Jefferson，andtheirtheatricalityintheverypresenceofhisbeautifulnaturalness。Itisverydifficult，thatsimplicity，andnothingissohardastobehonest，asthereader，ifhehaseverhappenedtotryit，mustknow。"Thebigbow—wowIcandomyself，likeanyonegoing，"saidScott，butheownedthattheexquisitetouchofMissAusterewasdeniedhim；anditseemscertainlytohavebeendeniedingreaterorlessmeasuretoallhersuccessors。Butthoughreadingandwritingcomebynature，asDogberryjustlysaid，atasteinthemmaybecultivated，oroncecultivated，itmaybepreserved；andwhywasitnotsoamongthosepoorislanders？Onedoesnotasksuchthingsinordertobeatthepainsofansweringthemone’sself，butwiththehopethatsomeoneelsewilltakethetroubletodoso，andIproposetoberatherasilentpartnerintheenterprise，whichIshallleavemainlytoSenorArmandoPalacioValdes。Thisdelightfulauthorwill，however，onlybeabletoanswermyquestionindirectlyfromtheessayonfictionwithwhichheprefacesoneofhisnovels，thecharmingstoryof’TheSisterofSanSulpizio，’andI
　　shallhavesomelittlelaborinfittinghissawstomyinstances。ItisanessaywhichIwisheveryoneintendingtoread，oreventowrite，anovel，mightacquainthimselfwith；foritcontainssomeofthebestandclearestthingswhichhavebeensaidoftheartoffictioninatimewhennearlyallwhopractiseithaveturnedtotalkaboutit。
　　SenorValdesisarealist，butarealistaccordingtohisownconceptionofrealism；andhehassomewordsofjustcensurefortheFrenchnaturalists，whomhefindsunnecessarily，andsuspectsofbeingsometimesevenmercenarily，nasty。HeseesthewidedifferencethatpassesbetweenthisnaturalismandtherealismoftheEnglishandSpanish；andhegoessomewhatfurtherthanIshouldgoincondemningit。"TheFrenchnaturalismrepresentsonlyamoment，andaninsignificantpartoflife……Itischaracterizedbysadnessandnarrowness。Theprototypeofthisliteratureisthe’MadameBovary’ofFlaubert。Iamanadmirerofthisnovelist，andespeciallyofthisnovel；butofteninthinkingofitIhavesaid，Howdrearywouldliteraturebeifitwerenomorethanthis!
　　Thereissomethingantipatheticandgloomyandlimitedinit，asthereisinmodernFrenchlife；butthisseemstomeexactlythebestpossiblereasonforitsbeing。IbelievewithSenorValdesthat"noliteraturecanlivelongwithoutjoy，"notbecauseofitsmistakenaesthetics，however，butbecausenocivilizationcanlivelongwithoutjoy。TheexpressionofFrenchlifewillchangewhenFrenchlifechanges；andFrenchnaturalismisbetteratitsworstthanFrenchunnaturalismatitsbest。"Noone，"asSenorValdestrulysays，"canrisefromtheperusalofanaturalisticbook……withoutavividdesiretoescape"fromthewretchedworlddepictedinit，"andapurpose，moreorlessvague，ofhelpingtobetterthelotandmorallyelevatetheabjectbeingswhofigureinit。Naturalisticart，then，isnotimmoralinitself，forthenitwouldnotmeritthenameofart；forthoughitisnotthebusinessofarttopreachmorality，stillIthinkthat，restingonadivineandspiritualprinciple，liketheideaofthebeautiful，itisperforcemoral。Iholdmuchmoreimmoralotherbookswhich，underaglamourofsomethingspiritualandbeautifulandsublime，portraythevicesinwhichwearealliedtothebeasts。Such，forexample，aretheworksofOctaveFeuillet，ArseneHoussaye，GeorgesOhnet，andothercontemporarynovelistsmuchinvogueamongthehigherclassesofsociety。"
　　Butwhatisthisideaofthebeautifulwhichartrestsupon，andsobecomesmoral？"Themanofourtime，"saysSenorValdes，"wishestoknoweverythingandenjoyeverything：heturnstheobjectiveofapowerfulequatorialtowardstheheavenlyspaceswheregravitatestheinfinitudeofthestars，justasheappliesthemicroscopetotheinfinitudeofthesmallestinsects；fortheirlawsareidentical。Hisexperience，unitedwithintuition，hasconvincedhimthatinnaturethereisneithergreatnorsmall；allisequal。Allisequallygrand，allisequallyjust，allisequallybeautiful，becauseallisequallydivine。"Butbeauty，SenorValdesexplains，existsinthehumanspirit，andisthebeautifuleffectwhichitreceivesfromthetruemeaningofthings；itdoesnotmatterwhatthethingsare，anditisthefunctionoftheartistwhofeelsthiseffecttoimpartittoothers。Imayaddthatthereisnojoyinartexceptthisperceptionofthemeaningofthingsanditscommunication；
　　whenyouhavefeltit，andportrayeditinapoem，asymphony，anovel，astatue，apicture，anedifice，youhavefulfilledthepurposeforwhichyouwerebornanartist。
　　Thereflectionofexteriornatureintheindividualspirit，SenorValdesbelievestobethefundamentalofart。"Tosay，then，thattheartistmustnotcopybutcreateisnonsense，becausehecaninnowisecopy，andinnowisecreate。Hewhosetsdeliberatelyaboutmodifyingnature，showsthathehasnotfeltherbeauty，andthereforecannotmakeothersfeelit。Thepueriledesirewhichsomeartistswithoutgeniusmanifesttogoaboutselectinginnature，notwhatseemstothembeautiful，butwhattheythinkwillseembeautifultoothers，andrejectingwhatmaydispleasethem，ordinarilyproducescoldandinsipidworks。For，insteadofexploringtheillimitablefieldsofreality，theyclingtotheformsinventedbyotherartistswhohavesucceeded，andtheymakestatuesofstatues，poemsofpoems，novelsofnovels。Itisentirelyfalsethatthegreatromantic，symbolic，orclassicpoetsmodifiednature；suchastheyhaveexpressedhertheyfelther；andinthisviewtheyareasmuchrealistsasourselves。Inlikemannerifintherealistictidethatnowbearsusontherearesomespiritswhofeelnatureinanotherway，intheromanticway，ortheclassicway，theywouldnotfalsifyherinexpressingherso。Onlythosefalsifyherwho，withoutfeelingclassicwiseorromanticwise，setaboutbeingclassicorromantic，wearisomelyreproducingthemodelsofformerages；andequallythosewho，withoutsharingthesentimentofrealism，whichnowprevails，forcethemselvestoberealistsmerelytofollowthefashion。"
　　Thepseudo—realists，infact，aretheworseoffenders，tomythinking，fortheysinagainsttheliving；whereasthosewhocontinuetocelebratetheheroicadventuresof"Puss—in—Boots"andthehair—breadthescapesof"TomThumb，"undervariousaliases，onlycastdisrespectupontheimmortalswhohavepassedbeyondthesenoises。
　　XIV。
　　"Theprincipalcause，"ourSpaniardsays，"ofthedecadenceofcontemporaryliteratureisfound，tomythinking，inthevicewhichhasbeenverygraphicallycalledeffectism，ortheitchofawakingatallcostinthereadervividandviolentemotions，whichshalldocredittotheinventionandoriginalityofthewriter。Thisvicehasitsrootsinhumannatureitself，andmoreparticularlyinthatoftheartist；hehasalwayssomethingfeminineinhim，whichtemptshimtocoquetwiththereader，anddisplayqualitiesthathethinkswillastonishhim，aswomenlaughfornoreason，toshowtheirteethwhentheyhavethemwhiteandsmallandeven，orlifttheirdressestoshowtheirfeetwhenthereisnomudinthestreet……Whatmanywritersnowadayswish，istoproduceaneffect，grandandimmediate，toplaythepartofgeniuses。
　　Forthistheyhavelearnedthatitisonlynecessarytowriteexaggeratedworksinanysort，sincethevulgardonotaskthattheyshallbequietlymadetothinkandfeel，butthattheyshallbestartled；andamongthevulgar，ofcourse，Iincludethegreatpartofthosewhowriteliterarycriticism，andwhoconstitutetheworstvulgar，sincetheyteachwhattheydonotknow……Therearemanypersonswhosupposethatthehighestproofanartistcangiveofhisfantasyistheinventionofacomplicatedplot，spicedwithperils，surprises，andsuspenses；andthatanythingelseisthesignofapoorandtepidimagination。Andnotonlypeoplewhoseemcultivated，butarenotso，supposethis，buttherearesensiblepersons，andevensagaciousandintelligentcritics，whosometimesallowthemselvestobehoodwinkedbythedramaticmysteryandthesurprisingandfantasticscenesofanovel。Theyownitisallfalse；buttheyadmiretheimagination，whattheycallthe’power’oftheauthor。Verywell；allIhavetosayisthatthe’power’todazzlewithstrangeincidents，toentertainwithcomplicatedplotsandimpossiblecharacters，nowbelongstosomehundredsofwritersinEurope；whiletherearenotmuchaboveadozenwhoknowhowtointerestwiththeordinaryeventsoflife，andbytheportrayalofcharacterstrulyhuman。
　　Iftheformerisatalent，itmustbeownedthatitismuchcommonerthanthelatter……Ifwearetoratenovelistsaccordingtotheirfecundity，ortherichesoftheirinvention，wemustputAlexanderDumasaboveCervantes。Cervanteswroteanovelwiththesimplestplot，withoutbelyingmuchorlittlethenaturalandlogicalcourseofevents。Thisnovelwhichwascalled’DonQuixote，’isperhapsthegreatestworkofhumanwit。Verywell；thesameCervantes，mischievouslyinfluencedafterwardsbytheideasofthevulgar，whowerethenwhattheyarenowandalwayswillbe，attemptedtopleasethembyaworkgivingalivelyproofofhisinventivetalent，andwrotethe’PersilesandSigismunda，’
　　wherethestrangeincidents，thevividcomplications，thesurprises，thepatheticscenes，succeedoneanothersorapidlyandconstantlythatitreallyfatiguesyou……Butinspiteofthisfloodofinvention，imagine，"saysSeflorValdes，"theplacethatCervanteswouldnowoccupyintheheavenofart，ifhehadneverwritten’DonQuixote，’"butonly’PersilesandSigismund!’
