any moralist desire? We have no sympathy at all with the moral indignation of our time against M. Zola. It is simply the indignation of Tartuffe on being exposed. But from the standpoint of art, what can be said in favour of the author of L’Assommoir, Nana and Pot-Bouille? Nothing. Mr. Ruskin once described the characters in George Eliot’s novels as being like the sweepings of a Pentonville omnibus, but M. Zola’s characters are much worse. They have their dreary vices, and their drearier virtues. The record of their lives is absolutely without interest. Who cares what happens to them? In literature we require distinction, charm, beauty and imaginative power. We don’t want to be harrowed and disgusted with an account of the doings of the lower orders. M. Daudet is better. He has wit, a light touch and an amusing style. But he has lately committed literary suicide. Nobody can possibly care for Delobelle with his “Il faut lutter pour l’art,” or for Valmajour with his eternal refrain about the nightingale, or for the poet in Jack with his “mots cruels,” now that we have learned from Vingt Ans de ma Vie litteraire that these characters were taken directly from life. To us they seem to have suddenly lost all their vitality, all the few qualities they ever possessed. The only real people are the people who never existed, and if a novelist is base enough to go to life for his personages he should at least pretend that they are creations, and not boast of them as copies. The justification of a character in a novel is not that other persons are what they are, but that the author is what he is. Otherwise the novel is not a work of art. As for M. Paul Bourget, the master of the roman psychologique, he commits the error of imagining that the men and women of modern life are capable of being infinitely analysed for an innumerable series of chapters. In point of fact what is interesting about people in good society—and M. Bourget rarely moves out of the Faubourg St. Germain, except to come to London,— is the mask that each one of them wears, not the reality that lies behind the mask. It is a humiliating confession, but we are all of us made out of the same stuff. In Falstaff there is something of Hamlet, in Hamlet there is not a little of Falstaff. The fat knight has his moods of melancholy, and the young prince his moments of coarse humour. Where we differ from each other is purely in accidentals: in dress, manner, tone of voice, religious opinions, personal appearance, tricks of habit and the like. The more one analyses people, the more all reasons for analysis disappear. Sooner or later one comes to that dreadful universal thing called human nature. Indeed, as any one who has ever worked among the poor knows only too well, the brotherhood of man is no mere poet’s dream, it is a most depressing and humiliating reality; and if a writer insists upon analysing the upper classes, he might just as well write of match-girls and costermongers at once.’ However, my dear Cyril, I will not detain you any further just here. I quite admit that modern novels have many good points. All I insist on is that, as a class, they are quite unreadable.
CYRIL. That is certainly a very grave qualification, but I must say that I think you are rather unfair in some of your strictures. I like The Deemster, and The Daughter of Heth, and Le Disciple, and Mr. Isaacs, and as for Robert Elsmere, I am quite devoted to it. Not that I can look upon it as a serious work. As a statement of the problems that confront the earnest Christian it is ridiculous and antiquated. It is simply Arnold’s Literature and Dogma with the literature left out. It is as much behind the age as Paley’s Evidences, or Colenso’s method of Biblical exegesis. Nor could anything be less impressive than the unfortunate hero gravely heralding a dawn that rose long ago, and so completely missing its true significance that he proposes to carry on the business of the old firm under the new name. On the other hand, it contains several clever caricatures, and a heap of delightful quotations, and Green’s philosophy very pleasantly sugars the somewhat bitter pill of the author’s fiction. I also cannot help expressing my surprise that you have said nothing about the two novelists whom you are always reading, Balzac and George Meredith. Surely they are realists, both of them?
