Dime novel

“ And it has another and a wider claim—that it keeps up, in its own way, the element of the imaginative, of the fanciful—let us say even of the unreal—without which romance cannot live, without which novel is almost repulsive, and which the increasing advances of realism itself were to render more than ever indispensable. ”

“ Questions of all kinds are presenting themselves for discussion. Has the rise of realism made romance impossible? Is there a valid distinction between romance and romanticism? Is the short-story a definite form, differing from the novel in purpose as well as in length? What is the best way to tell a story,—in the third person, as in the epic,—in the first person, as in an autobiography,—or in letters? Which is of most importance, character or incident or atmosphere? Is the novel-with-a-purpose legitimate? Why is it that dramatized novels often fail in the theater? ”

“ The manner in which a good story grows under the hand is so remarkable, that no tropic vegetation can show the like of it. For, consider, when you have got your germ—the mere idea, not half a dozen lines perhaps—which is to form your plot, how small a thing it is compared with, say, the thousand pages which it has to occupy in the three-volume novel! Yet to the story-teller the germ is everything. ”

“ After very judiciously observing, that there is the same relation between romances and novels as between tragedy and comedy, he proceeds thus: ‘Since all traditions must indisputably give glace to the drama, and since there is no possibility of giving that life to the writing, or repetition of a story, which it has in the action; I resolved in another beauty to imitate dramatic writing, namely, in the design, contexture, and result in the plot. I have not observed it before in a novel. ”

“ Dumas, who points out the virtue of fidelity even in a demi-monde, that false heroine; Zola, the needful man with the muck-rake. I have seen the novel-reader world-wise, and the philosophy-devourer a fool. Novels are the histories of humanity: they teach us a wisdom that years of sorrow only could reveal; through them we may look into the hearts of men and women and not be deceived by the smiling mask of deceit; they bring to us a world we dare not visit, telling us what we ought to know about sin and suffering ”

“ Thus an epic might be a bad epic, but it was always an epic. Now in the sense in which there is such a thing as an epic, in that sense there is no such thing as a novel. We call any long fictitious narrative in prose a novel, just as we call any short piece of prose without any narrative an essay. ”

“ To a Novel of the present day are necessarily forbidden the animation, the excitement, the bustle, the pomp, and the stage effect which History affords to Romance. Whatever merits, in thy gentle eyes, /Rienzi/, or /The Last Days of Pompeii/, may have possessed, this Tale, if it please thee at all, must owe that happy fortune to qualities widely different from those which won thy favour to pictures of the Past. Thou must sober down thine imagination, and prepare thyself for a story not dedicated to the narrative of extraordinary events—nor the elucidation of the characters of great men. ”

“ And now we must ask ourselves whether the framework thus produced is the best possible for a novel. After all, why has a novel to be planned? Cannot it grow? Why need it close, as a play closes? Cannot it open out? Instead of standing above his work and controlling it, cannot the novelist throw himself into it and be carried along to some goal that he does not foresee? The plot is exciting and may be beautiful, yet is it not a fetich, borrowed from the drama, from the spatial limitations of the stage? Cannot fiction devise a framework that is not so logical yet more suitable to its genius? ”

“ She thought the English novel deplorably wanting in that element, and the task she had cut out for herself was to supply the deficiency. Passion in high life was the general formula of this work, for her imagination was at home only in the most exalted circles. She adored, in truth, the aristocracy, and they constituted for her the romance of the world or, what is more to the point, the prime material of fiction. ”

“ The fiction we name followed indeed after long years, but during the lifetime of the displeasing daughter and with an ease of reference to the past that may fairly strike us as the last word of superiority to blighting association. It is quite as if the close and amused matching of the character and its play in the novel with the wretched old realities, those that had broken in their day upon the scared maternal vision, had been a work of ingenuity attended with no pang. ”

