THEARTOFFICTION

byHenryJames
[PublishedinLongman'sMagazine4(September1884),andreprintedinPartial
Portraits(Macmillan,1888)paragraphingandcapitalizationfollowtheLibrary
ofAmericaedition.]

ISHOULDnothaveaffixedsocomprehensiveatitletothesefewremarks,
necessarilywantinginanycompleteness,uponasubjectthefullconsideration
ofwhichwouldcarryusfar,didInotseemtodiscoverapretextformy
temerityintheinterestingpamphletlatelypublishedunderthisnamebyMr.
WalterBesant.Mr.Besant'slectureattheRoyalInstitutiontheoriginalform
ofhispamphletappearstoindicatethatmanypersonsareinterestedintheart
offictionandarenotindifferenttosuchremarksasthosewhopractiseitmay
attempttomakeaboutit.Iamthereforeanxiousnottolosethebenefitofthis
favourableassociation,andtoedgeinafewwordsundercoveroftheattention
whichMr.Besantissuretohaveexcited.Thereissomethingveryencouraging
inhishavingputintoformcertainofhisideasonthemysteryofstorytelling.
Itisaproofoflifeandcuriositycuriosityonthepartofthebrotherhoodof
novelists,aswellasonthepartoftheirreaders.Onlyashorttimeagoitmight
havebeensupposedthattheEnglishnovelwasnotwhattheFrenchcall
discutable.Ithadnoairofhavingatheory,aconviction,aconsciousnessof
itselfbehinditofbeingtheexpressionofanartisticfaith,theresultofchoice
andcomparison.Idonotsayitwasnecessarilytheworseforthatitwouldtake
muchmorecouragethanIpossesstointimatethattheformofthenovel,as
DickensandThackeray(forinstance)sawithadanytaintofincompleteness.It
was,however,naf(ifImayhelpmyselfoutwithanotherFrenchword)and,
evidently,ifitisdestinedtosufferinanywayforhavinglostitsnavetithas
nowanideaofmakingsureofthecorrespondingadvantages.Duringtheperiod
Ihavealludedtotherewasacomfortable,goodhumouredfeelingabroadthata
novelisanovel,asapuddingisapudding,andthatthiswastheendofit.But
withinayearortwo,forsomereasonorother,therehavebeensignsof
returninganimationtheeraofdiscussionwouldappeartohavebeentoa
certainextentopened.Artlivesupondiscussion,uponexperiment,upon
curiosity,uponvarietyofattempt,upontheexchangeofviewsandthe
comparisonofstandpointsandthereisapresumptionthatthosetimeswhenno
onehasanythingparticulartosayaboutit,andhasnoreasontogivefor
practiceorpreference,thoughtheymaybetimesofgenius,arenottimesof
development,aretimespossiblyeven,alittle,ofdulness.Thesuccessful
applicationofanyartisadelightfulspectacle,butthetheory,too,isinteresting
andthoughthereisagreatdealofthelatterwithouttheformer,Isuspectthere
hasneverbeenagenuinesuccessthathasnothadalatentcoreofconviction.
Discussion,suggestion,formulation,thesethingsarefertilizingwhentheyare
frankandsincere.Mr.Besanthassetanexcellentexampleinsayingwhathe
thinks,forhispart,aboutthewayinwhichfictionshouldbewritten,aswellas
aboutthewayinwhichitshouldbepublishedforhisviewofthe"art,"carried
onintoanappendix,coversthattoo.Otherlabourersinthesamefieldwill
doubtlesstakeuptheargument,theywillgiveitthelightoftheirexperience,
andtheeffectwillsurelybetomakeourinterestinthenovelalittlemorewhat
ithadforsometimethreatenedtofailtobeaserious,active,inquiringinterest,
underprotectionofwhichthisdelightfulstudymay,inmomentsofconfidence,
venturetosayalittlemorewhatitthinksofitself.

Itmusttakeitselfseriouslyforthepublictotakeitso.Theoldsuperstition
aboutfictionbeing"wicked"hasdoubtlessdiedoutinEnglandbutthespiritof
itlingersinacertainobliqueregarddirectedtowardanystorywhichdoesnot
moreorlessadmitthatitisonlyajoke.Eventhemostjocularnovelfeelsin
somedegreetheweightoftheproscriptionthatwasformerlydirectedagainst
literarylevitythejocularitydoesnotalwayssucceedinpassingforgravity.It
isstillexpected,thoughperhapspeopleareashamedtosayit,thataproduction
whichisafterallonlya"makebelieve"(forwhatelseisa"story"?)shallbein
somedegreeapologeticshallrenouncethepretensionofattemptingreallyto
competewithlife.This,ofcourse,anysensiblewideawakestorydeclinesto
do,foritquicklyperceivesthatthetolerancegrantedtoitonsuchaconditionis
onlyanattempttostifleit,disguisedintheformofgenerosity.Theold
evangelicalhostilitytothenovel,whichwasasexplicitasitwasnarrow,and
whichregardeditaslittlelessfavourabletoourimmortalpartthanastage
play,wasinrealityfarlessinsulting.Theonlyreasonfortheexistenceofa
novelisthatitdoescompetewithlife.Whenitceasestocompeteasthecanvas
ofthepaintercompetes,itwillhavearrivedataverystrangepass.Itisnot
expectedofthepicturethatitwillmakeitselfhumbleinordertobeforgiven
andtheanalogybetweentheartofthepainterandtheartofthenovelistis,so
farasIamabletosee,complete.Theirinspirationisthesame,theirprocess
(allowingforthedifferentqualityofthevehicle)isthesame,theirsuccessis
thesame.Theymaylearnfromeachother,theymayexplainandsustaineach
other.Theircauseisthesame,andthehonourofoneisthehonourofanother.
Peculiaritiesofmanner,ofexecution,thatcorrespondoneitherside,existin
eachofthemandcontributetotheirdevelopment.TheMahometansthinka
pictureanunholything,butitisalongtimesinceanyChristiandid,anditis
thereforethemoreoddthatintheChristianmindthetraces(dissimulated
thoughtheymaybe)ofasuspicionofthesisterartshouldlingertothisday.
