An Autobiography of Anthony Trollope Part 8

"When Payne Knight's _Taste_ was issued to the town, A few Greek verses in the text set down Were torn to pieces, mangled into hash, Doomed to the flames as execrable trash,-- In short, were butchered rather than dissected, And several false quant.i.ties detected,-- Till, when the smoke had vanished from the cinders, 'Twas just discovered that--_the lines were Pindar's!_"

There can be no a.s.surance against cases such as these; and yet we are so free with our advice, always bidding the young aspirant to desist.

There is perhaps no career of life so charming as that of a successful man of letters. Those little unthought of advantages which I just now named are in themselves attractive. If you like the town, live in the town, and do your work there; if you like the country, choose the country. It may be done on the top of a mountain or in the bottom of a pit. It is compatible with the rolling of the sea and the motion of a railway. The clergyman, the lawyer, the doctor, the member of Parliament, the clerk in a public office, the tradesman, and even his a.s.sistant in the shop, must dress in accordance with certain fixed laws; but the author need sacrifice to no grace, hardly even to Propriety. He is subject to no bonds such as those which bind other men. Who else is free from all shackle as to hours? The judge must sit at ten, and the attorney-general, who is making his 20,000 a year, must be there with his bag. The Prime Minister must be in his place on that weary front bench shortly after prayers, and must sit there, either asleep or awake, even though ---- or ---- should be addressing the House. During all that Sunday which he maintains should be a day of rest, the active clergyman toils like a galley-slave. The actor, when eight o'clock comes, is bound to his footlights. The Civil Service clerk must sit there from ten till four,--unless his office be fas.h.i.+onable, when twelve to six is just as heavy on him. The author may do his work at five in the morning when he is fresh from his bed, or at three in the morning before he goes there. And the author wants no capital, and encounters no risks.

When once he is afloat, the publisher finds all that;--and indeed, unless he be rash, finds it whether he be afloat or not. But it is in the consideration which he enjoys that the successful author finds his richest reward. He is, if not of equal rank, yet of equal standing with the highest; and if he be open to the amenities of society, may choose his own circles. He without money can enter doors which are closed against almost all but him and the wealthy. I have often heard it said that in this country the man of letters is not recognised. I believe the meaning of this to be that men of letters are not often invited to be knights and baronets. I do not think that they wish it;--and if they had it they would, as a body, lose much more than they would gain. I do not at all desire to have letters put after my name, or to be called Sir Anthony, but if my friends Tom Hughes and Charles Reade became Sir Thomas and Sir Charles, I do not know how I might feel,--or how my wife might feel, if we were left unbedecked. As it is, the man of letters who would be selected for t.i.tular honour, if such bestowal of honours were customary, receives from the general respect of those around him a much more pleasant recognition of his worth.

If this be so,--if it be true that the career of the successful literary man be thus pleasant,--it is not wonderful that many should attempt to win the prize. But how is a man to know whether or not he has within him the qualities necessary for such a career? He makes an attempt, and fails; repeats his attempt, and fails again! So many have succeeded at last who have failed more than once or twice! Who will tell him the truth as to himself? Who has power to find out that truth? The hard man sends him off without a scruple to that office-stool; the soft man a.s.sures him that there is much merit in his MS.

Oh, my young aspirant,--if ever such a one should read these pages,--be sure that no one can tell you! To do so it would be necessary not only to know what there is now within you, but also to foresee what time will produce there. This, however, I think may be said to you, without any doubt as to the wisdom of the counsel given, that if it be necessary for you to live by your work, do not begin by trusting to literature. Take the stool in the office as recommended to you by the hard man; and then, in such leisure hours as may belong to you, let the praise which has come from the lips of that soft man induce you to persevere in your literary attempts. Should you fail, then your failure will not be fatal,--and what better could you have done with the leisure hours had you not so failed? Such double toil, you will say, is severe. Yes; but if you want this thing, you must submit to severe toil.