“ Turning our attention from the epic and the drama, and confining it to the general type of fiction which in the last chapter was loosely named novelistic, we shall find it possible to distinguish somewhat sharply, on the basis of both material and method, between three several forms,—the novel, the novelette, and the short-story. The French, who are more precise than we in their use of denotative terms, are accustomed to divide their novelistic fiction into what they call the roman, the nouvelle, and the conte. ”

“ There is an old-fashioned distinction between the novel of character and the novel of incident which must have cost many a smile to the intending fabulist who was keen about his work. It appears to me as little to the point as the equally celebrated distinction between the novel and the romance—to answer as little to any reality. There are bad novels and good novels, as there are bad pictures and good pictures; but that is the only distinction in which I see any meaning, and I can as little imagine speaking of a novel of character as I can imagine speaking of a picture of character. ”

“ It is here that the novella, so much more perfect in form, shows its irremediable inferiority to the novel, and somehow to the play, to the very farce, which it may quantitatively excel. We can all recall by name many characters out of comedies and farces; but how many characters out of short stories can we recall? Most persons of the drama give themselves away by name for types, mere figments of allegory, and perhaps oblivion is the penalty that the novella pays for the fineness of its characterizations ”

“ She defies analysis. You cannot label her. What she has done is not "Realism", neither is it "Romance". She displeases both by her ambiguity and by her lack of form. She has no infallible dramatic instinct. Even in Villette she preserves some of her clumsiness, her crudity, her improbability. The progress of "the Novel" in our day is towards a perfection of form and a reality she never knew.
But "reality" is a large term; and, as for form, who cared about it in the fifties? As for improbability—as M. Dimnet says—she is not more improbable than Balzac. ”

“ The distinctive value of the novel among written works of art is in characterisation, and the charm of a well-conceived character lies, not in knowing its destiny, but in watching its proceedings. For my own part, I will confess that I find all the novels of Dickens, long as they are, too short for me. I am sorry they do not flow into one another more than they do. ”

“ No such drama has been written in verse since Browning, and the people of the drama are condensed to almost as pregnant an utterance as Adam, Lilith, and Eve.
Why is it that there are so few novels which can be read twice, while all good poetry can be read over and over? Is it something inherent in the form, one of the reasons in nature why a novel cannot be of [Pg 211] the same supreme imaginative substance as a poem? ”

“ The order in which the drama simply says things gives it all its form, while the story told and the picture painted, as the novel at the pass we have brought it to embraces them, reports of an infinite diversity of matters, gathers together and gives out again a hundred sorts, and finds its order and its structure, its unity and its beauty, in the alternation of parts and the adjustment of differences. ”

“ PISISTRATUS.—-"Trash, sir?"
MR. CAXTON.—"No,—that is, not necessarily trash; but a book of that class which, whether trash or not, people can't help reading. Novels have become a necessity of the age. You must write a novel."
PISISTRATUS (flattered, but dubious) .-"A novel! But every subject on which novels can be written is preoccupied. There are novels of low life, novels of high life, military novels, naval novels, novels philosophical, novels religious, novels historical, novels descriptive of India, the Colonies, Ancient Rome, and the Egyptian Pyramids. ”

“ But if the novel is to follow life it must be various and discursive. Life is diversity and entertainment, not completeness and satisfaction. All actions are half-hearted, shot delightfully with wandering thoughts—about something else. All true stories are a felt of irrelevances. But James sets out to make his novels with the presupposition that they can be made continuously relevant. ”

“ Do not our fiction and drama to-day—the drama a belated ally of the Novel in this and other regards—find in the delineation of the eternal feminine under new conditions of our time, its chief, its most significant motif? ”

“ Now the proposition which—though never, I trust, pushed to the unliterary extent of warping the judgment, and never yet, I hope, unduly flaunted or flourished in the reader's face—dominates this volume, is that Romanticism, or, to use the shorter and more glorious name, Romance, itself dominates the whole of the French nineteenth-century novel. ”