TheonlyeffectualwaytolayittorestistoemphasizetheanalogytowhichI
justalludedtoinsistonthefactthatasthepictureisreality,sothenovelis
history.Thatistheonlygeneraldescription(whichdoesitjustice)thatwemay
givethenovel.Buthistoryalsoisallowedtocompetewithlife,asIsayitis
not,anymorethanpainting,expectedtoapologize.Thesubjectmatterof
fictionisstoreduplikewiseindocumentsandrecords,andifitwillnotgive
itselfaway,astheysayinCalifornia,itmustspeakwithassurance,withthe
toneofthehistorian.Certainaccomplishednovelistshaveahabitofgiving
themselvesawaywhichmustoftenbringtearstotheeyesofpeoplewhotake
theirfictionseriously.Iwaslatelystruck,inreadingovermanypagesof
AnthonyTrollope,withhiswantofdiscretioninthisparticular.Inadigression,
aparenthesisoranaside,heconcedestothereaderthatheandthistrusting
friendareonly"makingbelieve."Headmitsthattheeventshenarrateshavenot
reallyhappened,andthathecangivehisnarrativeanyturnthereadermaylike
best.Suchabetrayalofasacredofficeseemstome,Iconfess,aterriblecrime
itiswhatImeanbytheattitudeofapology,anditshocksmeeverywhitas
muchinTrollopeasitwouldhaveshockedmeinGibbonorMacaulay.It
impliesthatthenovelistislessoccupiedinlookingforthetruth(thetruth,of
courseImean,thatheassumes,thepremisesthatwemustgranthim,whatever
theymaybe)thanthehistorian,andindoingsoitdepriveshimatastrokeofall
hisstandingroom.Torepresentandillustratethepast,theactionsofmen,is
thetaskofeitherwriter,andtheonlydifferencethatIcanseeis,inproportion
ashesucceeds,tothehonourofthenovelist,consistingasitdoesinhishaving
moredifficultyincollectinghisevidence,whichissofarfrombeingpurely
literary.Itseemstometogivehimagreatcharacter,thefactthathehasatonce
somuchincommonwiththephilosopherandthepainterthisdoubleanalogy

isamagnificentheritage.
ItisofallthisevidentlythatMr.Besantisfullwhenheinsistsuponthefact
thatfictionisoneofthefinearts,deservinginitsturnofallthehonoursand
emolumentsthathavehithertobeenreservedforthesuccessfulprofessionof
music,poetry,painting,architecture.Itisimpossibletoinsisttoomuchonso
importantatruth,andtheplacethatMr.Besantdemandsfortheworkofthe
novelistmayberepresented,atriflelessabstractly,bysayingthathedemands
notonlythatitshallbereputedartistic,butthatitshallbereputedveryartistic
indeed.Itisexcellentthatheshouldhavestruckthisnote,forhisdoingso
indicatesthattherewasneedofit,thathispropositionmaybetomanypeoplea
novelty.Onerubsone'seyesatthethoughtbuttherestofMr.Besant'sessay
confirmstherevelation.Isuspect,intruth,thatitwouldbepossibletoconfirm
itstillfurther,andthatonewouldnotbefarwronginsayingthatinadditionto
thepeopletowhomithasneveroccurredthatanoveloughttobeartistic,there
areagreatmanyotherswho,ifthisprinciplewereurgeduponthem,wouldbe
filledwithanindefinablemistrust.Theywouldfinditdifficulttoexplaintheir
repugnance,butitwouldoperatestronglytoputthemontheirguard."Art,"in
ourProtestantcommunities,wheresomanythingshavegotsostrangely
twistedabout,issupposed,incertaincircles,tohavesomevaguelyinjurious
effectuponthosewhomakeitanimportantconsideration,wholetitweighin
thebalance.Itisassumedtobeopposedinsomemysteriousmannerto
morality,toamusement,toinstruction.Whenitisembodiedintheworkofthe
painter(thesculptorisanotheraffair!)youknowwhatitisitstandsthere
beforeyou,inthehonestyofpinkandgreenandagiltframeyoucanseethe
worstofitataglance,andyoucanbeonyourguard.Butwhenitisintroduced
intoliteratureitbecomesmoreinsidiousthereisdangerofitshurtingyou
beforeyouknowit.Literatureshouldbeeitherinstructiveoramusing,and
thereisinmanymindsanimpressionthattheseartisticpreoccupations,the
searchforform,contributetoneitherend,interfereindeedwithboth.Theyare
toofrivoloustobeedifying,andtooserioustobedivertingandtheyare,
moreover,priggishandparadoxicalandsuperfluous.That,Ithink,represents
themannerinwhichthelatentthoughtofmanypeoplewhoreadnovelsasan
exerciseinskippingwouldexplainitselfifitweretobecomearticulate.They
wouldargue,ofcourse,thatanoveloughttobe"good,"buttheywould
interpretthisterminafashionoftheirown,which,indeedwouldvary
considerablyfromonecritictoanother.Onewouldsaythatbeinggoodmeans
representingvirtuousandaspiringcharacters,placedinprominentpositions
anotherwouldsaythatitdependsfora"happyending"onadistributionatthe
lastofprizes,pensions,husbands,wives,babies,millions,appendedparagraphs
andcheerfulremarks.Anotherstillwouldsaythatitmeansbeingfullof
incidentandmovement,sothatweshallwishtojumpahead,toseewhowas
themysteriousstranger,andifthestolenwillwaseverfound,andshallnotbe
distractedfromthispleasurebyanytiresomeanalysisor"description."Butthey
wouldallagreethatthe"artistic'"ideawouldspoilsomeoftheirfun.One
wouldholditaccountableforallthedescription,anotherwouldseeitrevealed
intheabsenceofsympathy.Itshostilitytoahappyendingwouldbeevident,
anditmighteven,insomecases,renderanyendingatallimpossible.The
"ending"ofanovelis,formanypersons,likethatofagooddinner,acourseof
dessertandices,andtheartistinfictionisregardedasasortofmeddlesome
doctorwhoforbidsagreeableaftertastes.Itisthereforetruethatthisconception
ofMr.Besant'softhenovelasasuperiorformencountersnotonlyanegative
butapositiveindifference.Itmatterslittlethat,asaworkofart,itshouldreally
beaslittleorasmuchconcernedtosupplyhappyendings,sympathetic

characters,andanobjectivetone,asifitwereaworkofmechanicsthe
associationofideas,howeverincongruous,mighteasilybetoomuchforitifan
eloquentvoicewerenotsometimesraisedtocallattentiontothefactthatitisat
onceasfreeandasseriousabranchofliteratureasanyother.