Sometime before this I had become one of the Committee appointed for the distribution of the moneys of the Royal Literary Fund, and in that capacity I heard and saw much of the sufferings of authors. I may in a future chapter speak further of this Inst.i.tution, which I regard with great affection, and in reference to which I should be glad to record certain convictions of my own; but I allude to it now, because the experience I have acquired in being active in its cause forbids me to advise any young man or woman to enter boldly on a literary career in search of bread. I know how utterly I should have failed myself had my bread not been earned elsewhere while I was making my efforts. During ten years of work, which I commenced with some aid from the fact that others of my family were in the same profession, I did not earn enough to buy me the pens, ink, and paper which I was using; and then when, with all my experience in my art, I began again as from a new springing point, I should have failed again unless again I could have given years to the task. Of course there have been many who have done better than I,--many whose powers have been infinitely greater. But then, too, I have seen the failure of many who were greater.

The career, when success has been achieved, is certainly very pleasant; but the agonies which are endured in the search for that success are often terrible. And the author's poverty is, I think, harder to be borne than any other poverty. The man, whether rightly or wrongly, feels that the world is using him with extreme injustice.

The more absolutely he fails, the higher, it is probable, he will reckon his own merits; and the keener will be the sense of injury in that he whose work is of so high a nature cannot get bread, while they whose tasks are mean are lapped in luxury. "I, with my well-filled mind, with my clear intellect, with all my gifts, cannot earn a poor crown a day, while that fool, who simpers in a little room behind a shop, makes his thousands every year." The very charity, to which he too often is driven, is bitterer to him than to others. While he takes it he almost spurns the hand that gives it to him, and every fibre of his heart within him is bleeding with a sense of injury.

The career, when successful, is pleasant enough certainly; but when unsuccessful, it is of all careers the most agonising.

CHAPTER XII.

ON NOVELS AND THE ART OF WRITING THEM.

It is nearly twenty years since I proposed to myself to write a history of English prose fiction. I shall never do it now, but the subject is so good a one that I recommend it heartily to some man of letters, who shall at the same time be indefatigable and light-handed. I acknowledge that I broke down in the task, because I could not endure the labour in addition to the other labours of my life. Though the book might be charming, the work was very much the reverse. It came to have a terrible aspect to me, as did that proposition that I should sit out all the May meetings of a season.

According to my plan of such a history it would be necessary to read an infinity of novels, and not only to read them, but so to read them as to point out the excellences of those which are most excellent, and to explain the defects of those which, though defective, had still reached sufficient reputation to make them worthy of notice.

I did read many after this fas.h.i.+on,--and here and there I have the criticisms which I wrote. In regard to many, they were written on some blank page within the book. I have not, however, even a list of the books so criticised. I think that the _Arcadia_ was the first, and _Ivanhoe_ the last. My plan, as I settled it at last, had been to begin with _Robinson Crusoe_, which is the earliest really popular novel which we have in our language, and to continue the review so as to include the works of all English novelists of reputation, except those who might still be living when my task should be completed. But when d.i.c.kens and Bulwer died, my spirit flagged, and that which I had already found to be very difficult had become almost impossible to me at my then period of life.

I began my own studies on the subject with works much earlier than _Robinson Crusoe_, and made my way through a variety of novels which were necessary for my purpose, but which in the reading gave me no pleasure whatever. I never worked harder than at the _Arcadia_, or read more detestable trash than the stories written by Mrs. Aphra Behn; but these two were necessary to my purpose, which was not only to give an estimate of the novels as I found them, but to describe how it had come to pa.s.s that the English novels of the present day have become what they are, to point out the effects which they have produced, and to inquire whether their great popularity has on the whole done good or evil to the people who read them. I still think that the book is one well worthy to be written.