“ There are few things more exciting to me, in short, than a psychological reason, and yet, I protest, the novel seems to me the most magnificent form of art. ”

“ But, in the novel, it is chiefly sentiments and events that are exhibited; in the drama, it is characters and deeds. The novel must go slowly forward; and the sentiments of the hero, by some means or another, must restrain the tendency of the whole to unfold itself and to conclude. The drama, on the other hand, must hasten: and the character of the hero must press forward to the end: it does not restrain, but is restrained. The novel-hero must be suffering,—at least he must not in a high degree be active: in the dramatic one, we look for activity and deeds. ”

“ But her career, as presented, has fairly the largeness that, throughout the chronicle, we feel as epic, and the intensity of her creator’s vision of it and of the dense sordid life hanging about it is one of the great things the modern novel has been able to do. It has done nothing more completely constitutive and of a tone so rich and full and sustained. The tone of “L’Assommoir” is, for mere “keeping up,” unsurpassable, a vast deep steady tide on which every object represented is triumphantly borne. It never shrinks nor flows thin, and nothing for an instant drops, dips or catches ”

“ In no single instance perhaps, with the doubtful exception of Gilliatt's battle with brute matter and elemental forces, is "the tale the thing" purely as tale. Very seldom do we even want to know what is going to happen—the childishly simple, but also childishly genuine demand of the reader of romance as such, if not even of the novel also. Scarcely once do we—at least do I—take that interest in the development of character which is the special subject of appetite of readers of the novel, as such and by itself. ”

“ Perhaps it ought to be stated that Jim’s mother had recently tried to eke out her slender purse by writing a novel. At least, that is the only explanation there is to offer of how she came to be so wise. The writing of novels is very good for the mind, as all the world knows. ”

“ We shall then be able to make the usual reply, which we find in all manuals of literature, and which should always be given in an examination paper, the æsthetic reply, to the effect that a novel is a work of art, with its own laws, which are not those of daily life, and that a character in a novel is real when it [Pg 96] lives in accordance with such laws. Amelia or Emma, we shall then say, cannot be at this lecture because they exist only in the books called after them, only in worlds of Fielding or Jane Austen. The barrier of art divides them from us. ”

“ Every work of imagination, in which the author causes ideal personages to speak, think, and act, according to his pleasure, has been stigmatised as a Novel. But, if we allow this rigorous definition, the apologue, so dear to the moralist, is a Novel, and deserving of proscription. ”

“ If any one considers that this proposition is at variance with the other, that the main function of the novel during the period has been to bring the novel closer to ordinary life, he has failed to grasp what it might be presumptuous plumply to call the true meaning of Romance, but what is certainly that meaning as it has always appeared to me. ”

“ The joys of fighting or roaming, of adventure and quest, and above all those of marvel, are the attractions which the Alexander legend offers, and who shall say that they are insufficient? At any rate no one can deny that they have been made the seasoning, if not the stuff and substance, of an enormous slice of the romance interest, and of a very large part of that of the novel. ”

“ The novel, despite enormous length, a highly artificial plot bolstered up by opportune coincidences, and an atmosphere of homiletic pseudo-science designed to please the matter-of-fact and purposeful Victorian reader, is exceedingly effective as a narrative; evoking instantaneous and unflagging interest, and furnishing many potent—if somewhat melodramatic—tableaux and climaxes. ”

“ The romances of the future will be more thrilling than the old commonplace of a man falling in love with a woman, or vice versa. The romances of the future, when the novel as we know it now must disappear, will be written by that sleepless, fiery-eyed Demon, Science. ”

“ Character seen in action is always his prepossession; plot is naught save as it exhibits this. The souls of men and women are his quarry, and the test of a civilization the degree in which it has developed the mind for an enlightened control over the emotions and the bodily appetites. Neither does this mean, as with Henry James, the disappearance of plot: a healthy objectivity of narrative framework is preserved ”