　　FromthepointofviewofmodernEnglishcriticism，whichlikestobemelted，andhorrified，andastonished，andblood—curdled，andgoose—
　　fleshed，nolessthantobe"chipperedup"infiction，SenorValdeswereindeedincorrigible。Notonlydoeshedespisethenovelofcomplicatedplot，andeverywhereprefer’DonQuixote’to’PersilesandSigismunda，’
　　buthehasalivelycontemptforanotherclassofnovelsmuchinfavorwiththegentilitiesofallcountries。Hecallstheirwriters"novelistsoftheworld，"andhesaysthatmorethananyotherstheyhavetherageofeffectism。"Theydonotseektoproduceeffectbynoveltyandinventioninplot……theyseekitincharacter。Forthisendtheybeginbydeliberatelyfalsifyinghumanfeelings，givingthemaparadoxicalappearancecompletelyinadmissible……Lovethatdisguisesitselfashate，incomparableenergyunderthecloakofweakness，virginalinnocenceundertheaspectofmaliceandimpudence，witmasqueradingasfolly，etc。，etc。Bythismeanstheyhopetomakeaneffectofwhichtheyareincapablethroughthedirect，frank，andconscientiousstudyofcharacter。"HementionsOctaveFeuilletasthegreatestoffenderinthissortamongtheFrench，andBulweramongtheEnglish；butDickensisfullofit（Boffinin’OurMutualFriend’willsufficeforallexample），andmostdramaiswitnessoftheresultofthiseffectismwhenallowedfullplay。
　　Butwhat，then，ifheisnotpleasedwithDumas，orwiththeeffectistswhodelightgenteelpeopleatallthetheatres，andinmostoftheromances，what，Iask，willsatisfythisextremelydifficultSpanishgentleman？Hewouldpretend，verylittle。Givehimsimple，lifelikecharacter；thatisallhewants。"Forme，theonlyconditionofcharacteristhatitbehuman，andthatisenough。IfIwishedtoknowwhatwashuman，Ishouldstudyhumanity。"
　　But，SenorValdes，SenorValdes!Donotyouknowthatthissmallconditionofyoursimpliesinitsfulfilmenthardlylessthanthegiftofthewholeearth？Youmerelyaskthatthecharacterportrayedinfictionbehuman；andyousuggestthatthenovelistshouldstudyhumanityifhewouldknowwhetherhispersonagesarehuman。Thisappearstomethecruelestirony，themostsarcasticaffectationofhumility。Ifyouhadaskedthatcharacterinfictionbesuperhuman，orsubterhuman，orpreterhuman，orintrahuman，andhadbiddenthenovelistgo，nottohumanity，butthehumanities，fortheproofofhisexcellence，itwouldhavebeenallveryeasy。Thebooksarefullofthose"creations，"ofeverypattern，ofallages，ofbothsexes；anditissomuchhandiertogetatbooksthantogetatMen；andwhenyouhaveportrayed"passion"
　　insteadoffeeling，andused"power"insteadofcommon—sense，andshownyourselfa"genius"insteadofanartist，theapplauseissopromptandtheglorysocheap，thatreallyanythingelseseemswickedlywastefulofone’stime。Onemaynotmakeone’sreaderenjoyorsuffernobly，butonemaygivehimthekindofpleasurethatarisesfromconjuring，orfromapuppet—show，oramodernstage—play，andleavehim，ifheisanoldfool，inthesortofstuporthatcomesfromhittingthepipe；orifheisayoungfool，halfcrazedwiththespectacleofqualitiesandimpulseslikehisowninanapotheosisofachievementandfruitionfarbeyondanyearthlyexperience。
　　ButapparentlySenorValdeswouldnotthinkthisanygreatartisticresult。"Thingsthatappearugliestinrealitytothespectatorwhoisnotanartist，aretransformedintobeautyandpoetrywhenthespiritoftheartistpossessesitselfofthem。Wealltakeparteverydayinathousanddomesticscenes，everydayweseeathousandpicturesinlife，thatdonotmakeanyimpressionuponus，oriftheymakeanyitisoneofrepugnance；butletthenovelistcome，andwithoutbetrayingthetruth，butpaintingthemastheyappeartohisvision，heproducesamostinterestingwork，whoseperusalenchantsus。Thatwhichinlifeleftusindifferent，orrepelledus，inartdelightsus。Why？Simplybecausetheartisthasmadeusseetheideathatresidesinit。Letnotthenovelists，then，endeavortoaddanythingtoreality，toturnitandtwistit，torestrictit。Sincenaturehasendowedthemwiththispreciousgiftofdiscoveringideasinthings，theirworkwillbebeautifuliftheypainttheseastheyappear。Butiftherealitydoesnotimpressthem，invainwilltheystrivetomaketheirworkimpressothers。"
　　XV。
　　Whichbringsusagain，afterthislongwayabout，toJaneAustenandhernovels，andthattroublesomequestionaboutthem。Shewasgreatandtheywerebeautiful，becausesheandtheywerehonest，anddealtwithnaturenearlyahundredyearsagoasrealismdealswithitto—day。Realismisnothingmoreandnothinglessthanthetruthfultreatmentofmaterial，andJaneAustenwasthefirstandthelastoftheEnglishnoveliststotreatmaterialwithentiretruthfulness。Becauseshedidthis，sheremainsthemostartisticoftheEnglishnovelists，andaloneworthytobematchedwiththegreatScandinavianandSlavicandLatinartists。Itisnotaquestionofintellect，ornotwhollythat。TheEnglishhavemindenough；buttheyhavenottasteenough；or，rather，theirtastehasbeenpervertedbytheirfalsecriticism，whichisbaseduponpersonalpreference，andnotupon，principle；whichinstructsamantothinkthatwhathelikesisgood，insteadofteachinghimfirsttodistinguishwhatisgoodbeforehelikesit。Theartoffiction，asJaneAustenknewit，declinedfromherthroughScott，andBulwer，andDickens，andCharlotteBronte，andThackeray，andevenGeorgeEliot，becausethemaniaofromanticismhadseizeduponallEurope，andthesegreatwriterscouldnotescapethetaintoftheirtime；butithasshownfewsignsofrecoveryinEngland，becauseEnglishcriticism，inthepresenceoftheContinentalmasterpieces，hascontinuedprovincialandspecialandpersonal，andhasexpressedaloveandahatewhichhadtodowiththequalityoftheartistratherthanthecharacterofhiswork。ItwasinevitablethatintheirtimetheEnglishromanticistsshouldtreat，asSenorValdessays，"thebarbarouscustomsoftheMiddleAges，softeninganddistortingthem，asWalterScottandhiskinddid；"thattheyshould"devotethemselvestofalsifyingnature，refiningandsubtilizingsentiment，andmodifyingpsychologyaftertheirownfancy，"likeBulwerandDickens，aswellaslikeRousseauandMadamedeStael，nottomentionBalzac，theworstofallthatsortathisworst。Thiswasthenaturalcourseofthedisease；
　　butitreallyseemsasifitweretheircriticismthatwastoblamefortherest：not，indeed，fortheperformanceofthiswriterorthat，forcriticismcanneveraffecttheactualdoingofathing；butfortheesteeminwhichthiswriterorthatisheldthroughtheperpetuationoffalseideals。TheonlyobserverofEnglishmiddle—classlifesinceJaneAustenworthytobenamedwithherwasnotGeorgeEliot，whowasfirstethicalandthenartistic，whotranscendedherineverythingbuttheformandmethodmostessentialtoart，andtherefellhopelesslybelowher。