I intended to write that book to vindicate my own profession as a novelist, and also to vindicate that public taste in literature which has created and nourished the profession which I follow. And I was stirred up to make such an attempt by a conviction that there still exists among us Englishmen a prejudice in respect to novels which might, perhaps, be lessened by such a work. This prejudice is not against the reading of novels, as is proved by their general acceptance among us. But it exists strongly in reference to the appreciation in which they are professed to be held; and it robs them of much of that high character which they may claim to have earned by their grace, their honesty, and good teaching.

No man can work long at any trade without being brought to consider much whether that which he is daily doing tends to evil or to good. I have written many novels, and have known many writers of novels, and I can a.s.sert that such thoughts have been strong with them and with myself. But in acknowledging that these writers have received from the public a full measure of credit for such genius, ingenuity, or perseverance as each may have displayed, I feel that there is still wanting to them a just appreciation of the excellence of their calling, and a general understanding of the high nature of the work which they perform.

By the common consent of all mankind who have read, poetry takes the highest place in literature. That n.o.bility of expression, and all but divine grace of words, which she is bound to attain before she can make her footing good, is not compatible with prose. Indeed it is that which turns prose into poetry. When that has been in truth achieved, the reader knows that the writer has soared above the earth, and can teach his lessons somewhat as a G.o.d might teach. He who sits down to write his tale in prose makes no such attempt, nor does he dream that the poet's honour is within his reach;--but his teaching is of the same nature, and his lessons all tend to the same end. By either, false sentiments may be fostered; false notions of humanity may be engendered; false honour, false love, false wors.h.i.+p may be created; by either, vice instead of virtue may be taught. But by each, equally, may true honour, true love, true wors.h.i.+p, and true humanity be inculcated; and that will be the greatest teacher who will spread such truth the widest. But at present, much as novels, as novels, are bought and read, there exists still an idea, a feeling which is very prevalent, that novels at their best are but innocent.

Young men and women,--and old men and women too,--read more of them than of poetry, because such reading is easier than the reading of poetry; but they read them,--as men eat pastry after dinner,--not without some inward conviction that the taste is vain if not vicious.

I take upon myself to say that it is neither vicious nor vain.

But all writers of fiction who have desired to think well of their own work, will probably have had doubts on their minds before they have arrived at this conclusion. Thinking much of my own daily labour and of its nature, I felt myself at first to be much afflicted and then to be deeply grieved by the opinion expressed by wise and thinking men as to the work done by novelists. But when, by degrees, I dared to examine and sift the sayings of such men, I found them to be sometimes silly and often arrogant. I began to inquire what had been the nature of English novels since they first became common in our own language, and to be desirous of ascertaining whether they had done harm or good. I could well remember that, in my own young days, they had not taken that undisputed possession of drawing-rooms which they now hold. Fifty years ago, when George IV. was king, they were not indeed treated as Lydia had been forced to treat them in the preceding reign, when, on the approach of elders, _Peregrine Pickle_ was hidden beneath the bolster, and _Lord Ainsworth_ put away under the sofa. But the families in which an unrestricted permission was given for the reading of novels were very few, and from many they were altogether banished. The high poetic genius and correct morality of Walter Scott had not altogether succeeded in making men and women understand that lessons which were good in poetry could not be bad in prose. I remember that in those days an embargo was laid upon novel-reading as a pursuit, which was to the novelist a much heavier tax than that want of full appreciation of which I now complain.

There is, we all know, no such embargo now. May we not say that people of an age to read have got too much power into their own hands to endure any very complete embargo? Novels are read right and left, above stairs and below, in town houses and in country parsonages, by young countesses and by farmers' daughters, by old lawyers and by young students. It has not only come to pa.s.s that a special provision of them has to be made for the G.o.dly, but that the provision so made must now include books which a few years since the G.o.dly would have thought to be profane. It was this necessity which, a few years since, induced the editor of _Good Words_ to apply to me for a novel,--which, indeed, when supplied was rejected, but which now, probably, owing to further change in the same direction, would have been accepted.