VIVIAN. Ah! Meredith! Who can define him? His style is chaos illumined by flashes of lightning. As a writer he has mastered everything except language: as a novelist he can do everything, except tell a story: as an artist he is everything except articulate. Somebody in Shakespeare—Touchstone, I think—talks about a man who is always breaking his shins over his own wit, and it seems to me that this might serve as the basis for a criticism of Meredith’s method. But whatever he is, he is not a realist. Or rather I would say that he is a child of realism who is not on speaking terms with his father. By deliberate choice he has made himself a romanticist. He has refused to bow the knee to Baal, and after all, even if the man’s fine spirit did not revolt against the noisy assertions of realism, his style would be quite sufficient of itself to keep life at a respectful distance. By its means he has planted round his garden a hedge full of thorns, and red with wonderful roses. As for Balzac, he was a most remarkable combination of the artistic temperament with the scientific spirit. The latter he bequeathed to his disciples. The former was entirely his own. The difference between such a book as M. Zola’s L’Assommoir and Balzac’s Illusions Perdues is the difference between unimaginative realism and imaginative reality. ‘All Balzac’s characters;’ said Baudelaire, ‘are gifted with the same ardour of life that animated himself. All his fictions are as deeply coloured as dreams. Each mind is a weapon loaded to the muzzle with will. The very scullions have genius.’ A steady course of Balzac reduces our living friends to shadows, and our acquaintances to the shadows of shades. His characters have a kind of fervent fiery-coloured existence. They dominate us, and defy scepticism. One of the greatest tragedies of my life is the death of Lucien de Rubempre. It is a grief from which I have never been able completely to rid myself. It haunts me in my moments of pleasure. I remember it when I laugh. But Balzac is no more a realist than Holbein was. He created life, he did not copy it. I admit, however, that he set far too high a value on modernity of form, and that, consequently, there is no book of his that, as an artistic masterpiece, can rank with Salammbo or Esmond, or The Cloister and the Hearth, or the Vicomte de Bragelonne.
CYRIL. Do you object to modernity of form, then?
VIVIAN. Yes. It is a huge price to pay for a very poor result. Pure modernity of form is always somewhat vulgarising. It cannot help being so. The public imagine that, because they are interested in their immediate surroundings, Art should be interested in them also, and should take them as her subject-matter. But the mere fact that they are interested in these things makes them unsuitable subjects for Art. The only beautiful things, as somebody once said, are the things that do not concern us. As long as a thing is useful or necessary to us, or affects us in any way, either for pain or for pleasure, or appeals strongly to our sympathies, or is a vital part of the environment in which we live, it is outside the proper sphere of art. To art’s subject-matter we should be more or less indifferent. We should, at any rate, have no preferences, no prejudices, no partisan feeling of any kind. It is exactly because Hecuba is nothing to us that her sorrows are such an admirable motive for a tragedy. I do not know anything in the whole history of literature sadder than the artistic career of Charles Reade. He wrote one beautiful book, The Cloister and the Hearth, a book as much above Romola as Romola is above Daniel Deronda, and wasted the rest of his life in a foolish attempt to be modern, to draw public attention to the state of our convict prisons, and the management of our private lunatic asylums. Charles Dickens was depressing enough in all conscience when he tried to arouse our sympathy for the victims of the poor-law administration; but Charles Reade, an artist, a scholar, a man with a true sense of beauty, raging and roaring over the abuses of contemporary life like a common pamphleteer or a sensational journalist, is really a sight for the angels to weep over. Believe me, my dear Cyril, modernity of form and modernity of subject-matter are entirely and absolutely wrong. We have mistaken the common livery of the age for the vesture of the Muses, and spend our days in the sordid streets and hideous suburbs of our vile cities when we should be out on the hillside with Apollo. Certainly we are a degraded race, and have sold our birthright for a mess of facts.
CYRIL. There is something in what you say, and there is no doubt that whatever amusement we may find in reading a purely model novel, we have rarely any artistic pleasure in re-reading it. And this is perhaps the best rough test of what is literature and what is not. If one cannot enjoy reading a book over and over again, there is no use reading it at all. But what do you say about the return to Life and Nature? This is the panacea that is always being recommended to us.
VIVIAN. I will read you what I say on that subject. The passage comes later on in the article, but I may as well give it