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

must be at hand to work it into a single impression. And thus the general panorama, such as Thackeray displays, becomes the representation of the author's experience, and the author becomes a personal entity, about whom we may begin to ask questions. Thackeray cannot be the nameless abstraction that the dramatist (whether in the drama of the stage or in that of the novel) is naturally. I know that Thackeray, so far from trying to conceal himself, comes forward and attracts attention and nudges the reader a great deal more than he need; he likes the personal relation with the reader and insists on it. But do what he might to disguise it, so long as he is ranging over his story at a height, chronicling, summarizing, foreshortening, he must be present to the reader as a narrator and a showman. It is only when he descends and approaches a certain occasion and sets a scene with due circumspection—rarely and a trifle awkwardly, as we saw—that he can for the time being efface the thought of his active part in the affair.

So much of a novel, therefore, as is not dramatic enactment, not scenic, inclines always to picture, to the reflection of somebody's mind. Confronted with a scene—like Becky's great scene, once more—we forget that other mind; but as soon as the story goes off again into narrative a question at once arises. Who is disposing the scattered facts, whose is this new point of view? It is the omniscient author, and the point of view is his—such would be the common answer, and it is the answer we get in Vanity Fair. By convention the author is allowed his universal knowledge of the story and the people in it. But still it is a convention, and a prudent novelist does not strain it unnecessarily. Thackeray in Vanity Fair is not at all prudent; his method, so seldom strictly dramatic, is one that of its nature is apt to force this question of the narrator's authority, and he goes out of his way to emphasize the question still further. He flourishes the fact that the point of view is his own, not to be confounded with that of anybody in the book. And so his book, as one may say, is not complete in itself, not really self-contained; it does not meet and satisfy all the issues it suggests. Over the whole of one side of it there is an inconclusive look, something that draws the eye away from the book itself, into space. It is the question of the narrator's relation to the story.

However unconsciously—and I dare say the recognition is usually unconscious—the novelist is alive to this difficulty, no doubt; for we may see him, we presently shall, taking various steps to circumvent it. There is felt to be an unsatisfactory want of finish in leaving a question hanging out of the book, like a loose end, without some kind of attempt to pull it back and make it part of an integral design. After all, the book is torn away from its author and given out to the world; the author is no longer a wandering jongleur who enters the hall and utters his book to the company assembled, retaining his book as his own inalienable possession, himself and his actual presence and his real voice indivisibly a part of it. The book that we read has no such support; it must bring its own recognisances. And in the fictitious picture of life the effect of validity is all in all and there can be no appeal to an external authority; and so there is an inherent weakness in it if the mind that knows the story and the eye that sees it remain unaccountable. At any moment they may be questioned, and the only way to silence the question is somehow to make the mind and the eye objective, to make them facts in the story. When the point of view is definitely included in the book, when it can be recognized and verified there, then every side of the book is equally wrought and fashioned. Otherwise it may seem like a thing meant to stand against a wall, with one side left in the rough; and there is no wall for a novel to stand against.

That this is not a fanciful objection to a pictorial book like Vanity Fair, where the point of view is not accounted for, is proved, I think, by the different means that a novelist will adopt to authenticate his story—to dramatize the seeing eye, as I should prefer to put it. These I shall try to deal with in what seems to be their logical order; illuminating examples of any of them are not wanting. I do not suggest that if I were criticizing Vanity Fair I should think twice about this aspect of it; to do so would be very futile criticism of such a book, such a store of life. But then I am not considering it as Vanity Fair, I am considering it as a dominant case of pictorial fiction; and here is the characteristic danger of the method, and a danger which all who practise the method are not likely to encounter and over-ride with the genius of Thackeray. And even Thackeray—he chose to encounter it once again, it is true, in Pendennis, but only once and no more, and after that he took his own precautions, and evidently found that he could move the more freely for doing so.