If such be the case--if the extension of novel-reading be so wide as I have described it--then very much good or harm must be done by novels. The amus.e.m.e.nt of the time can hardly be the only result of any book that is read, and certainly not so with a novel, which appeals especially to the imagination, and solicits the sympathy of the young. A vast proportion of the teaching of the day,--greater probably than many of us have acknowledged to ourselves,--comes from these books, which are in the hands of all readers. It is from them that girls learn what is expected from them, and what they are to expect when lovers come; and also from them that young men unconsciously learn what are, or should be, or may be, the charms of love,--though I fancy that few young men will think so little of their natural instincts and powers as to believe that I am right in saying so. Many other lessons also are taught. In these times, when the desire to be honest is pressed so hard, is so violently a.s.saulted by the ambition to be great; in which riches are the easiest road to greatness; when the temptations to which men are subjected dulls their eyes to the perfected iniquities of others; when it is so hard for a man to decide vigorously that the pitch, which so many are handling, will defile him if it be touched;--men's conduct will be actuated much by that which is from day to day depicted to them as leading to glorious or inglorious results. The woman who is described as having obtained all that the world holds to be precious, by lavis.h.i.+ng her charms and her caresses unworthily and heartlessly, will induce other women to do the same with theirs,--as will she who is made interesting by exhibitions of bold pa.s.sion teach others to be spuriously pa.s.sionate. The young man who in a novel becomes a hero, perhaps a Member of Parliament, and almost a Prime Minister, by trickery, falsehood, and flash cleverness, will have many followers, whose attempts to rise in the world ought to lie heavily on the conscience of the novelists who create fict.i.tious Cagliostros. There are Jack Sheppards other than those who break into houses and out of prisons,--Macheaths, who deserve the gallows more than Gay's hero.

Thinking of all this, as a novelist surely must do,--as I certainly have done through my whole career,--it becomes to him a matter of deep conscience how he shall handle those characters by whose words and doings he hopes to interest his readers. It will very frequently be the case that he will be tempted to sacrifice something for effect, to say a word or two here, or to draw a picture there, for which he feels that he has the power, and which when spoken or drawn would be alluring. The regions of absolute vice are foul and odious.

The savour of them, till custom has hardened the palate and the nose, is disgusting. In these he will hardly tread. But there are outskirts on these regions, on which sweet-smelling flowers seem to grow, and gra.s.s to be green. It is in these border-lands that the danger lies.

The novelist may not be dull. If he commit that fault he can do neither harm nor good. He must please, and the flowers and the gra.s.s in these neutral territories sometimes seem to give him so easy an opportunity of pleasing!

The writer of stories must please, or he will be nothing. And he must teach whether he wish to teach or no. How shall he teach lessons of virtue and at the same time make himself a delight to his readers?

That sermons are not in themselves often thought to be agreeable we all know. Nor are disquisitions on moral philosophy supposed to be pleasant reading for our idle hours. But the novelist, if he have a conscience, must preach his sermons with the same purpose as the clergyman, and must have his own system of ethics. If he can do this efficiently, if he can make virtue alluring and vice ugly, while he charms his readers instead of wearying them, then I think Mr. Carlyle need not call him distressed, nor talk of that long ear of fiction, nor question whether he be or not the most foolish of existing mortals.

I think that many have done so; so many that we English novelists may boast as a cla.s.s that such has been the general result of our own work. Looking back to the past generation, I may say with certainty that such was the operation of the novels of Miss Edgeworth, Miss Austen, and Walter Scott. Coming down to my own times, I find such to have been the teaching of Thackeray, of d.i.c.kens, and of George Eliot.

