The Summing Up

  I insist that it is a creation. We know very little even of the persons we know most intimately; we do not know them enough to transfer them to the pages of a book and make human beings of them. People are too elusive, too shadowy, to be copied; and they are also too incoherent and contradictory. The writer does not copy his originals; he takes what he wants from them, a few traits that have caught his attention, a turn of mind that has fired his imagination, and therefrom constructs his character. He is not concerned whether it is a truthful likeness; he is concerned only to create a plausible harmony convenient for his own purposes. So different may be the finished product from the original that it must be a common experience of authors to be accused of having drawn a life-like portrait of a certain person when they had in mind someone quite different. Further, it is just chance whether the author chooses his models from persons with whom he is intimately connected or not. It is often enough for him to have caught a glimpse of someone in a tea-shop or chatted with him for a quarter of an hour in a ship’s smoking-room. All he needs is that tiny, fertile substratum which he can then build up by means of his experience of life, his knowledge of human nature and his native intuition.

  The whole business would be plain-sailing if it were not for the susceptibilities of the persons who serve as models for the author’s characters. So colossal is human egotism that people who have met an author are constantly on the look out for portraits of themselves in his works, and if they can persuade themselves that such and such a character is drawn from them they are bitterly affronted if it is drawn with any imperfections. Though they will find fault with their friends freely and ridicule their absurdities, their vanity is so outrageous that they cannot reconcile themselves to the fact that they too have faults and absurdities. The matter is made worse for them by their friends who with malicious indignation offer them feigned sympathy for the outrage they have suffered. Of course there is a lot of humbug about it all. I do not suppose I am the only author who has been vilified by women who claimed that I had stayed with them and abused their hospitality by writing about them when not only had I not stayed with them, but neither knew nor had ever heard of them. The poor drabs were so vain and their lives so empty that they deliberately identified themselves with a creature of odious character in order in some small circle to give themselves a petty notoriety.

  Sometimes the author takes a very commonplace person and from him invents a character who is noble, self-controlled and courageous. He has seen in that person a significance that had escaped those he lived with. Then oddly enough the original goes unrecognized; it is only when you shew somebody with faults or ridiculous foibles that a name is at once assigned. I have been forced to conclude from this that we know our friends by their defects rather than by their merits. The author seldom has the wish to give offence, and he uses what means he can to protect his originals; he puts the persons of his invention in different places, gives them another means of livelihood, situates them perhaps in a different class; what he cannot so easily do is to change their appearance. The physical traits of a man influence his character, and contrariwise his character is expressed, at least in the rough, in his appearance. You cannot make a tall man short and otherwise keep him the same. A man’s height gives him a different outlook on his environment and so changes his character. Nor to cover your tracks can you make a little brunette into a massive blonde. You have to leave them very much as they are or you will lose what it was that moved you to draw a character from them. But no one has the right to take a character in a book and say, this is meant for me. All he may say is, I provided the suggestion for this character. If he has any common sense he will be interested rather than vexed; and the author’s inventiveness and intuition may suggest to him things about himself that it is useful for him to know.


  I HAVE no illusions about my literary position. There are but two important critics in my own country who have troubled to take me seriously and when clever young men write essays about contemporary fiction they never think of considering me. I do not resent it. It is very natural. I have never been a propagandist. The reading public has enormously increased during the last thirty years, and there is a large mass of ignorant people who want knowledge that can be acquired with little labour. They have thought that they were learning something when they read novels in which the characters delivered their views on the burning topics of the day. A bit of love-making thrown in here and there made the information they were given sufficiently palatable. The novel was regarded as a convenient pulpit for the dissemination of ideas, and a good many novelists were willing enough to look upon themselves as leaders of thought. The novels they wrote were journalism rather than fiction. They had a news value. Their disadvantage was that after a little while they were as unreadable as last week’s paper. But the demand of this great new public for knowledge has of late given rise to the production of a number of books in which subjects of common interest, science, education, social welfare and I know not what, are treated in non-technical language. Their success has been very great and has killed the propaganda novel. But it is evident that while its vogue lasted it seemed much more significant and so offered a better subject of discourse than the novel of character or adventure.