　　ItwasAnthonyTrollopewhowasmostlikeherinsimplehonestyandinstinctivetruth，asunphilosophizedasthelightofcommonday；buthewassowarpedfromawholesomeidealastowishattimestobelikeThackeray，andtostandaboutinhisscene，talkingitoverwithhishandsinhispockets，interruptingtheaction，andspoilingtheillusioninwhichalonethetruthofartresides。Mainly，hisinstinctwastoomuchforhisideal，andwithalowviewoflifeinitscivicrelationsandathoroughlybourgeoissoul，heyetproducedworkswhosebeautyissurpassedonlybytheeffectofamorepoeticwriterinthenovelsofThomasHardy。YetifavoteofEnglishcriticismevenatthislateday，whenallContinentalEuropehasthelightofaesthetictruth，couldbetaken，themajorityagainsttheseartistswouldbeoverwhelminglyinfavorofawriterwhohadsolittleartisticsensibility，thatheneverhesitatedonanyoccasion，greatorsmall，tomakeaforayamonghischaracters，andcatchthemuptoshowthemtothereaderandtellhimhowbeautifuloruglytheywere；andcryoutovertheiramazingproperties。
　　"Howfewmaterials，"saysEmerson，"areyetusedbyourarts!Themassofcreaturesandofqualitiesarestillhidandexpectant，"andtobreaknewgroundisstilloneoftheuncommonestandmostheroicofthevirtues。
　　Theartistsarenotalonetoblameforthetimiditythatkeepsthemintheoldfurrowsoftheworn—outfields；mostofthosewhomtheylivetoplease，orlivebypleasing，prefertohavethemremainthere；itwantsrarevirtuetoappreciatewhatisnew，aswellastoinventit；andthe"easythingstounderstand"aretheconventionalthings。ThisiswhytheordinaryEnglishnovel，withitshackneyedplot，scenes，andfigures，ismorecomfortabletotheordinaryAmericanthananAmericannovel，whichdeals，atitsworst，withcomparativelynewinterestsandmotives。Toadjustone’sselftotheenjoymentofthesecostsanintellectualeffort，andanintellectualeffortiswhatnoordinarypersonlikestomake。Itisonlytheextraordinarypersonwhocansay，withEmerson："Iasknotforthegreat，theremote，theromantic……Iembracethecommon；
　　Isitatthefeetofthefamiliarandthelow……Manissurprisedtofindthatthingsneararenotlessbeautifulandwondrousthanthingsremote……Theperceptionoftheworthofthevulgarisfruitfulindiscoveries……Thefoolishmanwondersattheunusual，butthewisemanattheusual……To—dayalwayslooksmeantothethoughtless；butto—dayisakingindisguise……
　　Banksandtariffs，thenewspaperandcaucus，MethodismandUnitarianism，areflatanddulltodullpeople，butrestonthesamefoundationsofwonderasthetownofTroyandthetempleofDelphos。"
　　PerhapsweoughtnottodenytheirtownofTroyandtheirtempleofDelphostothedullpeople；butifweought，andifwedid，theywouldstillinsistuponhavingthem。AnEnglishnovel，fulloftitlesandrank，isapparentlyessentialtothehappinessofsuchpeople；theirweakandchildishimaginationisathomeinitsfamiliarenvironment；theyknowwhattheyarereading；thefactthatitishashmanytimeswarmedoverreassuresthem；whereasastoryofourownlife，honestlystudiedandfaithfullyrepresented，troublesthemwithvariedmisgiving。Theyarenotsurethatitisliterature；theydonotfeelthatitisgoodsociety；itscharacters，soliketheirown，strikethemascommonplace；
　　theysaytheydonotwishtoknowsuchpeople。
　　EverythinginEnglandisappreciabletotheliterarysense，whilethesenseoftheliteraryworthofthingsinAmericaisstillfaintandweakwithmostpeople，withthevastmajoritywho"askforthegreat，theremote，theromantic，"whocannot"embracethecommon，"cannot"sitatthefeetofthefamiliarandthelow，"inthegoodcompanyofEmerson。
　　Weareall，ornearlyall，strugglingtobedistinguishedfromthemass，andtobesetapartinselectcirclesandupperclasseslikethefinepeoplewehavereadabout。Wearereallyamixtureoftheplebeianingredientsofthewholeworld；butthatisnotbad；ourvulgarityconsistsintryingtoignore"theworthofthevulgar，"inbelievingthatthesuperfineisbetter。
　　XVII。
　　AnotherSpanishnovelistofourday，whosebookshavegivenmegreatpleasure，issofarfrombeingofthesamemindofSenorValdesaboutfictionthatheboldlydeclareshimself，intheprefacetohis’PepitaXimenez，’"anadvocateofartforart’ssake。"Iheartilyagreewithhimthatitis"inverybadtaste，alwaysimpertinentandoftenpedantic，toattempttoprovethesesbywritingstories，"andyetifitistruethat"theobjectofanovelshouldbetocharmthroughafaithfulrepresentationofhumanactionsandhumanpassions，andtocreatebythisfidelitytonatureabeautifulwork，"andif"thecreationofthebeautiful"issolely"theobjectofart，"itneverwasandnevercanbesolelyitseffectaslongasmenaremenandwomenarewomen。Ifevertheraceisresolvedintoabstractqualities，perhapsthismayhappen；
　　buttillthenthefinesteffectofthe"beautiful"willbeethicalandnotaestheticmerely。Moralitypenetratesallthings，itisthesoulofallthings。Beautymayclotheiton，whetheritisfalsemoralityandanevilsoul，orwhetheritistrueandagoodsoul。Intheonecasethebeautywillcorrupt，andintheotheritwilledify，andineithercaseitwillinfalliblyandinevitablyhaveanethicaleffect，nowlight，nowgrave，accordingasthethingislightorgrave。Wecannotescapefromthis；weareshutuptoitbytheveryconditionsofourbeing。Forthemoment，itischarmingtohaveastoryendhappily，butafteronehaslivedacertainnumberofyears，andreadacertainnumberofnovels，itisnottheprosperousoradversefortuneofthecharactersthataffectsone，butthegoodorbadfaithofthenovelistindealingwiththem。
　　Willheplayusfalseorwillhebetrueintheoperationofthisorthatprincipleinvolved？Icannotholdhimtolessaccountthanthis：hemustbetruetowhatlifehastaughtmeisthetruth，andafterthathemayletanyfatebetidehispeople；thenovelendswellthatendsfaithfully。
　　Thegreaterhispower，thegreaterhisresponsibilitybeforethehumanconscience，whichisGodinus。Butmencomeandgo，andwhattheydointheirlimitedphysicallivesisofcomparativelylittlemoment；itiswhattheysaythatreallysurvivestoblessortoban；anditistheevilwhichWordsworthfeltinGoethe，thatmustlongsurvivehim。Thereisakindofthing——akindofmetaphysicallieagainstrighteousnessandcommon—sensewhichiscalledtheUnmoral；andissupposedtobedifferentfromtheImmoral；anditisthiswhichissupposedtocovermanyofthefaultsofGoethe。His’WilhelmMeister，’forexample，issofarremovedwithintheregionofthe"ideal"thatitsunprincipled，itsevilprincipled，tenorinregardtowomenispronounced"unmorality，"andisthereforeinferablyharmless。ButnostudyofGoetheiscompletewithoutsomerecognitionofthequalitieswhichcausedWordsworthtohurlthebookacrosstheroomwithanindignantperceptionofitssensuality。