Certainly,thismightsometimesbedoubtedinpresenceoftheenormous
numberofworksoffictionthatappealtothecredulityofourgeneration,forit
mighteasilyseemthattherecouldbenogreatsubstanceinacommodityso
quicklyandeasilyproduced.Itmustbeadmittedthatgoodnovelsare
somewhatcompromisedbybadones,andthatthefield,atlarge,suffers
discreditfromovercrowding.Ithink,however,thatthisinjuryisonly
superficial,andthatthesuperabundanceofwrittenfictionprovesnothing
againsttheprincipleitself.Ithasbeenvulgarised,likeallotherkindsof
literature,likeeverythingelse,today,andithasprovedmorethansomekinds
accessibletovulgarisation.Butthereisasmuchdifferenceasthereeverwas
betweenagoodnovelandabadone:thebadisswept,withallthedaubed
canvasesandspoiledmarble,intosomeunvisitedlimboorinfiniterubbish
yard,beneaththebackwindowsoftheworld,andthegoodsubsistsandemits
itslightandstimulatesourdesireforperfection.AsIshalltakethelibertyof
makingbutasinglecriticismofMr.Besant,whosetoneissofulloftheloveof
hisart,Imayaswellhavedonewithitatonce.Heseemstometomistakein
attemptingtosaysodefinitelybeforehandwhatsortofanaffairthegoodnovel
willbe.Toindicatethedangerofsuchanerrorasthathasbeenthepurposeof
thesefewpagestosuggestthatcertaintraditionsonthesubject,applieda
priori,havealreadyhadmuchtoanswerfor,andthatthegoodhealthofanart
whichundertakessoimmediatelytoreproducelifemustdemandthatitbe
perfectlyfree.Itlivesuponexercise,andtheverymeaningofexerciseis
freedom.Theonlyobligationtowhichinadvancewemayholdanovelwithout
incurringtheaccusationofbeingarbitrary,isthatitbeinteresting.Thatgeneral
responsibilityrestsuponit,butitistheonlyoneIcanthinkof.Thewaysin
whichitisatlibertytoaccomplishthisresult(ofinterestingus)strikemeas
innumerableandsuchascanonlysufferfrombeingmarkedout,orfencedin,
byprescription.Theyareasvariousasthetemperamentofman,andtheyare
successfulinproportionastheyrevealaparticularmind,differentfromothers.
Anovelisinitsbroadestdefinitionapersonalimpressionoflifethat,tobegin
with,constitutesitsvalue,whichisgreaterorlessaccordingtotheintensityof
theimpression.Buttherewillbenointensityatall,andthereforenovalue,
unlessthereisfreedomtofeelandsay.Thetracingofalinetobefollowed,ofa
tonetobetaken,ofaformtobefilledout,isalimitationofthatfreedomanda
suppressionoftheverythingthatwearemostcuriousabout.Theform,it
seemstome,istobeappreciatedafterthefactthentheauthor'schoicehas
beenmade,hisstandardhasbeenindicatedthenwecanfollowlinesand
directionsandcomparetones.Then,inaword,wecanenjoyoneofthemost
charmingofpleasures,wecanestimatequality,wecanapplythetestof
execution.Theexecutionbelongstotheauthoraloneitiswhatismost
personaltohim,andwemeasurehimbythat.Theadvantage,theluxury,as
wellasthetormentandresponsibilityofthenovelist,isthatthereisnolimitto
whathemayattemptasanexecutantnolimittohispossibleexperiments,
efforts,discoveries,successes.Hereitisespeciallythatheworks,stepbystep,
likehisbrotherofthebrush,ofwhomwemayalwayssaythathehaspainted
hispictureinamannerbestknowntohimself.Hismannerishissecret,not
necessarilyadeliberateone.Hecannotdiscloseit,asageneralthing,ifhe
wouldhewouldbeatalosstoteachittoothers.Isaythiswithadue
recollectionofhavinginsistedonthecommunityofmethodoftheartistwho

paintsapictureandtheartistwhowritesanovel.Thepainterisabletoteach
therudimentsofhispractice,anditispossible,fromthestudyofgoodwork
(grantedtheaptitude),bothtolearnhowtopaintandtolearnhowtowrite.Yet
itremainstrue,withoutinjurytotherapprochement,thattheliteraryartist
wouldbeobligedtosaytohispupilmuchmorethantheother,"Ah,well,you
mustdoitasyoucan!"Itisaquestionofdegree,amatterofdelicacy.Ifthere
areexactsciencestherearealsoexactarts,andthegrammarofpaintingisso
muchmoredefinitethatitmakesthedifference.
Ioughttoadd,however,thatifMr.Besantsaysatthebeginningofhisessay
thatthe"lawsoffictionmaybelaiddownandtaughtwithasmuchprecision
andexactnessasthelawsofharmony,perspective,andproportion,"he
mitigateswhatmightappeartobeanoverstatementbyapplyinghisremarkto
"general"laws,andbyexpressingmostoftheserulesinamannerwithwhichit
wouldcertainlybeunaccommodatingtodisagree.Thatthenovelistmustwrite
fromhisexperience,thathis"charactersmustberealandsuchasmightbemet
withinactuallife"that"ayoungladybroughtupinaquietcountryvillage
shouldavoiddescriptionsofgarrisonlife,"and"awriterwhosefriendsand
personalexperiencesbelongtothelowermiddleclassshouldcarefullyavoid
introducinghischaractersintoSociety"thatoneshouldenterone'snotesina
commonplacebookthatone'sfiguresshouldbeclearinoutlinethatmaking
themclearbysometrickofspeechorofcarriageisabadmethod,and
"describingthematlength"isaworseonethatEnglishFictionshouldhavea
"consciousmoralpurpose"that"itisalmostimpossibletoestimatetoohighly
thevalueofcarefulworkmanshipthatis,ofstyle"that"themostimportant
pointofallisthestory,"that"thestoryiseverything"theseareprincipleswith
mostofwhichitissurelyimpossiblenottosympathise.Thatremarkaboutthe
lowermiddleclasswriterandhisknowinghisplaceisperhapsratherchilling
butfortherest,Ishouldfinditdifficulttodissentfromanyoneofthese
recommendations.AtthesametimeIshouldfinditdifficultpositivelytoassent
tothem,withtheexception,perhaps,oftheinjunctionastoenteringone'snotes
inacommonplacebook.TheyscarcelyseemtometohavethequalitythatMr.