Speaking, as I shall speak to any who may read these words, with that absence of self-personality which the dead may claim, I will boast that such has been the result of my own writing. Can any one by search through the works of the six great English novelists I have named, find a scene, a pa.s.sage, or a word that would teach a girl to be immodest, or a man to be dishonest? When men in their pages have been described as dishonest and women as immodest, have they not ever been punished? It is not for the novelist to say, baldly and simply: "Because you lied here, or were heartless there, because you Lydia Bennet forgot the lessons of your honest home, or you Earl Leicester were false through your ambition, or you Beatrix loved too well the glitter of the world, therefore you shall be scourged with scourges either in this world or in the next;" but it is for him to show, as he carries on his tale, that his Lydia, or his Leicester, or his Beatrix, will be dishonoured in the estimation of all readers by his or her vices. Let a woman be drawn clever, beautiful, attractive,--so as to make men love her, and women almost envy her,--and let her be made also heartless, unfeminine, and ambitious of evil grandeur, as was Beatrix, what a danger is there not in such a character! To the novelist who shall handle it, what peril of doing harm! But if at last it have been so handled that every girl who reads of Beatrix shall say: "Oh! not like that;--let me not be like that!" and that every youth shall say: "Let me not have such a one as that to press my bosom, anything rather than that!"--then will not the novelist have preached his sermon as perhaps no clergyman can preach it?

Very much of a novelist's work must appertain to the intercourse between young men and young women. It is admitted that a novel can hardly be made interesting or successful without love. Some few might be named, but even in those the attempt breaks down, and the softness of love is found to be necessary to complete the story. _Pickwick_ has been named as an exception to the rule, but even in _Pickwick_ there are three or four sets of lovers, whose little amatory longings give a softness to the work. I tried it once with _Miss Mackenzie_, but I had to make her fall in love at last. In this frequent allusion to the pa.s.sion which most stirs the imagination of the young, there must be danger. Of that the writer of fiction is probably well aware.

Then the question has to be asked, whether the danger may not be so averted that good may be the result,--and to be answered.

In one respect the necessity of dealing with love is advantageous,--advantageous from the very circ.u.mstance which has made love necessary to all novelists. It is necessary because the pa.s.sion is one which interests or has interested all. Every one feels it, has felt it, or expects to feel it,--or else rejects it with an eagerness which still perpetuates the interest. If the novelist, therefore, can so handle the subject as to do good by his handling, as to teach wholesome lessons in regard to love, the good which he does will be very wide. If I can teach politicians that they can do their business better by truth than by falsehood, I do a great service; but it is done to a limited number of persons. But if I can make young men and women believe that truth in love will make them happy, then, if my writings be popular, I shall have a very large cla.s.s of pupils. No doubt the cause for that fear which did exist as to novels arose from an idea that the matter of love would be treated in an inflammatory and generally unwholesome manner. "Madam," says Sir Anthony in the play, "a circulating library in a town is an evergreen tree of diabolical knowledge. It blossoms through the year; and depend on it, Mrs. Malaprop, that they who are so fond of handling the leaves will long for the fruit at last." Sir Anthony was no doubt right. But he takes it for granted that the longing for the fruit is an evil. The novelist who writes of love thinks differently, and thinks that the honest love of an honest man is a treasure which a good girl may fairly hope to win,--and that if she can be taught to wish only for that, she will have been taught to entertain only wholesome wishes.

I can easily believe that a girl should be taught to wish to love by reading how Laura Bell loved Pendennis. Pendennis was not in truth a very worthy man, nor did he make a very good husband; but the girl's love was so beautiful, and the wife's love when she became a wife so womanlike, and at the same time so sweet, so unselfish, so wifely, so wors.h.i.+pful,--in the sense in which wives are told that they ought to wors.h.i.+p their husbands,--that I cannot believe that any girl can be injured, or even not benefited, by reading of Laura's love.

There once used to be many who thought, and probably there still are some, even here in England, who think that a girl should hear nothing of love till the time come in which she is to be married. That, no doubt, was the opinion of Sir Anthony Absolute and of Mrs. Malaprop.