　　ForthesinsofhislifeGoethewasperhapssufficientlypunishedinhislifebyhisfinalmarriagewithChristiane；forthesinsofhisliteraturemanyothersmustsuffer。Idonotdespair，however，ofthedaywhenthepoorhonestherdofmankindshallgiveuniversalutterancetotheuniversalinstinct，andshallholdselfishpowerinpolitics，inart，inreligion，forthedevilthatitis；whenneitheritscrazypridenoritsamusingvanityshallbeflatteredbythepuissanceofthe"geniuses"whohaveforgottentheirdutytothecommonweakness，andhaveabusedittotheirownglory。Inthatdayweshallshudderatmanymonstersofpassion，ofself—indulgence，ofheartlessness，whomwestillmoreorlessopenlyadorefortheir"genius，"andshallaccountnomanworshipfulwhomwedonotfeelandknowtobegood。Thespectacleofstrenuousachievementwillthennotdazzleormislead；itwillnotsanctifyorpalliateiniquity；itwillonlyrenderitthemorehideousandpitiable。
　　Infact，thewholebeliefin"genius"seemstomeratheramischievoussuperstition，andifnotmischievousalways，stillalwaysasuperstition。
　　Fromtheaccountofthosewhotalkaboutit，"genius"appearstobetheattributeofasortofverypotentandadmirableprodigywhichGodhascreatedoutofthecommonfortheastonishmentandconfusionoftherestofuspoorhumanbeings。Butdotheyreallybelieveit？DotheymeananythingmoreorlessthantheMasterywhichcomestoanymanaccordingtohispowersanddiligenceinanydirection？Ifnot，whynothaveanendofthesuperstitionwhichhascausedourracetogoonsolongwritingandreadingofthedifferencebetweentalentandgenius？Itiswithinthememoryofmiddle—agedmenthattheMaelstromexistedinthebeliefofthegeographers，butwenowgetonperfectlywellwithoutit；
　　andwhyshouldwestillsufferunderthenotionof"genius"whichkeepssomanypoorlittleauthorlingstremblinginquestionwhethertheyhaveit，orhaveonly"talent"？
　　Oneofthegreatestcaptainswhoeverlived[GeneralU。S。GrantD。W。]
　　——aplain，taciturn，unaffectedsoul——hastoldthestoryofhiswonderfullifeasunconsciouslyasifitwereallanevery—dayaffair，notdifferentfromotherlives，exceptasagreatexigencyofthehumanracegaveitimportance。Sofarasheknew，hehadnonaturalaptitudeforarms，andcertainlynoloveforthecalling。ButhewenttoWestPointbecause，ashequaintlytellsus，hisfather"ratherthoughthewouldgo"；andhefoughtthroughonewarwithcredit，butwithoutglory。Theotherwar，whichwastoclaimhispowersandhisscience，foundhimengagedinthemostprosaicofpeacefuloccupations；beobeyeditscallbecausehelovedhiscountry，andnotbecausehelovedwar。Alltheworldknowstherest，andalltheworldknowsthatgreatermilitarymasteryhasnotbeenshownthanhiscampaignsillustrated。Hedoesnotsaythisinhisbook，orhintitinanyway；hegivesyouthefacts，andleavesthemwithyou。ButthePersonalMemoirsofU。S。Grant，writtenassimplyandstraightforwardlyashisbattleswerefought，couchedinthemostunpretentiousphrase，withneveratouchofgrandiosityorattitudinizing，familiar，homelyinstyle，formagreatpieceofliterature，becausegreatliteratureisnothingmorenorlessthantheclearexpressionofmindsthathavesomethinggreatinthem，whetherreligion，orbeauty，ordeepexperience。ProbablyGrantwouldhavesaidthathehadnomorevocationtoliteraturethanhehadtowar。Heowns，withsomethinglikecontrition，thatheusedtoreadagreatmanynovels；
　　butwethinkhewouldhavedeniedthesoftimpeachmentofliterarypower。
　　Nevertheless，heshowsit，asheshowedmilitarypower，unexpectedly，almostmiraculously。Alltheconditionshere，then，arefavorabletosupposingacaseof"genius。"Yetwhowouldtriflewiththatgreatheiroffame，thatplain，grand，manlysoul，byspeakingof"genius"andhimtogether？WhocallsWashingtonagenius？orFranklin，orBismarck，orCavour，orColumbus，orLuther，orDarwin，orLincoln？Werethesemensecond—rateintheirway？Oris"genius"thatindefinable，preternaturalquality，sacredtothemusicians，thepainters，thesculptors，theactors，thepoets，andaboveall，thepoets？Orisitthatthepoets，havingmostofthesayinthisworld，abuseittoshamelessself—
　　flattery，andwouldpersuadetheinarticulateclassesthattheyareonpeculiartermsofconfidencewiththedeity？
　　XVIII。
　　InGeneralGrant’sconfessionofnovel—readingthereisasortofinferencethathehadwastedhistime，orelsetheguiltyconscienceofthenovelistinmeimaginessuchaninference。Buthoweverthismaybe，thereiscertainlynoquestionconcerningtheintentionofacorrespondentwhooncewrotetomeafterreadingsomeratherbraggingclaimsIhadmadeforfictionasamentalandmoralmeans。"Ihaveverygravedoubts，"hesaid，"astothewholelistofmagnificentthingsthatyouseemtothinknovelshavedonefortherace，andcanwitnessinmyselfmanyevilthingswhichtheyhavedoneforme。Whateverinmymentalmake—upiswildandvisionary，whateverisuntrue，whateverisinjurious，Icantracetotheperusalofsomeworkoffiction。Worsethanthat，theybegetsuchhigh—strungandsupersensitiveideasoflifethatplainindustryandploddingperseverancearedespised，andmatter—
　　of—factpoverty，orevery—day，commonplacedistress，meetswithnosympathy，ifindeednoticedatall，byonewhohasweptovertheimpossiblyaccumulatedsufferingsofsomegaudyheroorheroine。"
　　IamnotsurethatIhadthecontroversywiththiscorrespondentthatheseemedtosuppose；butnovelsarenowsofullyacceptedbyeveryonepretendingtocultivatedtasteandtheyreallyformthewholeintellectuallifeofsuchimmensenumbersofpeople，withoutquestionoftheirinfluence，goodorbad，uponthemindthatitisrefreshingtohavethemfranklydenounced，andtobeinvitedtoreviseone’sideasandfeelingsinregardtothem。Alittlehonesty，oragreatdealofhonesty，inthisquestwilldothenovel，aswehopeyettohaveit，andaswehavealreadybeguntohaveit，noharm；andformyownpartIwillconfessthatIbelievefictioninthepasttohavebeenlargelyinjurious，asIbelievethestage—playtobestillalmostwhollyinjurious，throughitsfalsehood，itsfolly，itswantonness，anditsaimlessness。Itmaybesafelyassumedthatmostofthenovel—readingwhichpeoplefancyanintellectualpastimeistheemptiestdissipation，hardlymorerelatedtothoughtorthewholesomeexerciseofthementalfacultiesthanopium—eating；ineithercasethebrainisdrugged，andleftweakerandcrazierforthedebauch。Ifthismaybecalledthenegativeresultofthefictionhabit，thepositiveinjurythatmostnovelsworkisbynomeanssoeasilytobemeasuredinthecaseofyoungmenwhosecharactertheyhelpsomuchtoformordeform，andthewomenofallageswhomtheykeepsomuchinignoranceoftheworldtheymisrepresent。Grownmenhavelittleharmfromthem，butintheothercases，whicharethevastmajority，theyhurtbecausetheyarenottrue——
　　notbecausetheyaremalevolent，butbecausetheyareidleliesabouthumannatureandthesocialfabric，whichitbehoovesustoknowandtounderstand，thatwemaydealjustlywithourselvesandwithoneanother。
　　Oneneednotgosofarasourcorrespondent，andtracetothefictionhabit"whateveriswildandvisionary，whateverisuntrue，whateverisinjurious，"inone’slife；badasthefictionhabitisitisprobablynotresponsibleforthewholesumofevilinitsvictims，andIbelievethatifthereaderwillusecareinchoosingfromthisfungus—growthwithwhichthefieldsofliteratureteemeveryday，hemaynourishhimselfaswiththetruemushroom，atnoriskfromthepoisonousspecies。