  The intelligent critics, the more serious novel readers, have since then given most of their attention to the writers who seemed to offer something new in technique, and this is very comprehensible, for the novelties they presented gave a sort of freshness to well-worn material and were a fruitful matter of discussion.

  It seems strange that so much attention has been paid to these things. The method that Henry James devised and brought to a high degree of perfection of telling his story through the sensibilities of an observer who had some part in its action was an ingenious dodge that gave the dramatic effect he sought in fiction, a verisimilitude grateful to an author much influenced by the French naturalists and a means of getting round some of the difficulties of the novelist who takes up the attitude of an all-seeing and all-wise narrator. What this observer did not know could be left conveniently mysterious. It was, however, only a slight variation from the autobiographical form that has many of the same advantages, and to speak of it as though it were a great aesthetic discovery is somewhat absurd. Of the other experiments that have been made the most important is the use of the stream of thought. Writers have always been attracted by the philosophers who had an emotional value and who were not too hard to understand. They were taken in turn by Schopenhauer, Nietzsche and Bergson. It was inevitable that psycho-analysis should captivate their fancy. It had great possibilities for the novelist. He knew how much he owed to his own unconscious for the best of what he wrote, and it was tempting to explore greater depths of character by an imaginative picture of the unconscious of the persons of his invention. It was a clever and amusing trick, but nothing more. When writers, instead of using it as an occasional device for a particular purpose, ironical, dramatic or explanatory, made it the basis of their work it proved tedious. I conjecture that what is useful in this and similar devices will be absorbed into the general technique of fiction, but that the works that introduced them will soon lose their interest. It seems to have escaped the attention of those who have been taken by these curious experiments that the matter treated of in the books in which they are made use of is of an extreme triviality. It almost looks as though their authors had been driven to these contrivances by an uneasy consciousness of their own emptiness. The persons they describe with all this ingenuity are intrinsically uninteresting and the subjects at issue unimportant. This might be expected. For the artist is absorbed by his technique only when his theme is of no pressing interest to him. When he is obsessed by his topic he has not much time over to think of the artfulness of his presentation. So in the seventeenth century the writers, exhausted by the mental effort of the Renaissance and prevented by the tyranny of kings and the domination of the church from occupying themselves with the great issues of life, tur
ned their minds to gongorism, concettism and such-like toys. It may be that the interest that has been taken during recent years in every form of technical experiment in the arts points to the fact that our civilisation is crumbling; the subjects that seemed important to the nineteenth century have lost their interest, and artists do not yet see what the great issues are that will affect the generation who will create the civilisation which is in course of displacing our own.


  I LOOK upon it as very natural then that the world of letters should have attached no great importance to my work. In the drama I have found myself at home in the traditional moulds. As a writer of fiction I go back, through innumerable generations, to the teller of tales round the fire in the cavern that sheltered neolithic men. I have had some sort of story to tell and it has interested me to tell it. To me it has been a sufficient object in itself. It has been my misfortune that for some time now a story has been despised by the sophisticated. I have read a good many books on the art of fiction and all ascribe very small value to the plot. (In passing I should like to say that I cannot understand the sharp distinction some clever theorists make between story and plot. A plot is merely the pattern on which the story is arranged.) From these books you would judge that it is only a hindrance to the intelligent author and a concession that he makes to the stupid demands of the public. Indeed, sometimes you might think that the best novelist is the essayist, and that the only perfect short stories have been written by Charles Lamb and Hazlitt.

  But the delight in listening to stories is as natural to human nature as the delight in looking at the dancing and miming out of which drama arose. That it exists unimpaired is shown by the vogue of the detective novel. The most intellectual persons read them, with condescension of course, but they read them; and why, if not because the psychological, the pedagogic, the psychoanalytic novels which alone their minds approve do not give them the satisfaction of this particular need? There are a number of clever writers who, with all sorts of good things in their heads to say and a gift for creating living people, do not know what on earth to do with them when they have created them. They cannot invent a plausible story. Like all writers (and in all writers there is a certain amount of humbug) they make a merit of their limitations and either tell the reader that he can imagine for himself what happens or else berate him for wanting to know. They claim that in life stories are not finished, situations are not rounded off and loose ends are left hanging. This is not always true, for at least death finishes all our stories; but even if it were it would not be a good argument.

