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。