Besantattributestotherulesofthenovelistthe"precisionandexactness"of
"thelawsofharmony,perspective,andproportion."Theyaresuggestive,they
areeveninspiring,buttheyarenotexact,thoughtheyaredoubtlessasmuchso
asthecaseadmitsofwhichisaproofofthatlibertyofinterpretationforwhich
Ijustcontended.Forthevalueofthesedifferentinjunctionssobeautifuland
sovagueiswhollyinthemeaningoneattachestothem.Thecharacters,the
situation,whichstrikeoneasrealwillbethosethattouchandinterestonemost,
butthemeasureofrealityisverydifficulttofix.TherealityofDonQuixoteor
ofMr.Micawberisaverydelicateshadeitisarealitysocolouredbythe
author'svisionthat,vividasitmaybe,onewouldhesitatetoproposeitasa
modelonewouldexposeone'sselftosomeveryembarrassingquestionsonthe
partofapupil.Itgoeswithoutsayingthatyouwillnotwriteagoodnovel
unlessyoupossessthesenseofrealitybutitwillbedifficulttogiveyoua
recipeforcallingthatsenseintobeing.Humanityisimmenseandrealityhasa
myriadformsthemostonecanaffirmisthatsomeoftheflowersoffiction
havetheodourofit,andothershavenotasfortellingyouinadvancehow
yournosegayshouldbecomposed,thatisanotheraffair.Itisequallyexcellent
andinconclusivetosaythatonemustwritefromexperiencetoour
supposititiousaspirantsuchadeclarationmightsavourofmockery.Whatkind
ofexperienceisintended,andwheredoesitbeginandend?Experienceisnever
limitedanditisnevercompleteitisanimmensesensibility,akindofhuge
spiderweb,ofthefinestsilkenthreads,suspendedinthechamberof

consciousnessandcatchingeveryairborneparticleinitstissue.Itisthevery
atmosphereofthemindandwhenthemindisimaginativemuchmorewhenit
happenstobethatofamanofgeniusittakestoitselfthefaintesthintsoflife,
itconvertstheverypulsesoftheairintorevelations.Theyoungladylivingina
villagehasonlytobeadamseluponwhomnothingislosttomakeitquite
unfair(asitseemstome)todeclaretoherthatsheshallhavenothingtosay
aboutthemilitary.Greatermiracleshavebeenseenthanthat,imagination
assisting,sheshouldspeakthetruthaboutsomeofthesegentlemen.I
rememberanEnglishnovelist,awomanofgenius,tellingmethatshewas
muchcommendedfortheimpressionshehadmanagedtogiveinoneofher
talesofthenatureandwayoflifeoftheFrenchProtestantyouth.Shehadbeen
askedwhereshelearnedsomuchaboutthisreconditebeing,shehadbeen
congratulatedonherpeculiaropportunities.Theseopportunitiesconsistedin
herhavingonce,inParis,assheascendedastaircase,passedanopendoor
where,inthehouseholdofapasteur,someoftheyoungProtestantswere
seatedattableroundafinishedmeal.Theglimpsemadeapictureitlastedonly
amoment,butthatmomentwasexperience.Shehadgotherimpression,and
sheevolvedhertype.Sheknewwhatyouthwas,andwhatProtestantismshe
alsohadtheadvantageofhavingseenwhatitwastobeFrenchsothatshe
convertedtheseideasintoaconcreteimageandproducedareality.Aboveall,
however,shewasblessedwiththefacultywhichwhenyougiveitaninchtakes
anell,andwhichfortheartistisamuchgreatersourceofstrengththanany
accidentofresidenceorofplaceinthesocialscale.Thepowertoguessthe
unseenfromtheseen,totracetheimplicationofthings,tojudgethewhole
piecebythepattern,theconditionoffeelinglife,ingeneral,socompletelythat
youarewellonyourwaytoknowinganyparticularcornerofitthisclusterof
giftsmayalmostbesaidtoconstituteexperience,andtheyoccurincountryand
intown,andinthemostdifferingstagesofeducation.Ifexperienceconsistsof
impressions,itmaybesaidthatimpressionsareexperience,justas(havewe
notseenit?)theyaretheveryairwebreathe.Therefore,ifIshouldcertainly
saytoanovice,"Writefromexperience,andexperienceonly,"Ishouldfeel
thatthiswasarathertantalisingmonitionifIwerenotcarefulimmediatelyto
add,"Trytobeoneofthepeopleonwhomnothingislost!"
Iamfarfromintendingbythistominimisetheimportanceofexactnessof
truthofdetail.Onecanspeakbestfromone'sowntaste,andImaytherefore
venturetosaythattheairofreality(solidityofspecification)seemstometobe
thesupremevirtueofanovelthemeritonwhichallitsothermerits(including
thatconsciousmoralpurposeofwhichMr.Besantspeaks)helplesslyand
submissivelydepend.Ifitbenotthere,theyareallasnothing,andifthesebe
there,theyowetheireffecttothesuccesswithwhichtheauthorhasproduced
theillusionoflife.Thecultivationofthissuccess,thestudyofthisexquisite
process,form,tomytaste,thebeginningandtheendoftheartofthenovelist.
Theyarehisinspiration,hisdespair,hisreward,historment,hisdelight.Itis
here,inverytruth,thathecompeteswithlifeitisherethathecompeteswith
hisbrotherthepainterinhisattempttorenderthelookofthings,thelookthat
conveystheirmeaning,tocatchthecolour,therelief,theexpression,the
surface,thesubstanceofthehumanspectacle.ItisinregardtothisthatMr.
Besantiswellinspiredwhenhebidshimtakenotes.Hecannotpossiblytake
toomany,hecannotpossiblytakeenough.Alllifesolicitshim,andto"render"
thesimplestsurface,toproducethemostmomentaryillusion,isavery
complicatedbusiness.Hiscasewouldbeeasier,andtherulewouldbemore
exact,ifMr.Besanthadbeenabletotellhimwhatnotestotake.ButthisIfear
hecanneverlearninanyhandbookitisthebusinessofhislife.Hehastotake

agreatmanyinordertoselectafew,hehastoworkthemupashecan,and
eventheguidesandphilosopherswhomighthavemosttosaytohimmust
leavehimalonewhenitcomestotheapplicationofprecepts,asweleavethe
painterincommunionwithhispalette.Thathischaracters"mustbeclearin
outline,"asMr.Besantsayshefeelsthatdowntohisbootsbuthowheshall
makethemsoisasecretbetweenhisgoodangelandhimself.Itwouldbe
absurdlysimpleifhecouldbetaughtthatagreatdealof"description"would
makethemso,orthat,onthecontrary,theabsenceofdescriptionandthe
cultivationofdialogue,ortheabsenceofdialogueandthemultiplicationof
"incident,"wouldrescuehimfromhisdifficulties.Nothing,forinstance,is
morepossiblethanthathebeofaturnofmindforwhichthisodd,literal
oppositionofdescriptionanddialogue,incidentanddescription,haslittle
meaningandlight.Peopleoftentalkofthesethingsasiftheyhadakindof
