The Craft of Fiction - Percy Lubbock (great books for teens .txt) 📗

occasion that should have crowned it, into which the story naturally and logically passes—for again the scene is not a decorative patch, the story needs it—the Waterloo ball is nothing, leaves no image, constitutes no effect whatever; the reader, looking back on the book, might be quite uncertain whether he had been there or not. Nobody could forget the sight of Lady Bareacres, sitting under the porte cochère in her horseless carriage—of good Mrs. O'Dowd, rising in the dawn to equip her warrior for battle—of George Osborne, dead on the field; but these are Thackeray's flashes of revelation, straight and sure, and they are all the drama, strictly speaking, that he extorts from his material. The rest is picture, stirringly, vivaciously reflected in his unfailing memory—with the dramatic occasion to which it tends, the historic affair of the "revelry by night," neglected and lost.

There is scarcely need for more illustration of my point, but it is tempting to look further. In all these well-remembered books Thackeray, in an expansive mood, opens his mind and talks it out on the subject of some big, loosely-knit company of men and women. He remembers, as we all remember, with a strong sense of the tone and air of an old experience, and a sharp recollection of moments that happened for some reason to be salient, significant, peculiarly keen or curious. Ethel Newcome, when she comes riding into the garden in the early morning, full of the news of her wonderful discovery, the letter shut in the old book; Blanche Amory, when she is caught out in her faithlessness, warbling to the new swain at the piano and whipping her handkerchief over his jewel-case as the old one enters; Madam Esmond, on her balcony, defying the mob with "Britons, strike home"; old Sir Pitt, toasting his rasher in the company of the char-woman: I name them at random, they are all instances of the way in which the glance of memory falls on the particular moment, the aspect that hardens and crystallizes an impression. Thackeray has these flashes in profusion; they break out unforgettably as we think of his books. The most exquisite of all, perhaps, is in Esmond, that sight of the dusky choir of Winchester Cathedral, the shine of the candle-light, the clear faces of Rachel and her son as they appear to the returned wanderer. We no longer listen to a story, no longer see the past in a sympathetic imagination; this is a higher power of intensity, a fragment of the past made present and actual. But with Thackeray it is always a fragment, never to any real purpose a deliberate and continuous enactment.

For continuity he always recurs to his pictorial summary. The Newcomes alone would give a dozen examples of this side of his genius—in the pages that recall the lean dignity of the refugees from revolutionary Paris, or the pious opulence of Clapham, or the rustle of fashion round the Mayfair chapel, or the chatter and scandal of Baden-Baden, or the squalid pretensions of English life at Boulogne. I need not lengthen the list; these evocations follow one upon another, and as quickly as Thackeray passes into a new circle he makes us feel and know what it was like to live there and belong to it. The typical look of the place is in his mind, the sense of its habitual life, the savour of the hours that lapse there. But Esmond again has the last word; the early chapters of the old days at Castlewood show a subtlety of effect that is peculiar and rare. It is more than a picture of a place and an impression of romance, it is more than the portrait of a child; besides all this it is the most masterly of "time-pictures," if that is a word that will serve. The effect I am thinking of is different from that of which I spoke in the matter of Tolstoy's great cycles of action; there we saw the march of time recording itself, affirming its ceaseless movement, in the lives of certain people. This of Thackeray's is not like that; time, at Castlewood, is not movement, it is tranquillity—time that stands still, as we say, only deepening as the years go. It cannot therefore be shown as a sequence; and Thackeray roams to and fro in his narrative, caring little for the connected order of events if he can give the sensation of time, deep and soft and abundant, by delaying and returning at ease over this tract of the past. It would be possible, I think, to say very precisely where and how the effect is made—by what leisurely play with the chronology of the story, apparently careless and unmethodical, or by what shifting of the focus, so that the house of Castlewood is now a far-away memory and now a close, benevolent presence. Time, at any rate, is stored up in the description of the child's life there, quiet layers of time in which the recorded incidents sink deep.