　　Thetestsareveryplainandsimple，andtheyareperfectlyinfallible。
　　Ifanovelflattersthepassions，andexaltsthemabovetheprinciples，itispoisonous；itmaynotkill，butitwillcertainlyinjure；andthistestwillaloneexcludeanentireclassoffiction，ofwhicheminentexampleswilloccurtoall。Thenthewholespawnofso—calledunmoralromances，whichimagineaworldwherethesinsofsenseareunvisitedbythepenaltiesfollowing，swiftorslow，butinexorablysure，intherealworld，aredeadlypoison：thesedokill。The，novelsthatmerelytickleourprejudicesandlullourjudgment，orthatcoddleoursensibilitiesorpamperourgrossappetiteforthemarvellous，arenotsofatal，buttheyareinnutritious，andclogthesoulwithunwholesomevaporsofallkinds。
　　Nodoubttheytoohelptoweakenthemoralfibre，andmaketheirreadersindifferentto"ploddingperseveranceandplainindustry，"andto"matter—of—factpovertyandcommonplacedistress。"
　　Withouttakingthemtooseriously，itstillmustbeownedthatthe"gaudyheroandheroine"aretoblameforagreatdealofharmintheworld。
　　Thatheroinelongtaughtbyexample，ifnotprecept，thatLove，orthepassionorfancyshemistookforit，wasthechiefinterestofalife，whichisreallyconcernedwithagreatmanyotherthings；thatitwaslastinginthewaysheknewit；thatitwasworthyofeverysacrifice，andwasaltogetherafinerthingthanprudence，obedience，reason；thatlovealonewasgloriousandbeautiful，andtheseweremeananduglyincomparisonwithit。MorelatelyshehasbeguntoidolizeandillustrateDuty，andsheishardlylessmischievousinthisnewrole，opposingduty，asshedidlove，toprudence，obedience，andreason。Thestockhero，whom，ifwemethim，wecouldnotfailtoseewasamostdeplorableperson，hasundoubtedlyimposedhimselfuponthevictimsofthefictionhabitasadmirable。Withhim，too，lovewasandisthegreataffair，whetherinitsoldromanticphaseofchivalrousachievementormanifoldsufferingforlove’ssake，oritsmorerecentdevelopmentofthe"virile，"thebullying，andthebrutal，oritsstillmorerecentagoniesofself—sacrifice，asidleanduselessasthemoralexperiencesoftheinsaneasylums。Withhisvainposturingsandhisridiculoussplendorheisreallyapaintedbarbarian，thepreyofhispassionsandhisdelusions，fullofobsoleteideals，andthemotivesandethicsofasavage，whichtheguiltyauthorofhisbeingdoeshisbest——orhisworst——inspiteofhisownlightandknowledge，tofoistuponthereaderassomethinggenerousandnoble。Iamnotmerelybringingthischargeagainstthatsortoffictionwhichisbeneathliteratureandoutsideofit，"theshorelesslakesofditch—water，"whosemiasmsfilltheairbelowtheempyreanwherethegreatonessit；butIamaccusingtheworkofsomeofthemostfamous，whohave，inthisinstanceorinthat，sinnedagainstthetruth，whichcanaloneexaltandpurifymen。Idonotsaythattheyhaveconstantlydoneso，orevencommonlydoneso；butthattheyhavedonesoatallmarksthemasofthepast，tobereadwiththeduehistoricalallowancefortheirepochandtheirconditions。ForIbelievethat，whileinferiorwriterswillandmustcontinuetoimitatethemintheirfoiblesandtheirerrors，noonehereafterwillbeabletoachievegreatnesswhoisfalsetohumanity，eitherinitsfactsoritsduties。
　　Thelightofcivilizationhasalreadybrokenevenuponthenovel，andnoconscientiousmancannowsetaboutpaintinganimageoflifewithoutperpetualquestionoftheverityofhiswork，andwithoutfeelingboundtodistinguishsoclearlythatnoreaderofhismaybemisled，betweenwhatisrightandwhatiswrong，whatisnobleandwhatisbase，whatishealthandwhatisperdition，intheactionsandthecharactersheportrays。
　　Thefictionthataimsmerelytoentertain——thefictionthatistoseriousfictionastheopera—bouffe，theballet，andthepantomimearetothetruedrama——neednotfeeltheburdenofthisobligationsodeeply；butevensuchfictionwillnotbegayortrivialtoanyreader’shurt，andcriticismshouldholdittoaccountifitpassesfrompaintingtoteachingfolly。
　　IconfessthatIdonotcaretojudgeanyworkoftheimaginationwithoutfirstofallapplyingthistesttoit。Wemustaskourselvesbeforeweaskanythingelse，Isittrue？——truetothemotives，theimpulses，theprinciplesthatshapethelifeofactualmenandwomen？Thistruth，whichnecessarilyincludesthehighestmoralityandthehighestartistry—
　　thistruthgiven，thebookcannotbewickedandcannotbeweak；andwithoutitallgracesofstyleandfeatsofinventionandcunningofconstructionaresomanysuperfluitiesofnaughtiness。Itiswellforthetruthtohaveallthese，andshineinthem，butforfalsehoodtheyaremerelymeretricious，thebedizenmentofthewanton；theyatonefornothing，theycountfornothing。Butinfacttheycomenaturallyoftruth，andgraceitwithoutsolicitation；theyareaddeduntoit。InthewholerangeoffictionIknowofnotruepictureoflife——thatis，ofhumannature——whichisnotalsoamasterpieceofliterature，fullofdivineandnaturalbeauty。Itmayhavenotouchortintofthisspecialcivilizationorofthat；ithadbetterhavethislocalcolorwellascertained；butthetruthisdeeperandfinerthanaspects，andifthebookistruetowhatmenandwomenknowofoneanother’ssoulsitwillbetrueenough，anditwillbegreatandbeautiful。Itistheconceptionofliteratureassomethingapartfromlife，superfinelyaloof，whichmakesitreallyunimportanttothegreatmassofmankind，withoutamessageorameaningforthem；anditisthenotionthatanovelmaybefalseinitsportrayalofcausesandeffectsthatmakesliteraryartcontemptibleeventothosewhomitamuses，thatforbidsthemtoregardthenovelistasaseriousorright—mindedperson。Iftheydonotinsomemomentofindignationcryoutagainstallnovels，asmycorrespondentdoes，theyremainbesottedinthefumeofthedelusionspurveyedtothem，withnohigherfeelingfortheauthorthansuchmaudlinaffectionasthefrequenterofanopium—jointperhapsknowsfortheattendantwhofillshispipewiththedrug。
　　Or，asinthecaseofanothercorrespondentwhowritesthatinhisyouthhe"readagreatmanynovels，butalwaysregardeditasanamusement，likehorseracingandcard—playing，"forwhichhehadnotimewhenheenteredupontheseriousbusinessoflife，itrendersthemmerelycontemptuous。Hisviewofthemattermaybecommendedtothebrotherhoodandsisterhoodofnovelistsasfullofwholesomeifbittersuggestion；
　　andIurgethemnottodismissitwithhighliteraryscornasthatofsomeBoeotiandulltothebeautyofart。Refuseitaswemay，itisstillthefeelingofthevastmajorityofpeopleforwhomlifeisearnest，andwhofindonlyadistortedandmisleadinglikenessofitinourbooks。Wemayfoldourselvesinourscholars’gowns，andclosethedoorsofourstudies，andaffecttodespisethisrudevoice；butwecannotshutitout。Itcomestousfromwherevermenareatwork，fromwherevertheyaretrulyliving，andaccusesusofunfaithfulness，oftriviality，ofmerestage—play；andnoneofuscanescapeconvictionexceptheprovehimselfworthyofhistime——atimeinwhichthegreatmastershavebroughtliteraturebacktolife，andfilleditsebbingveinswiththeredtidesofreality。Wecannotallequalthem；weneednotcopythem；butwecanallgotothesourcesoftheirinspirationandtheirpower；andtodrawfromthesenooneneedgofar——nooneneedreallygooutofhimself。