internecinedistinctness,insteadofmeltingintoeachotherateverybreathand
beingintimatelyassociatedpartsofonegeneraleffortofexpression.Icannot
imaginecompositionexistinginaseriesofblocks,norconceive,inanynovel
worthdiscussingatall,ofapassageofdescriptionthatisnotinitsintention
narrative,apassageofdialoguethatisnotinitsintentiondescriptive,atouchof
truthofanysortthatdoesnotpartakeofthenatureofincident,andanincident
thatderivesitsinterestfromanyothersourcethanthegeneralandonlysource
ofthesuccessofaworkofartthatofbeingillustrative.Anovelisaliving
thing,alloneandcontinuous,likeeveryotherorganism,andinproportionasit
liveswillitbefound,Ithink,thatineachofthepartsthereissomethingof
eachoftheotherparts.Thecriticwhoovertheclosetextureofafinishedwork
willpretendtotraceageographyofitemswillmarksomefrontiersasartificial,
Ifear,asanythathavebeenknowntohistory.Thereisanoldfashioned
distinctionbetweenthenovelofcharacterandthenovelofincident,which
musthavecostmanyasmiletotheintendingromancerwhowaskeenabouthis
work.Itappearstomeaslittletothepointastheequallycelebrateddistinction
betweenthenovelandtheromancetoansweraslittletoanyreality.Thereare
badnovelsandgoodnovels,astherearebadpicturesandgoodpicturesbut
thatistheonlydistinctioninwhichIseeanymeaning,andIcanaslittle
imaginespeakingofanovelofcharacterasIcanimaginespeakingofapicture
ofcharacter.Whenonesayspicture,onesaysofcharacter,whenonesays
novel,onesaysofincident,andthetermsmaybetransposed.Whatischaracter
butthedeterminationofincident?Whatisincidentbuttheillustrationof
character?Whatisapictureoranovelthatisnotofcharacter?Whatelsedowe
seekinitandfindinit?Itisanincidentforawomantostandupwithherhand
restingonatableandlookoutatyouinacertainwayorifitbenotan
incident,Ithinkitwillbehardtosaywhatitis.Atthesametimeitisan
expressionofcharacter.Ifyousayyoudon'tseeit(characterinthatallons
donc!)thisisexactlywhattheartistwhohasreasonsofhisownforthinkinghe
doesseeitundertakestoshowyou.Whenayoungmanmakesuphismindthat
hehasnotfaithenough,afterall,toentertheChurch,asheintended,thatisan
incident,thoughyoumaynothurrytotheendofthechaptertoseewhether
perhapshedoesn'tchangeoncemore.Idonotsaythattheseareextraordinary
orstartlingincidents.Idonotpretendtoestimatethedegreeofinterest
proceedingfromthem,forthiswilldependupontheskillofthepainter.It
soundsalmostpueriletosaythatsomeincidentsareintrinsicallymuchmore
importantthanothers,andIneednottakethisprecautionafterhavingprofessed
mysympathyforthemajoronesinremarkingthattheonlyclassificationofthe
novelthatIcanunderstandisintotheinterestingandtheuninteresting.
Thenovelandtheromance,thenovelofincidentandthatofcharacterthese

separationsappeartometohavebeenmadebycriticsandreadersfortheirown
convenience,andtohelpthemoutofsomeoftheirdifficulties,buttohavelittle
realityorinterestfortheproducer,fromwhosepointofviewitis,ofcourse,
thatweareattemptingtoconsidertheartoffiction.Thecaseisthesamewith
anothershadowycategory,whichMr.Besantapparentlyisdisposedtosetup
thatofthe"modernEnglishnovel"unless,indeed,itbethatinthismatterhe
hasfallenintoanaccidentalconfusionofstandpoints.Itisnotquiteclear
whetherheintendstheremarksinwhichhealludestoittobedidacticor
historical.Itisasdifficulttosupposeapersonintendingtowriteamodern
English,astosupposehimwritinganancientEnglish,novelthatisalabel
whichbegsthequestion.Onewritesthenovel,onepaintsthepicture,ofone's
languageandofone'stime,andcallingitmodernEnglishwillnot,alas!make
thedifficulttaskanyeasier.Nomore,unfortunately,willcallingthisorthat
workofone'sfellowartistaromanceunlessitbe,ofcourse,simplyforthe
pleasantnessofthething,as,forinstance,whenHawthornegavethisheading
tohisstoryofBlithedale.TheFrench,whohavebroughtthetheoryoffictionto
remarkablecompleteness,havebutonewordforthenovel,andhavenot
attemptedsmallerthingsinit,thatIcansee,forthat.Icanthinkofno
obligationtowhichthe'romancer'wouldnotbeheldequallywiththenovelist
thestandardofexecutionisequallyhighforeach.Ofcourseitisofexecution
thatwearetalkingthatbeingtheonlypointofanovelthatisopento
contention.Thisisperhapstoooftenlostsightof,onlytoproduceinterminable
confusionsandcrosspurposes.Wemustgranttheartisthissubject,hisidea,
whattheFrenchcallhisdonneourcriticismisappliedonlytowhathemakes
ofit.NaturallyIdonotmeanthatweareboundtolikeitorfinditinteresting:
incasewedonotourcourseisperfectlysimpletoletitalone.Wemaybelieve
thatofacertainideaeventhemostsincerenovelistcanmakenothingatall,and
theeventmayperfectlyjustifyourbeliefbutthefailurewillhavebeena
failuretoexecute,anditisintheexecutionthatthefatalweaknessisrecorded.
Ifwepretendtorespecttheartistatallwemustallowhimhisfreedomof
choice,intheface,inparticularcases,ofinnumerablepresumptionsthatthe
choicewillnotfructify.Artderivesaconsiderablepartofitsbeneficialexercise
fromflyinginthefaceofpresumptions,andsomeofthemostinteresting
experimentsofwhichitiscapablearehiddeninthebosomofcommonthings.
GustaveFlauberthaswrittenastoryaboutthedevotionofaservantgirltoa
parrot,andtheproduction,highlyfinishedasitis,cannotonthewholebe
calledasuccess.Weareperfectlyfreetofinditflat,butIthinkitmighthave
beeninterestingandI,formypart,amextremelygladheshouldhavewritten
ititisacontributiontoourknowledgeofwhatcanbedoneorwhatcannot.
IvanTurgnieffhaswrittenataleaboutadeafanddumbserfandalapdog,
andthethingistouching,loving,alittlemasterpiece.Hestruckthenoteoflife
whereGustaveFlaubertmisseditheflewinthefaceofapresumptionand
achievedavictory.
Nothing,ofcourse,willevertaketheplaceofthegoodoldfashionof"liking"a
workofartornotlikingitthemoreimprovedcriticismwillnotabolishthat
primitive,thatultimate,test.Imentionthistoguardmyselffromtheaccusation
ofintimatingthattheidea,thesubject,ofanovelorapicture,doesnotmatter.