  For the novelist claims to be an artist and the artist does not copy life, he makes an arrangement out of it to suit his own purposes. Just as the painter thinks with his brush and his colours the novelist thinks with his story; his view of life, though he may be unconscious of it, his personality, exist as a series of human actions. When you look back on the art of the past you can hardly fail to notice that artists have seldom attached great value to realism. On the whole they have used nature to make a formal decoration, and they have only copied it directly from time to time when their imagination had taken them so far from it that a return was felt necessary. In painting and sculpture it might even be argued that a very close approximation to reality has always announced the decadence of a school. In the sculpture of Phidias you see already the dullness of the Apollo Belvedere and in Raphael’s Miracle at Bolsano the vapidity of Bouguereau. Then art can only gain new vigour by forcing on nature a new convention.

  But that is by the way.

  It is a natural desire in the reader to want to know what happens to the people in whom his interest has been aroused, and the plot is the means by which you gratify this desire. A good story is obviously a difficult thing to invent, but its difficulty is a poor reason for despising it. It should have coherence and sufficient probability for the needs of the theme; it should be of a nature to display the development of character, which is the chief concern of fiction at the present day, and it should have completeness, so that when it is finally unfolded no more questions can be asked about the persons who took part in it. It should have like Aristotle’s tragedy a beginning, a middle and an end. The chief use of a plot is one that many people do not seem to have noticed. It is a line to direct the reader’s interest. That is possibly the most important thing in fiction, for it is by direction of interest that the author carries the reader along from page to page, and it is by direction of interest that he induces in him the mood he desires. The author always loads his dice, but he must never let the reader see that he has done so, and by the manipulation of his plot he can engage the reader’s attention so that he does not perceive what violence has been done him. I am not writing a technical treatise on the novel, so I need not enumerate the various devices that novelists have used to achieve this. But how efficacious this direction of interest may be and how injurious its neglect is well shown in Sense and Sensibility and in L’Education Sentimentale. Jane Austen leads the reader so firmly along the line of the simple story that he does not stop to reflect that Elinor is a prig, Marianne a fool, and the three men lifeless dummies. Flaubert, aiming at a rigid objectivity, directs the reader’s interest so little that he is perfectly indifferent to the fortunes of the various characters. This makes the novel very difficult to read. I cannot think of another that has so many merits and leaves so shadowy an impression.


  IN my twenties the critics said I was brutal, in my thirties they said I was flippant, in my forties they said I was cynical, in my fifties they said I was competent, and now in my sixties they say I am superficial. I have gone my way, following the course I had mapped out for myself, and trying with my works to fill out the pattern I looked for. I think authors are unwise who do not read criticisms. It is salutary to train oneself to be no more affected by censure than by praise; for of course it is easy to shrug one’s shoulders when one finds oneself described as a genius, but not so easy to be unconcerned when one is treated as a nincompoop. The history of criticism is there to show that contemporary criticism is fallible. It is a nice point to decide how far the author should consider it and how far ignore it. And such is the diversity of opinion that it is very difficult for an author to arrive at any conclusion about his merit. In England there is a natural tendency to despise the novel. The autobiography of an insignificant politician, the life of a royal courtesan will receive serious critical consideration, whereas half a dozen novels will be reviewed in a bunch by a reviewer who is concerned only too often to be amusing at their expense. The fact is simply that the English are more interested in works of information than in works of art. This makes it difficult for the novelist to gain from criticisms of his work anything that will be useful to his own development.

