes above it, it is already unlike that which Dickens saw when in the ’thirties he was a police-court reporter. Critics have, indeed, said that Dickens was too great a painter to be a good photographer, but the two arts are not incompatible, as appears from the skill with which Walter Scott, for instance, portrayed the peasantry of his own country in The Antiquary. Thackeray, again, though he has described certain sections of the upper or upper middle class with far more power and 124 delicacy than Trollope ever reached, does not go beyond those sections, and has little to tell us about the middle class generally, still less about the classes beneath them. Trollope was thoroughly at home in the English middle class and also (though less perfectly) in the upper class; and his pictures are all the more true to life because there is not that vein of stern or cynical reflection which runs through Thackeray, and makes us think less of the story than of the moral. Trollope usually has a moral, but it is so obvious, so plainly and quietly put, that it does not distract attention from the minor incidents and little touches of every day which render the sketches lifelike. If even his best-drawn characters are not far removed from the commonplace this helps to make them fairly represent the current habits and notions of their time. They are the same people we meet in the street or at a dinner-party; and they are mostly seen under no more exciting conditions than those of a hunting meet, or a lawn-tennis match, or an afternoon tea. They are flirting or talking for effect, or scheming for some petty temporary end; they are not under the influence of strong passions, or forced into striking situations, like the leading characters in Charlotte Brontë’s or George Eliot’s novels; and for this reason again they represent faithfully the ordinary surface of English upper and upper middle class society: 125 its prejudices, its little pharisaisms and hypocrisies, its snobbishness, its worship of conventionalities, its aloofness from or condescension to those whom it deems below its own level; and therewith also its public spirit, its self-helpfulness, its neighbourliness, its respect for honesty and straightforwardness, its easy friendliness of manner towards all who stand within the sacred pale of social recognition. Nor, again, has any one more skilfully noted and set down those transient tastes and fashions which are, so to speak, the trimmings of the dress, and which, transient though they are, and quickly forgotten by contemporaries, will have an interest for one who, a century or two hence, feels the same curiosity about our manners as we feel about those of the subjects of King George the Third. That Trollope will be read at all fifty years after his death one may hesitate to predict, considering how comparatively few in the present generation read Richardson, or Fielding, or Miss Edgeworth, or Charlotte Brontë, and how much reduced is the number of those who read even Walter Scott and Thackeray. But whoever does read Trollope in 1930 will gather from his pages better than from any others an impression of what everyday life was like in England in the “middle Victorian” period. The aspects of that life were already, when his latest books were written, beginning to change, and the features he 126 drew are fast receding into history. Even the clergy of 1852-1862 are no longer, except in quiet country districts, the same as the clergy we now see.
People have often compared the personal impressions which eminent writers make on those who talk to them with the impressions previously derived from their works. Thomas Carlyle and Robert Browning used to be taken as two instances representing opposite extremes. Carlyle always talked in character: had there been phonographs in his days, the phonographed “record” might have been printed as part of one of his books. Browning, on the other hand, seemed unlike what his poems had made a reader expect: it was only after a long tête-à-tête with him that the poet whose mind had been learned through his works stood revealed. Trollope at first caused a similar though less marked surprise. This bluff burly man did not seem the kind of person who would trace with a delicate touch the sunlight sparkling on, or a gust of temper ruffling, the surface of a youthful soul in love. Upon further knowledge one perceived that the features of Trollope’s talent, facile invention, quick observation, and a strong common-sense view of things, with little originality or intensity, were really the dominant features of his character as expressed in talk. Still, though the man was more of a piece with his books than he 127 had seemed, one could never quite recognise in him the delineator of Lily Dale.
As a painter of manners he recalls two of his predecessors—one greater, one less great than himself. In his limitations and in his fidelity to the aspects of daily life as he saw them, he resembles Miss Austen. He is inferior to her in delicacy of portraiture, in finish, in atmosphere. No two of his books can be placed on a level with Emma and Persuasion. On the other hand, while he has done for the years 1850-1870 what Miss Burney did for 1770-1790, most critics will place him above her both in fertility and in naturalness. Her characters are apt either to want colour, like the heroines of Evelina and Cecilia, or to be so exaggerated, like Mr. Briggs and Miss Larolles, as to approach the grotesque. Trollope is a realist in the sense of being, in all but a few of his books, on the lines of normal humanity, though he is seldom strong enough to succeed, when he pierces down to the bed-rock of human nature, in rendering the primal passions either solemn or terrible. Like Miss Austen, he attains actuality by observation rather than by imagination, hardly ever entering the sphere of poetry.