But I am hardly disposed to believe that the old system was more favourable than ours to the purity of manners. Lydia Languish, though she was constrained by fear of her aunt to hide the book, yet had _Peregrine Pickle_ in her collection. While human nature talks of love so forcibly it can hardly serve our turn to be silent on the subject. "Naturam expellas furca, tamen usque recurret." There are countries in which it has been in accordance with the manners of the upper cla.s.ses that the girl should be brought to marry the man almost out of the nursery--or rather perhaps out of the convent--without having enjoyed that freedom of thought which the reading of novels and of poetry will certainly produce; but I do not know that the marriages so made have been thought to be happier than our own.

Among English novels of the present day, and among English novelists, a great division is made. There are sensational novels and anti-sensational, sensational novelists and anti-sensational, sensational readers and anti-sensational. The novelists who are considered to be anti-sensational are generally called realistic.

I am realistic. My friend Wilkie Collins is generally supposed to be sensational. The readers who prefer the one are supposed to take delight in the elucidation of character. Those who hold by the other are charmed by the continuation and gradual development of a plot.

All this is, I think, a mistake,--which mistake arises from the inability of the imperfect artist to be at the same time realistic and sensational. A good novel should be both, and both in the highest degree. If a novel fail in either, there is a failure in art. Let those readers who believe that they do not like sensational scenes in novels think of some of those pa.s.sages from our great novelists which have charmed them most:--of Rebecca in the castle with Ivanhoe; of Burley in the cave with Morton; of the mad lady tearing the veil of the expectant bride, in _Jane Eyre_; of Lady Castlewood as, in her indignation, she explains to the Duke of Hamilton Henry Esmond's right to be present at the marriage of his Grace with Beatrix;--may I add, of Lady Mason, as she makes her confession at the feet of Sir Peregrine Orme? Will any one say that the authors of these pa.s.sages have sinned in being over-sensational? No doubt, a string of horrible incidents, bound together without truth in detail, and told as affecting personages without character,--wooden blocks, who cannot make themselves known to the reader as men and women,--does not instruct or amuse, or even fill the mind with awe. Horrors heaped upon horrors, and which are horrors only in themselves, and not as touching any recognised and known person, are not tragic, and soon cease even to horrify. And such would-be tragic elements of a story may be increased without end, and without difficulty. I may tell you of a woman murdered,--murdered in the same street with you, in the next house,--that she was a wife murdered by her husband,--a bride not yet a week a wife. I may add to it for ever. I may say that the murderer roasted her alive. There is no end to it. I may declare that a former wife was treated with equal barbarity; and may a.s.sert that, as the murderer was led away to execution, he declared his only sorrow, his only regret to be, that he could not live to treat a third wife after the same fas.h.i.+on. There is nothing so easy as the creation and the c.u.mulation of fearful incidents after this fas.h.i.+on.

If such creation and c.u.mulation be the beginning and the end of the novelist's work,--and novels have been written which seem to be without other attractions,--nothing can be more dull or more useless.

But not on that account are we averse to tragedy in prose fiction.

As in poetry, so in prose, he who can deal adequately with tragic elements is a greater artist and reaches a higher aim than the writer whose efforts never carry him above the mild walks of everyday life.

The _Bride of Lammermoor_ is a tragedy throughout, in spite of its comic elements. The life of Lady Castlewood, of whom I have spoken, is a tragedy. Rochester's wretched thraldom to his mad wife, in _Jane Eyre_, is a tragedy. But these stories charm us not simply because they are tragic, but because we feel that men and women with flesh and blood, creatures with whom we can sympathise, are struggling amidst their woes. It all lies in that. No novel is anything, for the purposes either of comedy or tragedy, unless the reader can sympathise with the characters whose names he finds upon the pages.

Let an author so tell his tale as to touch his reader's heart and draw his tears, and he has, so far, done his work well. Truth let there be,--truth of description, truth of character, human truth as to men and women. If there be such truth, I do not know that a novel can be too sensational.

I did intend when I meditated that history of English fiction to include within its pages some rules for the writing of novels;--or I might perhaps say, with more modesty, to offer some advice on the art to such tyros in it as might be willing to take advantage of the experience of an old hand. But the matter would, I fear, be too long for this episode, and I am not sure that I have as yet got the rules quite settled in my own mind. I will, however, say a few words on one or two points which my own practice has pointed out to me.