  It is a great misfortune to English letters that we have not had in this century a critic of the class, say, of Sainte-Beuve, Matthew Arnold or even Brunetière. It is true that he would not have occupied himself much with current literature, and if we may judge by the three I have mentioned, had he done so it would have been of no direct service to contemporary writers. For Sainte-Beuve, as we know, was too envious of a form of success he hankered after, but never achieved, to treat his contemporaries with fairness; and Matthew Arnold’s taste was so much at fault when he dealt with French writers of his day that there is no reason to suppose it would have been any better if he had dealt with English ones. Brunetière had no tolerance; he measured writers by hard and fast rules and was incapable of seeing merit in those who had aims with which he did not sympathize. His force of character gave him an influence that his talents did not warrant. But notwithstanding, writers benefit by a critic who is gravely concerned with literature; even if they resent him they may be incited by antagonism to a clearer definition of their own aims. He can provoke in them an excitement that calls them to more conscious effort, and his example urges them to take their art with a more intense seriousness.

  In one of his dialogues Plato seemingly has t
ried to show the impossibility of criticism; but in fact he has only shown to what extravagance the Socratic method may sometimes lead. There is one sort of criticism that is evidently futile. This is that which is written by the critic to compensate himself for humiliations he has suffered in his early youth. Criticism affords him a means of regaining his self-esteem. Because at school, unable to adapt himself to the standards of that narrow world, he has been kicked and cuffed, he will when grown up cuff and kick in his turn in order to assuage his wounded feelings. His interest is in his reaction to the work he is considering, not in the reaction it has to him.

  There can seldom have been a greater need than now of a critic of authority, for the arts are at sixes and sevens. We see composers telling stories, painters philosophizing, and novelists preaching sermons; we see poets impatient with their own harmony trying to fit with their verse the other harmony of prose, and we see the writers of prose trying to force on it the rhythms of verse. Someone is badly wanted to define once more the characters peculiar to the several arts and to point out to those who go astray that their experiments can lead only to their own confusion. It is too much to expect that anyone may be found who can speak with equal competence in all the arts; but, the demand producing the supply, we may still hope that one of these days a critic will arise to ascend the throne once occupied by Sainte-Beuve and Matthew Arnold. He could do much. I have read lately two or three books in which a claim is made to form an exact science of criticism. They have not convinced me that such a thing is possible. Criticism to my mind is a personal matter, but there is nothing against that if the critic has a great personality. It is dangerous for him to look upon his activity as creative. His business is to guide, to appraise, and to point to new avenues of creation, but if he looks upon himself as creative he will be more occupied with creation, the most enthralling of human activities, than with the functions proper to him. It is perhaps well for him to have written a play, a novel and some verse, for thus as in no other way can he acquire the technique of letters; but he cannot be a great critic unless he has realized that to create is not his affair. One of the reasons why current criticism is so useless is that it is done as a side-issue by creative writers. It is only natural that they should think the sort of thing they do the thing best worth doing. The great critic should have a sympathy as wide as his knowledge is universal. It should be grounded not on a general indifference, such as makes men tolerant of things they care nothing about, but on an active delight in diversity. He must be a psychologist and a physiologist, for he must know how the basic elements of literature are related to the minds and bodies of men; and he must be a philosopher, for from philosophy he will learn serenity, impartiality, and the transitoriness of human things. He must be familiar not only with the literature of his native land. With standards founded on the literature of the past, and studious of contemporary literature in other countries, he will see clearly the trend that literature in its evolution is pursuing and so be enabled profitably to direct that of his own countrymen. He must support himself on tradition, for tradition is the expression of the inevitable idiosyncrasies of a nation’s literature, but he must do everything he can to encourage its development in its natural direction. Tradition is a guide and not a jailer. He must have patience, firmness and enthusiasm. Each book he reads should be a new and thrilling adventure; he judges it by the universality of his knowledge and the strength of his character. In fact the great critic must be a great man. He must be great enough to recognize with good-humoured resignation that his work, though so important, can have but an ephemeral value; for his merit is that he responds to the needs of, and points the way to, his own generation. A new generation arises with other needs, a new way stretches before it; he has nothing more to say and is thrown with all his works on to the dust-heap.

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