　　Fiftyyearsago，Carlyle，inwhomthetruthwasalwaysalive，butinwhomitwasthenunpervertedbysuffering，bycelebrity，andbydespair，wroteinhisstudyofDiderot："Wereitnotreasonabletoprophesythatthisexceedinggreatmultitudeofnovel—writersandsuchlikemust，inanewgeneration，graduallydooneoftwothings：eitherretireintothenurseries，andworkforchildren，minors，andsemi—fatuouspersonsofbothsexes，orelse，whatwerefarbetter，sweeptheirnovel—fabricintothedust—cart，andbetakethemselveswithsuchfacultyastheyhavetounderstandandrecordwhatistrue，ofwhichsurelythereis，andwillforeverbe，awholeinfinitudeunknowntousofinfiniteimportancetous？Poetry，itwillmoreandmorecometobeunderstood，isnothingbuthigherknowledge；andtheonlygenuineRomance（forgrownpersons），Reality。"
　　If，afterhalfacentury，fictionstillmainlyworksfor"children，minors，andsemi—fatuouspersonsofbothsexes，"itisneverthelessoneofthehopefulestsignsoftheworld’sprogressthatithasbeguntoworkfor"grownpersons，"andifnotexactlyinthewaythatCarlylemighthavesolelyintendedinurgingitswriterstocompilememoirsinsteadofbuildingthe"novel—fabric，"stillithas，inthehighestandwidestsense，alreadymadeRealityitsRomance。Icannotjudgeit，Idonotevencareforit，exceptasithasdonethis；andIcanhardlyconceiveofaliteraryself—respectinthesedayscompatiblewiththeoldtradeofmake—believe，withtheproductionofthekindoffictionwhichistoomuchhonoredbyclassificationwithcard—playingandhorse—racing。Butletfictionceasetolieaboutlife；letitportraymenandwomenastheyare，actuatedbythemotivesandthepassionsinthemeasureweallknow；
　　letitleaveoffpaintingdollsandworkingthembyspringsandwires；
　　letitshowthedifferentinterestsintheirtrueproportions；letitforbeartopreachprideandrevenge，follyandinsanity，egotismandprejudice，butfranklyowntheseforwhattheyare，inwhateverfiguresandoccasionstheyappear；letitnotputonfineliteraryairs；letitspeakthedialect，thelanguage，thatmostAmericansknow——thelanguageofunaffectedpeopleeverywhere——andtherecanbenodoubtofanunlimitedfuture，notonlyofdelightfulnessbutofusefulness，forit。
　　XIX。
　　ThisiswhatIsayinmyseverermoods，butatothertimesIknowthat，ofcourse，nooneisgoingtoholdallfictiontosuchstrictaccount。
　　Thereisagreatdealofitwhichmaybeverywelllefttoamuseus，ifitcan，whenwearesickorwhenwearesilly，andIamnotinclinedtodespiseitintheperformanceofthisoffice。Or，ifpeoplefindpleasureinhavingtheirbloodcurdledforthesakeofhavingituncurdledagainattheendofthebook，Iwouldnotinterferewiththeiramusement，thoughIdonotdesireit。
　　Thereisacertaindemandinprimitivenaturesforthekindoffictionthatdoesthis，andtheauthorofitisusuallyveryproudofit。Thekindofnovelshelikes，andlikestowrite，areintendedtotakehisreader’smind，orwhatthatreaderwouldprobablycallhismind，offhimself；theymakeoneforgetlifeandallitscaresandduties；theyarenotintheleastlikethenovelswhichmakeyouthinkofthese，andshameyouintoatleastwishingtobeahelpfullerandwholesomercreaturethanyouare。Nosordiddetailsofverityhere，ifyouplease；nowretchedbeinghumblyandweaklystrugglingtodorightandtobetrue，sufferingforhisfolliesandhissins，tastingjoyonlythroughthemortificationofself，andinthehelpofothers；nothingofallthis，butagreat，whirlingsplendorofperilandachievement，awildsceneofheroicadventureandofemotionalgroundandloftytumbling，withastage"picture"atthefallofthecurtain，andallthegoodcharactersinarow，theirlefthandspressedupontheirhearts，andkissingtheirrighthandstotheaudience，intheoldwaythathasalwayscharmedandalwayswillcharm，Heavenblessit!
　　Inaworldwhichlovesthespectaculardramaandthepracticallybloodlesssportsofthemodernamphitheatretheauthorofthissortoffictionhashisplace，andwemustnotseektodestroyhimbecausehefanciesitthefirstplace。Infact，itisaconditionofhisdoingwellthekindofworkhedoesthatheshouldthinkitimportant，thatheshouldbelieveinhimself；andIwouldnottakeawaythisfaithofhis，evenifIcould。AsIsay，hehashisplace。Theworldoftenlikestoforgetitself，andhebringsonhisheroes，hisgoblins，hisfeats，hishair—breadthescapes，hisimminentdeadlybreaches，andthepoor，foolish，childisholdworldrenewstheexcitementsofitsnonage。
　　Perhapsthisisaworkofbeneficence；andperhapsourbraveconjurerinhiscabalisticrobeisaphilanthropistindisguise。
　　WithinthelastfourorfiveyearstherehasbeenthroughoutthewholeEnglish—speakingworldwhatMr。GrantAllenhappilycallsthe"recrudescence"oftasteinfiction。TheeffectislessnoticeableinAmericathaninEngland，whereeffetePhilistinism，consciousofthedry—
　　rotofitsconventionality，iscastingaboutforcureinanythingthatiswildandstrangeandunlikeitself。Buttherecrudescencehasbeenevidentenoughhere，too；andawriterinoneofourperiodicalshasputintoconvenientshapesomecommonerrorsconcerningpopularityasatestofmeritinabook。Heseemstothink，forinstance，thattheloveofthemarvellousandimpossibleinfiction，whichisshownnotonlyby"theunthinkingmultitudeclamoringaboutthebookcounters"forfictionofthatsort，butbythe"literaryelect"also，isproofofsomeprincipleinhumannaturewhichoughttoberespectedaswellastolerated。Heseemstobelievethattheebullitionofthispassionformsasufficientanswertothosewhosaythatartshouldrepresentlife，andthattheartwhichmisrepresentslifeisfeebleartandfalseart。Butitappearstomethatalittlecarefullerreasoningfromalittlecloserinspectionofthefactswouldnothavebroughthimtotheseconclusions。
　　Inthefirstplace，Idoubtverymuchwhetherthe"literaryelect"havebeenfascinatedingreatnumbersbythefictioninquestion；butifI
　　supposedthemtohavereallyfallenunderthatspell，Ishouldstillbeabletoaccountfortheirfondnessandthatofthe"unthinkingmultitude"
　　uponthesamegrounds，withouthonoringeitherverymuch。Itisthehabitofhastycasuiststoregardcivilizationasinclusiveofallthemembersofacivilizedcommunity；butthisisapalpableerror。Manypersonsineverycivilizedcommunityliveinastateofmoreorlessevidentsavagerywithrespecttotheirhabits，theirmorals，andtheirpropensities；andtheyareheldincheckonlybythelaw。Manymoreyetaresavageintheirtastes，astheyshowbythedecorationoftheirhousesandpersons，andbytheirchoiceofbooksandpictures；andthesearelefttotherestraintsofpublicopinion。Infact，nomancanbesaidtobethoroughlycivilizedoralwayscivilized；themostrefined，themostenlightenedpersonhashismoods，hismomentsofbarbarism，inwhichthebest，oreventhesecondbest，shallnotpleasehim。Atthesetimestheletteredandtheunletteredarealikeprimitiveandtheirgratificationsareofthesamesimplesort；thehighlycultivatedpersonmaythenlikemelodrama，impossiblefiction，andthetrapezeassincerelyandthoroughlyasaboyofthirteenorabarbarianofanyage。