Itmatters,tomysense,inthehighestdegree,andifImightputupaprayerit
wouldbethatartistsshouldselectnonebuttherichest.Some,asIhavealready
hastenedtoadmit,aremuchmoresubstantialthanothers,anditwouldbea
happilyarrangedworldinwhichpersonsintendingtotreatthemshouldbe
exemptfromconfusionsandmistakes.Thisfortunateconditionwillarriveonly,
Ifear,onthesamedaythatcriticsbecomepurgedfromerror.Meanwhile,I

repeat,wedonotjudgetheartistwithfairnessunlesswesaytohim,"Oh,I
grantyouyourstartingpoint,becauseifIdidnotIshouldseemtoprescribeto
you,andheavenforbidIshouldtakethatresponsibility.IfIpretendtotellyou
whatyoumustnottake,youwillcalluponmetotellyouthenwhatyoumust
takeinwhichcaseIshallbenicelycaught!Moreover,itisn'ttillIhave
acceptedyourdatathatIcanbegintomeasureyou.IhavethestandardIjudge
youbywhatyoupropose,andyoumustlookoutformethere.OfcourseImay
notcareforyourideaatallImaythinkitsilly,orstale,oruncleaninwhich
caseIwashmyhandsofyoualtogether.Imaycontentmyselfwithbelieving
thatyouwillnothavesucceededinbeinginteresting,butIshallofcoursenot
attempttodemonstrateit,andyouwillbeasindifferenttomeasIamtoyou.I
needn'tremindyouthatthereareallsortsoftastes:whocanknowitbetter?
Somepeople,forexcellentreasons,don'tliketoreadaboutcarpentersothers,
forreasonsevenbetter,don'tliketoreadaboutcourtesans.Manyobjectto
Americans.Others(Ibelievetheyaremainlyeditorsandpublishers)won'tlook
atItalians.Somereadersdon'tlikequietsubjectsothersdon'tlikebustling
ones.Someenjoyacompleteillusionothersrevelinacompletedeception.
Theychoosetheirnovelsaccordingly,andiftheydon'tcareaboutyouridea
theywon't,afortiori,careaboutyourtreatment."
Sothatitcomesbackveryquickly,asIhavesaid,tothelikinginspiteofM.
Zola,whoreasonslesspowerfullythanherepresents,andwhowillnot
reconcilehimselftothisabsolutenessoftaste,thinkingthattherearecertain
thingsthatpeopleoughttolike,andthattheycanbemadetolike.Iamquiteat
alosstoimagineanything(atanyrateinthismatteroffiction)thatpeople
oughttolikeortodislike.Selectionwillbesuretotakecareofitself,forithas
aconstantmotivebehindit.Thatmotiveissimplyexperience.Aspeoplefeel
life,sotheywillfeeltheartthatismostcloselyrelatedtoit.Thisclosenessof
relationiswhatweshouldneverforgetintalkingoftheeffortofthenovel.
Manypeoplespeakofitasafactitious,artificialform,aproductofingenuity,
thebusinessofwhichistoalterandarrangethethingsthatsurroundus,to
translatethemintoconventional,traditionalmoulds.This,however,isaview
ofthematterwhichcarriesusbutaveryshortway,condemnsthearttoan
eternalrepetitionofafewfamiliarclichs,cutsshortitsdevelopment,andleads
usstraightuptoadeadwall.Catchingtheverynoteandtrick,thestrange
irregularrhythmoflife,thatistheattemptwhosestrenuousforcekeepsFiction
uponherfeet.Inproportionasinwhatsheoffersusweseelifewithout
rearrangementdowefeelthatwearetouchingthetruthinproportionaswesee
itwithrearrangementdowefeelthatwearebeingputoffwithasubstitute,a
compromiseandconvention.Itisnotuncommontohearanextraordinary
assuranceofremarkinregardtothismatterofrearranging,whichisoften
spokenofasifitwerethelastwordofart.Mr.Besantseemstomeindangerof
fallingintothisgreaterrorwithhisratherunguardedtalkabout"selection."Art
isessentiallyselection,butitisaselectionwhosemaincareistobetypical,to
beinclusive.Formanypeopleartmeansrosecolouredwindows,andselection
meanspickingabouquetforMrs.Grundy.Theywilltellyougliblythatartistic
considerationshavenothingtodowiththedisagreeable,withtheuglythey
willrattleoffshallowcommonplacesabouttheprovinceofartandthelimitsof
art,tillyouaremovedtosomewonderinreturnastotheprovinceandthe
limitsofignorance.Itappearstomethatnoonecaneverhavemadeaseriously
artisticattemptwithoutbecomingconsciousofanimmenseincreaseakindof
revelationoffreedom.Oneperceives,inthatcasebythelightofaheavenly
raythattheprovinceofartisalllife,allfeeling,allobservation,allvision.As
Mr.Besantsojustlyintimates,itisallexperience.Thatisasufficientanswerto

thosewhomaintainthatitmustnottouchthepainful,whostickintoitsdivine
unconsciousbosomlittleprohibitoryinscriptionsontheendofsticks,suchas
weseeinpublicgardens"Itisforbiddentowalkonthegrassitisforbiddento
touchtheflowersitisnotallowedtointroducedogs,ortoremainafterdarkit
isrequestedtokeeptotheright."Theyoungaspirantinthelineoffiction,
whomwecontinuetoimagine,willdonothingwithouttaste,forinthatcasehis
freedomwouldbeoflittleusetohimbutthefirstadvantageofhistastewillbe
torevealtohimtheabsurdityofthelittlesticksandtickets.Ifhehavetaste,I
mustadd,ofcoursehewillhaveingenuity,andmydisrespectfulreferenceto
thatqualityjustnowwasnotmeanttoimplythatitisuselessinfiction.Butitis
onlyasecondaryaidthefirstisavividsenseofreality.
Mr.Besanthassomeremarksonthequestionof"thestory,"whichIshallnot
attempttocriticise,thoughtheyseemtometocontainasingularambiguity,
becauseIdonotthinkIunderstandthem.Icannotseewhatismeantbytalking
asiftherewereapartofanovelwhichisthestoryandpartofitwhichfor
mysticalreasonsisnotunlessindeedthedistinctionbemadeinasensein
whichitisdifficulttosupposethatanyoneshouldattempttoconveyanything.
"Thestory,"ifitrepresentsanything,representsthesubject,theidea,thedata
ofthenovelandthereissurelyno"school"Mr.Besantspeaksofaschool
whichurgesthatanovelshouldbealltreatmentandnosubject.Theremust
assuredlybesomethingtotreateveryschoolisintimatelyconsciousofthat.
Thissenseofthestorybeingtheidea,thestartingpoint,ofthenovelistheonly
onethatIseeinwhichitcanbespokenofassomethingdifferentfromits
organicwholeandsince,inproportionastheworkissuccessful,theidea
permeatesandpenetratesit,informsandanimatesit,sothateverywordand
everypunctuationpointcontributedirectlytotheexpression,inthatproportion
doweloseoursenseofthestorybeingabladewhichmaybedrawnmoreor
lessoutofitssheath.Thestoryandthenovel,theideaandtheform,arethe
needleandthread,andIneverheardofaguildoftailorswhorecommendedthe
useofthethreadwithouttheneedleortheneedlewithoutthethread.Mr.