His range was not wide, for he could not present either grand characters or tragical situations, any more than he could break out into the splendid humour of Dickens. His wings 128 never raised him far above the level floor of earth. But within that limited range he had surprising fertility. His clerical portrait-gallery is the most complete that any English novelist has given us. No two faces are exactly alike, and yet all are such people as one might see any day in the pulpit. So, again, there is scarcely one of his stories in which a young lady is not engaged, formally or practically, to two men at the same time, or one man more or less committed to two women; yet no story repeats exactly the situation, or raises the problem of honour and duty in quite the same form as it appears in the stories that went before. Few people who have written so much have so little appeared to be exhausting their invention.
It must, however, be admitted that Trollope’s fame might have stood higher if he had written less. The public which had been delighted with his earlier groups of novels, and especially with that group in which The Warden comes first and Barchester Towers second, began latterly to tire of what they had come to deem the mannerisms of their favourite, and felt that they now knew the compass of his gifts. Partly, perhaps, because he feared to be always too like himself, he once or twice attempted to represent more improbable situations and exceptional personages. But the attempt was not 129 successful. He lost his touch of ordinary life without getting into any higher region of poetical truth; and in his latest stories he had begun to return to his earlier and better manner.
New tendencies, moreover, embodying themselves in new schools, were already beginning to appear. R. L. Stevenson as leader of the school of adventure, Mr. Henry James as the apostle of the school of psychological analysis, soon to be followed by Mr. Kipling with a type of imaginative directness distinctively his own, were beginning to lead minds and tastes into other directions. The influence of France was more felt than it had been when Trollope began to write. And what a contrast between Trollope’s manner and that of his chief French contemporaries, such as Octave Feuillet or Alphonse Daudet or Guy de Maupassant! The French novelists, be their faculty of invention greater or less, at any rate studied their characters with more care than English writers had usually shown. The characters were fewer, almost as few as in a classical drama; and the whole action of the story is carefully subordinated to the development of these characters, and the placing of them in a critical position which sets their strength and weakness in the fullest light. There was more of a judicious adaptation of the parts to the whole in French fiction than in ours, and therefore more unity of impression was attained. Trollope, no 130 doubt, set a bad example in this respect. He crowded his canvas with figures; he pursued the fortunes of three or four sets of people at the same time, caring little how the fate of the one set affected that of the others; he made his novel a sort of chronicle which you might open anywhere and close anywhere, instead of a drama animated by one idea and converging towards one centre. He neglected the art which uses incidents small in themselves to lead up to the dénoûment and make it more striking. He took little pains with his diction, seeming not to care how he said what he had to say. These defects strike those who turn over his pages to-day. But to those who read him in the ’fifties or ’sixties, the carelessness was redeemed by, or forgotten in, the vivacity with which the story moved, the freshness and faithfulness of its pictures of character and manners.
JOHN RICHARD GREEN[22]
John Richard Green was born in Oxford on 12th December 1837, and educated first at Magdalen College School, and afterwards, for a short time, at a private tutor’s. He was a singularly quick and bright boy, and at sixteen obtained by competition a scholarship at Jesus College, Oxford, where he began to reside in 1856. The members of that college were in those days almost entirely Welshmen, and thereby somewhat cut off from the rest of the University. They saw little of men in other colleges, so that a man might have a reputation for ability in his own society without gaining any in the larger world of Oxford. It so happened with Green. Though his few intimate friends perceived his powers, they had so little intercourse with the rest of the University, either by way of breakfasts and wine-parties, or at the University debating society, 132 or in athletic sports, that he remained unknown even to those among his contemporaries who were interested in the same things, and would have most enjoyed his acquaintance. The only eminent person who seems to have appreciated and influenced him was Dean Stanley, then Professor of Ecclesiastical History and Canon of Christ Church. Green had attended Stanley’s lectures, and Stanley, whose kindly interest in young men never failed, was struck by him, and had some share in turning his studies towards history. He graduated in 1860, having refused to compete for honours, because he had not received from those who were then tutors of the college the recognition to which he was entitled.