　　Idonotblamehimforthesemoods；Ifindsomethinginstructiveandinterestinginthem；butiftheylastinglyestablishedthemselvesinhim，Icouldnothelpdeploringthestateofthatperson。Noonecanreallythinkthatthe"literaryelect，"whoaresaidtohavejoinedthe"unthinkingmultitude"inclamoringaboutthebookcountersfortheromancesofno—man’sland，takethesamekindofpleasureinthemastheydoinanovelofTolstoy，Tourguenief，GeorgeEliot，Thackeray，Balzac，Manzoni，Hawthorne，Mr。HenryJames，Mr。ThomasHardy，SenorPalacioValdes，orevenWalterScott。Theyhavejoinedthe"unthinkingmultitude，"perhapsbecausetheyaretiredofthinking，andexpecttofindrelaxationinfeeling——feelingcrudely，grossly，merely。Foronceinawaythereisnogreatharminthis；perhapsnoharmatall。Itisperfectlynatural；letthemhavetheirinnocentdebauch。Butletusdistinguish，forourownsakeandguidance，betweenthedifferentkindsofthingsthatpleasethesamekindofpeople；betweenthethingsthatpleasethemhabituallyandthosethatpleasethemoccasionally；betweenthepleasuresthatedifythemandthosethatamusethem。Otherwiseweshallbeindangerofbecomingpermanentlypartofthe"unthinkingmultitude，"andofremainingpuerile，primitive，savage。Weshallbesoinmoodsandatmoments；butletusnotfancythatthosearehighmoodsorfortunatemoments。Iftheyareharmless，thatisthemostthatcanbesaidforthem。Theyarelapsesfromwhichwecanperhapsgoforwardmorevigorously；buteventhisisnotcertain。
　　Myownphilosophyofthematter，however，wouldnotbringmetoprohibitionofsuchliteraryamusementsasthewriterquotedseemstofindsignificantofagrowingindifferencetotruthandsanityinfiction。Oncemore，Isay，theseamusementshavetheirplace，asthecircushas，andtheburlesqueandnegrominstrelsy，andtheballet，andprestidigitation。Nooneoftheseistobedespisedinitsplace；butwehadbetterunderstandthatitisnotthehighestplace，andthatitishardlyanintellectualdelight。Thelapseofallthe"literaryelect"
　　intheworldcouldnotdignifyunreality；andtheirpresentmood，ifitexists，isofnomoreweightagainstthatbeautyinliteraturewhichcomesfromtruthalone，andnevercancomefromanythingelse，thanthepermanentstateofthe"unthinkingmultitude。"
　　Yetevenasregardsthe"unthinkingmultitude，"IbelieveIamnotabletotaketheattitudeofthewriterIhavequoted。IamafraidthatI
　　respectthemmorethanhewouldliketohaveme，thoughIcannotalwaysrespecttheirtaste，anymorethanthatofthe"literaryelect。"
　　Irespectthemfortheirgoodsenseinmostpracticalmatters；fortheirlaborious，honestlives；fortheirkindness，theirgood—will；forthataspirationtowardssomethingbetterthanthemselveswhichseemstostir，howeverdumbly，ineveryhumanbreastnotabandonedtoliteraryprideorotherformsofself—righteousness。Ifindeverymaninteresting，whetherhethinksorunthinks，whetherheissavageorcivilized；forthisreasonIcannotthankthenovelistwhoteachesusnottoknowbuttounknowourkind。YetIshouldbynomeansholdhimtosuchstrictaccountasEmerson，whofelttheabsenceofthebestmotive，eveninthegreatestofthemasters，whenhesaidofShakespearethat，afterall，hewasonlymasteroftherevels。Thejudgmentissosevere，evenwiththepraisewhichprecedesit，thatonewincesunderit；andifoneisstillyoung，withtheworldgaybeforehim，andlifefullofjoyouspromise，oneisapttoask，defiantly，Well，whatisbetterthanbeingsuchamasteroftherevelsasShakespearewas？Leteachjudgeforhimself。Totheheartagainofseriousyouth，uncontaminateandexigentofidealgood，itmustalwaysbeagriefthatthegreatmastersseemsooftentohavebeenwillingtoamusetheleisureandvacancyofmeanermen，andleavetheirmissiontothesoulbutpartiallyfulfilled。This，perhaps，waswhatEmersonhadinmind；andifhehaditinmindofShakespeare，whogaveus，withhishistoriesandcomediesandproblems，suchasearchinghomilyas"Macbeth，"onefeelsthathescarcelyrecognizedthelimitationsofthedramatist’sart。Fewconsciences，attimes，seemsoenlightenedasthatofthispersonallyunknownperson，sowithdrawnintohiswork，andsolosttotheintensestcuriosityofafter—time；atothertimesheseemsmerelyElizabethaninhiscoarseness，hiscourtliness，hisimperfectsympathy。
　　XX。
　　Ofthefinerkindsofromance，asdistinguishedfromthenovel，Iwouldevenencouragethewriting，thoughitisoneofthehardconditionsofromancethatitspersonagesstartingwitha’partipris’canrarelybecharacterswithalivinggrowth，butareapttobetypes，limitedtotheexpressionofoneprinciple，simple，elemental，lackingtheGod—givencomplexityofmotivewhichwefindinallthehumanbeingsweknow。
　　Hawthorne，thegreatmasteroftheromance，hadtheinsightandthepowertocreateitanewasakindinfiction；thoughIamnotsurethat’TheScarletLetter’andthe’BlithedaleRomance’arenot，strictlyspeaking，novelsratherthanromances。They，donotplaywithsomeoldsuperstitionlongoutgrown，andtheydonotinventanewsuperstitiontoplaywith，butdealwiththingsvitalineveryone’spulse。Iamnotsayingthatwhatmaybecalledthefantasticromance——theromancethatdescendsfrom’Frankenstein’ratherthan’TheScarletLetter’——oughtnottobe。Onthecontrary，Ishouldgrievetoloseit，asIshouldgrievetolosethepantomimeorthecomicopera，ormanyothergracefulthingsthatamusethepassinghour，andhelpustoliveagreeablyinaworldwheremenactuallysin，suffer，anddie。Butitbelongstothedecorativearts，andthoughithasahighplaceamongthem，itcannotberankedwiththeworksoftheimagination——theworksthatrepresentandbodyforthhumanexperience。Itsingenuity，canalwaysaffordarefinedpleasure，anditcanoften，atsomerisktoitself，conveyavaluabletruth。
　　Perhapsthewholeregionofhistoricalromancemightbereopenedwithadvantagetoreadersandwriterswhocannotbeartobebroughtfacetofacewithhumannature，butrequirethehazeofdistanceorafarperspective，inwhichallthedisagreeabledetailsshallbelost。Thereisnogoodreasonwhytheseharmlesspeopleshouldnotbeamused，ortheirlittlepreferencesindulged。
　　Buthere，again，Ihavemymodestdoubts，somerecentinstancesaresofatuous，asfarastheportrayalofcharactergoes，thoughIfindthemadmirablycontrivedinsomerespects。WhenIhaveownedtheexcellenceofthestagingineveryrespect，andtheconsciencewithwhichthecarpenter（asthetheatricalfolkssay）hasdonehiswork，Iamattheendofmypraises。Thepeopleaffectmelikepersonsofourgenerationmadeupfortheparts；welltrained，wellcostumed，butactors，andalmostamateurs。Theyhavethequalitythatmakesthehistrionicsofamateursendurable；theyareladiesandgentlemen；theworst，thewickedestofthem，isaladyorgentlemanbehindthescene。