I have from the first felt sure that the writer, when he sits down to commence his novel, should do so, not because he has to tell a story, but because he has a story to tell. The novelist's first novel will generally have sprung from the right cause. Some series of events, or some development of character, will have presented itself to his imagination,--and this he feels so strongly that he thinks he can present his picture in strong and agreeable language to others. He sits down and tells his story because he has a story to tell; as you, my friend, when you have heard something which has at once tickled your fancy or moved your pathos, will hurry to tell it to the first person you meet. But when that first novel has been received graciously by the public and has made for itself a success, then the writer, naturally feeling that the writing of novels is within his grasp, looks about for something to tell in another. He cudgels his brains, not always successfully, and sits down to write, not because he has something which he burns to tell, but because he feels it to be inc.u.mbent on him to be telling something. As you, my friend, if you are very successful in the telling of that first story, will become ambitious of further story-telling, and will look out for anecdotes,--in the narration of which you will not improbably sometimes distress your audience.

So it has been with many novelists, who, after some good work, perhaps after very much good work, have distressed their audience because they have gone on with their work till their work has become simply a trade with them. Need I make a list of such, seeing that it would contain the names of those who have been greatest in the art of British novel-writing? They have at last become weary of that portion of a novelist's work which is of all the most essential to success.

That a man as he grows old should feel the labour of writing to be a fatigue is natural enough. But a man to whom writing has become a habit may write well though he be fatigued. But the weary novelist refuses any longer to give his mind to that work of observation and reception from which has come his power, without which work his power cannot be continued,--which work should be going on not only when he is at his desk, but in all his walks abroad, in all his movements through the world, in all his intercourse with his fellow-creatures.

He has become a novelist, as another has become a poet, because he has in those walks abroad, unconsciously for the most part, been drawing in matter from all that he has seen and heard. But this has not been done without labour, even when the labour has been unconscious. Then there comes a time when he shuts his eyes and shuts his ears. When we talk of memory fading as age comes on, it is such shutting of eyes and ears that we mean. The things around cease to interest us, and we cannot exercise our minds upon them. To the novelist thus wearied there comes the demand for further novels. He does not know his own defect, and even if he did he does not wish to abandon his own profession. He still writes; but he writes because he has to tell a story, not because he has a story to tell. What reader of novels has not felt the "woodenness" of this mode of telling?

The characters do not live and move, but are cut out of blocks and are propped against the wall. The incidents are arranged in certain lines--the arrangement being as palpable to the reader as it has been to the writer--but do not follow each other as results naturally demanded by previous action. The reader can never feel--as he ought to feel--that only for that flame of the eye, only for that angry word, only for that moment of weakness, all might have been different. The course of the tale is one piece of stiff mechanism, in which there is no room for a doubt.

These, it may be said, are reflections which I, being an old novelist, might make useful to myself for discontinuing my work, but can hardly be needed by those tyros of whom I have spoken. That they are applicable to myself I readily admit, but I also find that they apply to many beginners. Some of us who are old fail at last because we are old. It would be well that each of us should say to himself,

"Solve senescentem mature sa.n.u.s equum, ne Peccet ad extremum ridendus."

But many young fail also, because they endeavour to tell stories when they have none to tell. And this comes from idleness rather than from innate incapacity. The mind has not been sufficiently at work when the tale has been commenced, nor is it kept sufficiently at work as the tale is continued. I have never troubled myself much about the construction of plots, and am not now insisting specially on thoroughness in a branch of work in which I myself have not been very thorough. I am not sure that the construction of a perfected plot has been at any period within my power. But the novelist has other aims than the elucidation of his plot. He desires to make his readers so intimately acquainted with his characters that the creatures of his brain should be to them speaking, moving, living, human creatures.