Besantisnottheonlycriticwhomaybeobservedtohavespokenasifthere
werecertainthingsinlifewhichconstitutestoriesandcertainotherswhichdo
not.IfindthesameoddimplicationinanentertainingarticleinthePallMall
Gazette,devoted,asithappens,toMr.Besant'slecture."Thestoryisthe
thing!"saysthisgracefulwriter,asifwithatoneofoppositiontoanotheridea.
Ishouldthinkitwas,aseverypainterwho,asthetimefor'sendingin'his
pictureloomsinthedistance,findshimselfstillinquestofasubjectasevery
belatedartist,notfixedabouthisdonne,willheartilyagree.Therearesome
subjectswhichspeaktousandotherswhichdonot,buthewouldbeaclever
manwhoshouldundertaketogivearulebywhichthestoryandthenostory
shouldbeknownapart.Itisimpossible(tomeatleast)toimagineanysuchrule
whichshallnotbealtogetherarbitrary.ThewriterinthePallMallopposesthe
delightful(asIsuppose)novelofMargotlaBalafretocertaintalesinwhich
"Bostoniannymphs"appeartohave"rejectedEnglishdukesforpsychological
reasons."Iamnotacquaintedwiththeromancejustdesignated,andcan
scarcelyforgivethePallMallcriticfornotmentioningthenameoftheauthor,
butthetitleappearstorefertoaladywhomayhavereceivedascarinsome
heroicadventure.Iaminconsolableatnotbeingacquaintedwiththisepisode,
butamutterlyatalosstoseewhyitisastorywhentherejection(or
acceptance)ofadukeisnot,andwhyareason,psychologicalorother,isnota
subjectwhenacicatrixis.Theyareallparticlesofthemultitudinouslifewith
whichthenoveldeals,andsurelynodogmawhichpretendstomakeitlawfulto
touchtheoneandunlawfultotouchtheotherwillstandforamomentonits

feet.Itisthespecialpicturethatmuststandorfall,accordingasitseemsto
possesstruthortolackit.Mr.Besantdoesnot,tomysense,lightupthesubject
byintimatingthatastorymust,underpenaltyofnotbeingastory,consistof
"adventures."Whyofadventuresmorethanofgreenspectacles?Hementionsa
categoryofimpossiblethings,andamongthemheplaces"fictionwithout
adventure."Whywithoutadventure,morethanwithoutmatrimony,orcelibacy,
orparturition,orcholera,orhydropathy,orJansenism?Thisseemstometo
bringthenovelbacktothehaplesslittlerleofbeinganartificial,ingenious
thingbringitdownfromitslarge,freecharacterofanimmenseandexquisite
correspondencewithlife.Andwhatisadventure,whenitcomestothat,andby
whatsignisthelisteningpupiltorecogniseit?Itisanadventureanimmense
oneformetowritethislittlearticleandforaBostoniannymphtorejectan
Englishdukeisanadventureonlylessstirring,Ishouldsay,thanforanEnglish
duketoberejectedbyaBostoniannymph.Iseedramaswithindramasinthat,
andinnumerablepointsofview.Apsychologicalreasonis,tomyimagination,
anobjectadorablypictorialtocatchthetintofitscomplexionIfeelasifthat
ideamightinspireonetoTitianesqueefforts.Therearefewthingsmore
excitingtome,inshort,thanapsychologicalreason,andyet,Iprotest,the
novelseemstomethemostmagnificentformofart.Ihavejustbeenreading,at
thesametime,thedelightfulstoryofTreasureIsland,byMr.RobertLouis
Stevenson,andthelasttalefromM.EdmonddeGoncourt,whichisentitled
Chrie.Oneoftheseworkstreatsofmurders,mysteries,islandsofdreadful
renown,hairbreadthescapes,miraculouscoincidencesandburieddoubloons.
TheothertreatsofalittleFrenchgirlwholivedinafinehouseinParisand
diedofwoundedsensibilitybecausenoonewouldmarryher.IcallTreasure
Islanddelightful,becauseitappearstometohavesucceededwonderfullyin
whatitattemptsandIventuretobestownoepithetuponChrie,whichstrikes
meashavingfailedinwhatitattemptsthatis,intracingthedevelopmentofthe
moralconsciousnessofachild.Butoneoftheseproductionsstrikesmeas
exactlyasmuchofanovelastheother,andashavinga'story'quiteasmuch.
Themoralconsciousnessofachildisasmuchapartoflifeastheislandsofthe
SpanishMain,andtheonesortofgeographyseemstometohavethose
'surprises'ofwhichMr.Besantspeaksquiteasmuchastheother.Formyself
(sinceitcomesbackinthelastresort,asIsay,tothepreferenceofthe
individual),thepictureofthechild'sexperiencehastheadvantagethatIcanat
successivesteps(animmenseluxury,neartothe'sensualpleasure'ofwhich
Mr.Besant'scriticinthePallMallspeaks)sayYesorNo,asitmaybe,towhat
theartistputsbeforeme.Ihavebeenachild,butIhaveneverbeenonaquest
foraburiedtreasure,anditisasimpleaccidentthatwithM.deGoncourtI
shouldhaveforthemostparttosayNo.WithGeorgeEliot,whenshepainted
thatcountry,IalwayssaidYes.
ThemostinterestingpartofMr.Besant'slectureisunfortunatelythebriefest
passagehisverycursoryallusiontothe"consciousmoralpurpose"ofthe
novel.Hereagainitisnotveryclearwhetherheisrecordingafactorlaying
downaprincipleitisagreatpitythatinthelattercaseheshouldnothave
developedhisidea.Thisbranchofthesubjectisofimmenseimportance,and
Mr.Besant'sfewwordspointtoconsiderationsofthewidestreach,nottobe
lightlydisposedof.Hewillhavetreatedtheartoffictionbutsuperficiallywho
isnotpreparedtogoeveryinchofthewaythattheseconsiderationswillcarry
him.ItisforthisreasonthatatthebeginningoftheseremarksIwascarefulto
notifythereaderthatmyreflectionsonsolargeathemehavenopretensionto
beexhaustive.LikeMr.Besant,Ihaveleftthequestionofthemoralityofthe
noveltillthelast,andatthelastIfindIhaveusedupmyspace.Itisaquestion

surroundedwithdifficulties,aswitnesstheveryfirstthatmeetsus,intheform
ofadefinitequestion,onthethreshold.Vagueness,insuchadiscussion,is
fatal,andwhatisthemeaningofyourmoralityandyourconsciousmoral
purpose?Willyounotdefineyourtermsandexplainhow(anovelbeinga
picture)apicturecanbeeithermoralorimmoral?Youwishtopaintamoral
pictureorcarveamoralstatuewillyounottellushowyouwouldsetaboutit?