But to revert yet again for a moment to Bovary—which seemed on scrutiny to be more of a picture than a drama—I think it is clear how Flaubert avoided the necessity of installing himself avowedly as the narrator, in the sight of the reader. I mentioned how he constantly blends his acuter vision with that of Emma, so that the weakness of her gift of experience is helped out; and the help is mutual, for on the other hand her vision is always active as far as it goes, and Flaubert's intervention is so unobtrusive that her point of view seems to govern the story more than it does really. And therefore, though the book is largely a picture, a review of many details and occasions, the question of the narrator is never insistent. The landscape that Thackeray controls is so much wider and fuller that even with all the tact of Flaubert—and little he has of it—he could scarcely follow Flaubert's example. His book is not a portrait of character but a panorama of manners, and there is no disguising the need of some detached spectator, who looks on from without.

It is the method of picture-making that enables the novelist to cover his great spaces of life and quantities of experience, so much greater than any that can be brought within the acts of a play. As for intensity of life, that is another matter; there, as we have seen, the novelist has recourse to his other arm, the one that corresponds with the single arm of the dramatist. Inevitably, as the plot thickens and the climax approaches—inevitably, wherever an impression is to be emphasized and driven home—narration gives place to enactment, the train of events to the particular episode, the broad picture to the dramatic scene. But the limitation of drama is as obvious as its peculiar power. It is clear that if we wish to see an abundance and multitude of life we shall find it more readily and more summarily by looking for an hour into a memory, a consciousness, than by merely watching the present events of an hour, however crowded. Much may happen in that time, but in extent it will be nothing to the regions thrown open by the other method. A novelist, with a large and discursive subject before him, could not hope to show it all dramatically; much of it, perhaps the greater part, must be so marshalled that it may be swept by a travelling glance. Thackeray shows how it is done and how a vista of many facts can be made to fall into line; but he shows, too, how it needs a mind to create that vista, and how the creative mind becomes more and more perceptible, more visibly active, as the prospect widens.

Most novelists, I think, seem to betray, like Thackeray, a preference for one method or the other, for picture or for drama; one sees in a moment how Fielding, Balzac, George Eliot, incline to the first, in their diverse manners, and Tolstoy (certainly Tolstoy, in spite of his big range) or Dostoevsky to the second, the scenic way. But of course every novelist uses both, and the quality of a novelist appears very clearly in his management of the two, how he guides the story into the scene, how he picks it out of the scene, a richer and fuller story than it was before, and proceeds with his narrative. On the whole, no doubt, the possibilities of the scene are greatly abused in fiction, in the daily and familiar novel. They are doubly abused; for the treatment of the scene is neglected, and yet it recurs again and again, much too often, and its value is wasted. It has to be remembered that drama is the novelist's highest light, like the white paper or white paint of a draughtsman; to use it prodigally where it is not needed is to lessen its force where it is essential. And so the economical procedure would be to hoard it rather, reserving it for important occasions—as in Bovary, sure enough.

But before I deal with the question of the novelist's drama I would follow out the whole argument that is suggested by his reflected picture of life. This, after all, is the method which is his very own, which he commands as a story-teller pure and simple. And for a beginning I have tried to indicate its prime disadvantage, consisting of the fact that in its plain form it drags in the omniscient author and may make him exceedingly conspicuous. Why is this a disadvantage, is it asked? It is none, of course, if the author has the power to make us admire and welcome the apparition, or if his picture is so dazzling that a theoretic defect in it is forgotten. But a novel in which either of these feats is accomplished proves only the charm or genius of the author; charm and genius do what they will, there is nothing new in that. And I believe that the defect, even though at first sight it may seem a trifle, is apt to become more and more troublesome in a book as the book is re-read. It makes for a kind of thinness in the general impression, wherever the personal force of the writer is not remarkable. I should say that it may often contribute towards an air of ineffectiveness in a story, which it might otherwise be difficult to explain.

The fiction of Turgenev is on the whole a case in point, to my mind. Turgenev was never shy of appearing in his pages as the reflective story-teller, imparting the fruits of his observation to the reader. He will watch a character, let us say, cross a field and enter a wood and sit down under a tree; good, it is an opportunity for gaining a first impression of the man or woman, it is a little scene, and Turgenev's touch is quick and light. But then with perfect candour he will show his hand; he will draw the reader aside and pour into his ear a flow of information about the man or woman, information that openly comes straight from Turgenev himself, in good pictorial form, no doubt, but information which will never have its due weight with the reader, because it