　　Yet，nodoubtitiswellthatthereshouldbeareversiontotheearliertypesofthinkingandfeeling，toearlierwaysoflookingathumannature，andIwillnotaltogetherrefusethepleasureofferedmebythepoeticromancerorthehistoricalromancerbecauseIfindmypleasurechieflyinTolstoyandValdesandThomasHardyandTourguenief，andBalzacathisbest。
　　XXI。
　　ItusedtobeoneofthedisadvantagesofthepracticeofromanceinAmerica，whichHawthornemoreorlesswhimsicallylamented，thatthereweresofewshadowsandinequalitiesinourbroadlevelofprosperity；
　　anditisoneofthereflectionssuggestedbyDostoievsky’snovel，’TheCrimeandthePunishment，’thatwhoeverstruckanotesoprofoundlytragicinAmericanfictionwoulddoafalseandmistakenthing——asfalseandasmistakeninitswayasdealinginAmericanfictionwithcertainnuditieswhichtheLatinpeoplesseemtofindedifying。Whatevertheirdeserts，veryfewAmericannovelistshavebeenledouttobeshot，orfinallyexiledtotherigorsofawinteratDuluth；andinalandwherejourneymencarpentersandplumbersstrikeforfourdollarsadaythesumofhungerandcoldiscomparativelysmall，andthewrongfromclasstoclasshasbeenalmostinappreciable，thoughallthisischangingfortheworse。Ournovelists，therefore，concernthemselveswiththemoresmilingaspectsoflife，whicharethemoreAmerican，andseektheuniversalintheindividualratherthanthesocialinterests。Itisworthwhile，evenattheriskofbeingcalledcommonplace，tobetruetoourwell—to—doactualities；theverypassionsthemselvesseemtobesoftenedandmodifiedbyconditionswhichformerlyatleastcouldnotbesaidtowronganyone，tocrampendeavor，ortocrosslawfuldesire。
　　Sinandsufferingandshametheremustalwaysbeintheworld，Isuppose，butIbelievethatinthisnewworldofoursitisstillmainlyfromonetoanotherone，andoftenerstillfromonetoone’sself。Wehavedeath，too，inAmerica，andagreatdealofdisagreeableandpainfuldisease，whichthemultiplicityofourpatentmedicinesdoesnotseemtocure；
　　butthisistragedythatcomesintheverynatureofthings，andisnotpeculiarlyAmerican，asthelarge，cheerfulaverageofhealthandsuccessandhappylifeis。Itwillnotdotoboast，butitiswelltobetruetothefacts，andtoseethat，apartfromthesepurelymortaltroubles，theraceherehasenjoyedconditionsinwhichmostoftheillsthathavedarkeneditsannalsmightbeavertedbyhonestworkandunselfishbehavior。
　　Fineartistswehaveamongus，andright—mindedasfarastheygo；andwemustnotforgetthisatevilmomentswhenitseemsasifallthewomenhadtakentowritinghystericalimproprieties，andsomeofthemenweretryingtobeatleastashystericalindespairofbeingasimproper。
　　Othertraitsaremuchmorecharacteristicofourlifeandourfiction。
　　InmostAmericannovels，vividandgraphicasthebestofthemare，thepeoplearesegregatedifnotsequestered，andthesceneissparselypopulated。Theeffectmaybeininstinctiveresponsetothevacancyofoursociallife，andIshallnotmakehastetoblameit。Therearefewplaces，fewoccasionsamongus，inwhichanovelistcangetalargenumberofpolitepeopletogether，oratleastkeepthemtogether。Unlesshecarriesasnap—camerahispictureofthemhasnoprobability；theyaffectonelikethefiguresperfunctorilyassociatedinsuchdeadlyoldengravingsasthatof"WashingtonIrvingandhisFriends。"Perhapsitisforthisreasonthatweexcelinsmallpieceswiththreeorfourfigures，orinstudiesofrusticcommunities，wherethereispropinquityifnotsociety。Ourgraspofmoreurbanelifeisfeeble；mostattemptstoassembleitinourpicturesarefailures，possiblybecauseitistootransitory，toointangibleinitsnaturewithus，tobetruthfullyrepresentedasreallyexistent。
　　IamnotsurethattheAmericanshavenotbroughttheshortstorynearerperfectionintheall—roundsensethatalmostanyotherpeople，andforreasonsverysimpleandnearathand。ItmightbearguedfromthenationalhurryandimpatiencethatitwasaliteraryformpeculiarlyadaptedtotheAmericantemperament，butIsuspectthatitsextraordinarydevelopmentamongusisowingmuchmoretomoretangiblefacts。
　　ThesuccessofAmericanmagazines，whichisnothinglessthanprodigious，isonlycommensuratewiththeirexcellence。Theirsortofsuccessisnotonlyfromthecouragetodecidewhichoughttoplease，butfromtheknowledgeofwhatdoesplease；anditisprobablethat，asidefromthepictures，itistheshortstorieswhichpleasethereadersofourbestmagazines。Theserialnovelstheymusthave，ofcourse；butrathermoreofcoursetheymusthaveshortstories，andbyoperationofthelawofsupplyanddemand，theshortstories，abundantinquantityandexcellentinquality，areforthcomingbecausetheyarewanted。Byanotheroperationofthesamelaw，whichpoliticaleconomistshavemorerecentlytakenaccountof，thedemandfollowsthesupply，andshortstoriesaresoughtforbecausethereisaprovenabilitytofurnishthem，andpeoplereadthemwillinglybecausetheyareusuallyverygood。Theartofwritingthemisnowsodisciplinedanddiffusedwithusthatthereisnolackeitherforthemagazinesorforthenewspaper"syndicates"whichdealinthemalmosttotheexclusionoftheserials。
　　Aninterestingfactinregardtothedifferentvarietiesoftheshortstoryamongusisthatthesketchesandstudiesbythewomenseemfaithfullerandmorerealisticthanthoseofthemen，inproportiontotheirnumber。Theirtendencyismoredistinctlyinthatdirection，andthereisasolidity，anhonestobservation，intheworkofsuchwomen，whichoftenleaveslittletobedesired。Ishould，uponthewhole，bedisposedtorankAmericanshortstoriesonlybelowthoseofsuchRussianwritersasIhaveread，andIshouldpraiseratherthanblametheirfreeuseofourdifferentlocalparlances，or"dialects，"aspeoplecallthem。IlikethisbecauseIhopethatourinheritedEnglishmaybeconstantlyfreshenedandrevivedfromthenativesourceswhichourliterarydecentralizationwillhelptokeepopen，andIwillownthatasIturnovernovelscomingfromPhiladelphia，fromNewMexico，fromBoston，fromTennessee，fromruralNewEngland，fromNewYork，everylocalflavorofdictiongivesmecourageandpleasure。AlphonseDaudet，inaconversationwithH。H。Boyesensaid，speakingofTourguenief，"Whataluxuryitmustbetohaveagreatbiguntroddenbarbariclanguagetowadeinto!Wepoorfellowswhoworkinthelanguageofanoldcivilization，wemaysitandchiselourlittleverbalfelicities，onlytofindintheendthatitisaborrowedjewelwearepolishing。Thecrown—
　　jewelsofourFrenchtonguehavepassedthroughthehandsofsomanygenerationsofmonarchsthatitseemslikepresumptiononthepartofanylate—bornpretendertoattempttowearthem。"
　　Thisgriefis，ofcourse，alittlewhimsical，yetithasacertainmeasureofreasoninit，andthesameregrethasbeenmoreseriouslyexpressedbytheItalianpoetAleardi：
　　"Museofanagedpeople，intheeveOffadingcivilization，Iwasborn。