WearediscussingtheArtofFictionquestionsofartarequestions(inthe
widestsense)ofexecutionquestionsofmoralityarequiteanotheraffair,and
willyounotletusseehowitisthatyoufinditsoeasytomixthemup?These
thingsaresocleartoMr.Besantthathehasdeducedfromthemalawwhichhe
seesembodiedinEnglishFictionandwhichis"atrulyadmirablethinganda
greatcauseforcongratulation."Itisagreatcauseforcongratulation,indeed,
whensuchthornyproblemsbecomeassmoothassilk.Imayaddthat,insofar
asMr.BesantperceivesthatinpointoffactEnglishFictionhasaddresseditself
preponderantlytothesedelicatequestions,hewillappeartomanypeopleto
havemadeavaindiscovery.Theywillhavebeenpositivelystruck,onthe
contrary,withthemoraltimidityoftheusualEnglishnovelistwithhis(orwith
her)aversiontofacethedifficultieswithwhich,oneveryside,thetreatmentof
realitybristles.Heisapttobeextremelyshy(whereasthepicturethatMr.
Besantdrawsisapictureofboldness),andthesignofhiswork,forthemost
part,isacautioussilenceoncertainsubjects.IntheEnglishnovel(bywhichI
meantheAmericanaswell),morethaninanyother,thereisatraditional
differencebetweenthatwhichpeopleknowandthatwhichtheyagreetoadmit
thattheyknow,thatwhichtheyseeandthatwhichtheyspeakof,thatwhich
theyfeeltobeapartoflifeandthatwhichtheyallowtoenterintoliterature.
Thereisthegreatdifference,inshort,betweenwhattheytalkofin
conversationandwhattheytalkofinprint.Theessenceofmoralenergyisto
surveythewholefield,andIshoulddirectlyreverseMr.Besant'sremark,and
saynotthattheEnglishnovelhasapurpose,butthatithasadiffidence.To
whatdegreeapurposeinaworkofartisasourceofcorruptionIshallnot
attempttoinquiretheonethatseemstomeleastdangerousisthepurposeof
makingaperfectwork.Asforournovel,Imaysay,lastly,onthisscore,that,
aswefinditinEnglandtoday,itstrikesmeasaddressedinalargedegreeto
"youngpeople,"andthatthisinitselfconstitutesapresumptionthatitwillbe
rathershy.Therearecertainthingswhichitisgenerallyagreednottodiscuss,
noteventomention,beforeyoungpeople.Thatisverywell,buttheabsenceof
discussionisnotasymptomofthemoralpassion.ThepurposeoftheEnglish
novel"atrulyadmirablething,andagreatcauseforcongratulation"strikes
me,therefore,asrathernegative.
Thereisonepointatwhichthemoralsenseandtheartisticsenselieverynear
togetherthatis,inthelightoftheveryobvioustruththatthedeepestqualityof
aworkofartwillalwaysbethequalityofthemindoftheproducer.In
proportionasthatmindisrichandnoblewillthenovel,thepicture,thestatue,
partakeofthesubstanceofbeautyandtruth.Tobeconstitutedofsuchelements
is,tomyvision,tohavepurposeenough.Nogoodnovelwilleverproceed
fromasuperficialmindthatseemstomeanaxiomwhich,fortheartistin
fiction,willcoverallneedfulmoralgroundiftheyouthfulaspiranttakeitto
heartitwillilluminateforhimmanyofthemysteriesof"purpose."Thereare
manyotherusefulthingsthatmightbesaidtohim,butIhavecometotheend
ofmyarticle,andcanonlytouchthemasIpass.ThecriticinthePallMall
Gazette,whomIhavealreadyquoted,drawsattentiontothedanger,in
speakingoftheartoffiction,ofgeneralizing.Thedangerthathehasinmindis
rather,Iimagine,thatofparticularizing,fortherearesomecomprehensive

remarkswhich,inadditiontothoseembodiedinMr.Besant'ssuggestive
lecture,might,withoutfearofmisleadinghim,beaddressedtotheingenuous
student.Ishouldremindhimfirstofthemagnificenceoftheformthatisopen
tohim,whichofferstosightsofewrestrictionsandsuchinnumerable
opportunities.Theotherarts,incomparison,appearconfinedandhampered
thevariousconditionsunderwhichtheyareexercisedaresorigidanddefinite.
ButtheonlyconditionthatIcanthinkofattachingtothecompositionofthe
novelis,asIhavealreadysaid,thatitbeinteresting.Thisfreedomisasplendid
privilege,andthefirstlessonoftheyoungnovelististolearntobeworthyofit.
"Enjoyitasitdeserves,"Ishouldsaytohim"takepossessionofit,exploreit
toitsutmostextent,revealit,rejoiceinit.Alllifebelongstoyou,anddon't
listeneithertothosewhowouldshutyouupintocornersofitandtellyouthat
itisonlyhereandtherethatartinhabits,ortothosewhowouldpersuadeyou
thatthisheavenlymessengerwingsherwayoutsideoflifealtogether,breathing
asuperfineairandturningawayherheadfromthetruthofthings.Thereisno
impressionoflife,nomannerofseeingitandfeelingit,towhichtheplanofthe
novelistmaynotofferaplaceyouhaveonlytorememberthattalentsso
dissimilarasthoseofAlexandreDumasandJaneAusten,CharlesDickensand
GustaveFlaubert,haveworkedinthisfieldwithequalglory.Don'tthinktoo
muchaboutoptimismandpessimismtryandcatchthecolouroflifeitself.In
Francetodayweseeaprodigiouseffort(thatofEmileZola,towhosesolid
andseriousworknoexplorerofthecapacityofthenovelcanalludewithout
respect),weseeanextraordinaryeffortvitiatedbyaspiritofpessimismona
narrowbasis.M.Zolaismagnificent,buthestrikesanEnglishreaderas
ignoranthehasanairofworkinginthedarkifhehadasmuchlightasenergy
hisresultswouldbeofthehighestvalue.Asfortheaberrationsofashallow
optimism,theground(ofEnglishfictionespecially)isstrewnwiththeirbrittle
particlesaswithbrokenglass.Ifyoumustindulgeinconclusionsletthemhave
thetasteofawideknowledge.Rememberthatyourfirstdutyistobeas
completeaspossibletomakeasperfectawork.Begenerousanddelicate,and
then,inthevulgarphrase,goin!"