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 fashion, — 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 withRobinson 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 Dickens 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 pass 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 assert 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 nobility 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 god 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 worship may be created; by either, vice instead of virtue may be taught. But by each, equally, may true honour, true love, true worship, 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 pass that a special provision of them has to be made for the godly, but that the provision so made must now include books which a few years since the godly 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 amusement 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 assaulted 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 lavishing 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 passion teach others to be spuriously passionate. 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 fictitious 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 grass 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 grass 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 class 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 Dickens, 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 passage, 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 passion 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 circumstance which has made love necessary to all novelists. It is necessary because the passion 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 class 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 worshipful, — in the sense in which wives are told that they ought to worship 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 d
isposed 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 furcâ, tamen usque recurret.” There are countries in which it has been in accordance with the manners of the upper classes 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 passages 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 passages 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 assert 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 fashion. There is nothing so easy as the creation and the cumulation of fearful incidents after this fashion. If such creation and cumulation 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, inJane 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.
Collected Works of Frances Trollope Page 582