This he can never do unless he know those fict.i.tious personages himself, and he can never know them unless he can live with them in the full reality of established intimacy. They must be with him as he lies down to sleep, and as he wakes from his dreams. He must learn to hate them and to love them. He must argue with them, quarrel with them, forgive them, and even submit to them. He must know of them whether they be cold-blooded or pa.s.sionate, whether true or false, and how far true, and how far false. The depth and the breadth, and the narrowness and the shallowness of each should be clear to him. And, as here, in our outer world, we know that men and women change,--become worse or better as temptation or conscience may guide them,--so should these creations of his change, and every change should be noted by him. On the last day of each month recorded, every person in his novel should be a month older than on the first. If the would-be novelist have apt.i.tudes that way, all this will come to him without much struggling;--but if it do not come, I think he can only make novels of wood.

It is so that I have lived with my characters, and thence has come whatever success I have obtained. There is a gallery of them, and of all in that gallery I may say that I know the tone of the voice, and the colour of the hair, every flame of the eye, and the very clothes they wear. Of each man I could a.s.sert whether he would have said these or the other words; of every woman, whether she would then have smiled or so have frowned. When I shall feel that this intimacy ceases, then I shall know that the old horse should be turned out to gra.s.s. That I shall feel it when I ought to feel it, I will by no means say. I do not know that I am at all wiser than Gil Blas' canon; but I do know that the power indicated is one without which the teller of tales cannot tell them to any good effect.

The language in which the novelist is to put forth his story, the colours with which he is to paint his picture, must of course be to him matter of much consideration. Let him have all other possible gifts,--imagination, observation, erudition, and industry,--they will avail him nothing for his purpose, unless he can put forth his work in pleasant words. If he be confused, tedious, harsh, or unharmonious, readers will certainly reject him. The reading of a volume of history or on science may represent itself as a duty; and though the duty may by a bad style be made very disagreeable, the conscientious reader will perhaps perform it. But the novelist will be a.s.sisted by no such feeling. Any reader may reject his work without the burden of a sin. It is the first necessity of his position that he make himself pleasant. To do this, much more is necessary than to write correctly. He may indeed be pleasant without being correct,--as I think can be proved by the works of more than one distinguished novelist. But he must be intelligible,--intelligible without trouble; and he must be harmonious.

Any writer who has read even a little will know what is meant by the word intelligible. It is not sufficient that there be a meaning that may be hammered out of the sentence, but that the language should be so pellucid that the meaning should be rendered without an effort of the reader;--and not only some proposition of meaning, but the very sense, no more and no less, which the writer has intended to put into his words. What Macaulay says should be remembered by all writers: "How little the all-important art of making meaning pellucid is studied now! Hardly any popular author except myself thinks of it."

The language used should be as ready and as efficient a conductor of the mind of the writer to the mind of the reader as is the electric spark which pa.s.ses from one battery to another battery. In all written matter the spark should carry everything; but in matters recondite the recipient will search to see that he misses nothing, and that he takes nothing away too much. The novelist cannot expect that any such search will be made. A young writer, who will acknowledge the truth of what I am saying, will often feel himself tempted by the difficulties of language to tell himself that some one little doubtful pa.s.sage, some single collocation of words, which is not quite what it ought to be, will not matter. I know well what a stumbling-block such a pa.s.sage may be. But he should leave none such behind him as he goes on. The habit of writing clearly soon comes to the writer who is a severe critic to himself.

As to that harmonious expression which I think is required, I shall find it more difficult to express my meaning. It will be granted, I think, by readers that a style may be rough, and yet both forcible and intelligible; but it will seldom come to pa.s.s that a novel written in a rough style will be popular,--and less often that a novelist who habitually uses such a style will become so. The harmony which is required must come from the practice of the ear. There are few ears naturally so dull that they cannot, if time be allowed to them, decide whether a sentence, when read, be or be not harmonious.

And the sense of such harmony grows on the ear, when the intelligence has once informed itself as to what is, and what is not harmonious.