VIII

In dealing with the method that I find peculiarly characteristic of Thackeray, the "panoramic" method, I have spoken of it also as "pictorial"; and it will be noticed that I have thus arrived at another distinction which I touched upon in connection with Bovary. Picture and drama—this is an antithesis which continually appears in a novel, and I shall have much to say of it. And first of the names which I give to these contrasted manners of treatment—I do not know that they are the best names, but they express the main point of difference, and they also have this advantage, that they have been used technically in the criticism of fiction, with specific meaning. In writing about novels one is so rarely handling words that have ever been given close definition (with regard to the art of fiction, I mean) that it is natural to grasp at any which have chanced to be selected and strictly applied by a critic of authority. Picture and drama, therefore, I use because Henry James used them in discussing his own novels, when he reviewed them all in his later years; but I use them, I must add, in a rather more extended sense than he did. Anybody who knows the critical prefaces of his books will remember how picture and drama, to him, represented the twofold manner towards which he tended in his last novels, composed as they are in a regular alternation of dramatic dialogue and pictorial description. But his pictorial description was of a very special kind; and when the subject of criticism is fiction generally, not his alone, picture will take a wider meaning, as opposed to drama. It will be found to cover the panoramic manner of Thackeray.

It is a question, I said, of the reader's relation to the writer; in one case the reader faces towards the story-teller and listens to him, in the other he turns towards the story and watches it. In the drama of the stage, in the acted play, the spectator evidently has no direct concern with the author at all, while the action is proceeding. The author places their parts in the mouths of the players, leaves them to make their own impression, leaves us, the audience, to make what we can of it. The motion of life is before us, the recording, registering mind of the author is eliminated. That is drama; and when we think of the story-teller as opposed to the dramatist, it is obvious that in the full sense of the word there is no such thing as drama in a novel. The novelist may give the very words that were spoken by his characters, the dialogue, but of course he must interpose on his own account to let us know how the people appeared, and where they were, and what they were doing. If he offers nothing but the bare dialogue, he is writing a kind of play; just as a dramatist, amplifying his play with "stage-directions" and putting it forth to be read in a book, has really written a kind of novel. But the difference between the story-teller and the playwright is not my affair; and a new contrast, within the limits of the art of fiction, is apparent when we speak of the novel by itself—a contrast of two methods, to one of which it is reasonable to give the name of drama.

I do not say that a clear line can be drawn between them; criticism does not hope to be mathematically exact. But everybody sees the diversity between the talkative, confidential manner of Thackeray and the severe, discreet, anonymous manner—of whom shall I say?—of Maupassant, for a good example, in many of his stories. It is not only the difference between the personal qualities of the two men, which indeed are also as far apart as the house of Castlewood and the Maison Tellier; it is not the difference between the kinds of story they chose to tell. They approached a story from opposite sides, and thought of it, consequently, in images that had nothing in common: not always, I dare say, but on the whole and characteristically they did so. Maupassant's idea of a story (and not peculiarly Maupassant's, of course, but his name is convenient) would suggest an object that you fashioned and abandoned to the reader, turning away and leaving him alone with it; Thackeray's would be more like the idea of a long and sociable interview with the reader, a companion with whom he must establish definite terms. Enough, the contrast is very familiar. But these are images; how is the difference shown in their written books, in Esmond and La Maison Tellier? Both, it is true, represent a picture that was in the author's mind; but the story passes into Thackeray's book as a picture still, and passes into Maupassant's as something else—I call it drama.

In Maupassant's drama we are close to the facts, against them and amongst them. He relates his story as though he had caught it in the act and were mentioning the details as they passed. There seems to be no particular process at work in his mind, so little that the figure of Maupassant, the showman, is overlooked and forgotten as we follow the direction of his eyes. The scene he evokes is contemporaneous, and there it is, we can see it as well as he can. Certainly he is "telling" us things, but they are things so immediate, so perceptible, that the machinery of his telling, by which they reach us, is unnoticed; the story appears to tell itself. Critically, of course, we know how far that is from being the case, we know with what judicious thought the showman is selecting the points of the scene upon which he touches. But the effect is that he is not there at all, because he is doing nothing that ostensibly requires any judgement, nothing that reminds us of his presence. He is behind us, out of sight, out of mind; the story occupies us, the moving scene, and nothing else.

But Thackeray—in his story we need him all the time and can never forget him. He it is who must assemble and arrange his large chronicle, piecing it together out of his experience. Becky's mode of life, in his story, is a matter of many details picked up on many occasions, and the power that collects them, the mind that contains them, is always and openly Thackeray's; it could not be otherwise. It is no question, for most of the time, of watching a scene at close quarters, where the simple, literal detail, such as anybody might see for himself, would be sufficient. A stretch of time is to be shown in perspective, at a distance; the story-teller