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

that his inexhaustible knowledge of facts is carrying him where it will, till his only conscious purpose is to set down on paper everything that he knows. He is possessed by the lust of description for its own sake, an insatiable desire to put every detail in its place, whether it is needed or no. So it seems, and so it is occasionally, no doubt; there is nothing more tiresome in Balzac than his zest, his delight, his triumph, when he has apparently succeeded in forgetting altogether that he is a novelist. He takes a proper pride in Grandet or Goriot or Lucien, of course; but his heart never leaps quite so high, it might be thought, as when he sees a chance for a discourse upon money or commerce or Italian art. And yet the result is always the same in the end; when he has finished his lengthy research among the furniture of the lives that are to be evoked, he has created a scene in which action will move as rapidly as he chooses, without losing any of its due emphasis. He has illustrated, in short, the way in which a pictorial impression, wrought to the right pitch, will speed the work of drama—will become an effective agent in the book, instead of remaining the mere decorative introduction that it may seem to be.

Thus it is that Balzac was able to pack into a short book—he never wrote a long one—such an effect of crowds and events, above all such an effect of time. Nobody knows how to compress so much experience into two or three hundred pages as Balzac did unfailingly. I cannot think that this is due in the least to the laborious interweaving of his books into a single scheme; I could believe that in general a book of Balzac's suffers, rather than gains, by the recurrence of the old names that he has used already elsewhere. It is an amusing trick, but exactly what is its object? I do not speak of the ordinary "sequel," where the fortunes of somebody are followed for another stage, and where the second part is simply the continuation of the first in a direct line. But what of the famous idea of making book after book overlap and encroach and entangle itself with the rest, by the device of setting the hero of one story to figure more or less obscurely in a dozen others? The theory is, I suppose, that the characters in the background and at the corners of the action, if they are Rastignac and Camusot and Nucingen, retain the life they have acquired elsewhere, and thereby swell the life of the story in which they reappear. We are occupied for the moment with some one else, and we discover among his acquaintances a number of people whom we already know; that fact, it is implied, will add weight and authority to the story of the man in the foreground—who is himself, very likely, a man we have met casually in another book. It ought to make, it must make, his situation peculiarly real and intelligible that we find him surrounded by familiar friends of our own; and that is the artistic reason of the amazing ingenuity with which Balzac keeps them all in play.

Less artistic and more mechanical, I take it, his ingenuity seems than it did of old. I forget how few are the mistakes and contradictions of which Balzac has been convicted, in the shuffling and re-shuffling of his characters; but when his accuracy has been proved there still remains the question of its bearing upon his art. I only touch upon the question from a single point of view, when I consider whether the density of life in so many of his short pieces can really owe anything to the perpetual flitting of the men and women from book to book. Suppose that for the moment Balzac is evoking the figure and fortunes of Lucien de Rubempré, and that a woman who appears incidentally in his story turns out to be our well-remembered Delphine, Goriot's daughter. We know a great deal about the past of Delphine, as it happens; but at this present juncture, in Lucien's story, her past is entirely irrelevant. It belongs to another adventure, where it mattered exceedingly, an adventure that took place before Lucien was heard of at all. As for his story, and for the reality with which it may be endowed, this depends solely upon our understanding of his world, his experience; and if Delphine's old affairs are no part of it, our previous knowledge of her cannot help us with Lucien. It detracts, rather, from the force of his effect; it sets up a relation that has nothing to do with him, a relation between Delphine and the reader, which only obstructs our view of the world as Lucien sees it. Of the characters in the remoter planes of the action (and that is Delphine's position in his story) no more is expected than their value for the purpose of the action in the foreground. That is all that can be used in the book; whatever more they may bring will lie idle, will contribute nothing, and may even become an embarrassment. The numberless people in the Comédie who carry their lengthening train of old associations from book to book may give the Comédie, as a whole, the look of unity that Balzac desired; that is another point. But in any single story, such of these people as appear by the way, incidentally, must for the time being shed their irrelevant life; if they fail to do so, they disturb the unity of the story and confuse its truth.

Balzac's unrivalled power of placing a figure in its surroundings is not to be explained, then, by his skill in working his separate pieces together into one great web; the design of the Human Comedy, so largely artificial, forced upon it as his purpose widened, is no enhancement of the best of his books. The fullness of experience which is rendered in these is exactly the same—is more expressive, if anything—when they are taken out of their context; it is all to be attributed to their own art. I come back, therefore, to the way in which Balzac handled his vast store of facts, when he set out to tell a story, and made them count in the action which he brought to the fore. He seldom, I think, regards them as material to be disguised, to be given by implication in the drama itself. He is quite content to offer his own impression of the general landscape of the story, a leisurely display which brings us finally to the point of action. Then the action starts forward with a reserve of vigour that helps it in various ways. The more important of these, as I see them, will be dealt with in the next chapter; but meanwhile I may pick out another, one that is often to be seen in Balzac's work and that he needed only too often. It was not the best of his work that needed it; but the effect I mean is an interesting one in itself, and it appeals to a critic where it occurs. It shows how a novelist, while in general seeking to raise the power of his picture by means of drama, will sometimes reverse the process, deliberately, in order to rescue the power of his drama from becoming violence. If fiction always aims at the appearance of truth, there are times when the dramatic method is too much for it, too searching and too betraying. It leaves the story to speak for itself, but perhaps the story may then say too much to be reasonably credible. It must be restrained, qualified, toned down, in order to make its best effect. Where the action, in short, is likely to seem harsh, overcharged, romantic, it is made to look less so, less hazardous and more real, by recourse to the art of the picture-maker.

Balzac, it cannot be denied, had frequent cause to look about him for whatever means there might be of extenuating, and so of confirming, an incredible story. His passion for truth was often in conflict with his lust for marvels, and the manner in which they were mixed is the chief interest, I dare say, of some of his books. See him, for example, in the Splendeurs et Misères des Courtisanes, trying with one hand to write a novel of Parisian manners, with the other a romance of mystery, and to do full justice to both. Trompe-la-Mort, the Napoleon of crime, and Esther, the inspired courtesan, represent the romance, and Balzac sets himself to absorb the extravagant tale into a study of actual life. If he can get the tale firmly embedded in a background of truth, its falsity may be disguised, the whole book may even pass for a scene of the human comedy; it may be accepted as a piece of reality, on the same level, say, as Eugénie Grandet or Les Parents Pauvres. That is evidently his aim, and if only his romance were a little less gaudy, or his truth not quite so true, he would have no difficulty in attaining it; the action would be subdued and kept in its place by the pictorial setting. The trouble is that Balzac's idea of a satisfying crime is as wild as his hold upon facts is sober, so that an impossible strain is thrown upon his method of reconciling the two. Do what he will, his romance remains staringly false in its contrast with his reality; there is an open gap between the wonderful pictures of the town in Illusions Perdues and the theatrical drama of the old convict which they introduce. Yet his method was a right one, though it was perverse of Balzac to be occupied at all with such devices, when he might have rejected his falsity altogether. In another man's work, where there is never this sharp distinction between true and false, where both are merged into something different from either—in Dickens's work—the method I refer to is much more successfully followed; and there, in any of Dickens's later books, we find the clearest example of it.

I have already been reminded of Stevenson's word upon this matter; Stevenson noted how Dickens's way of dealing with his romantic intrigues was to lead gradually into them, through well-populated scenes of character and humour; so that his world is actual, its air familiar, by the time that his plot begins to thicken. He gives himself an ample margin in which to make the impression of the kind of truth he needs, before beginning to concentrate upon the fabulous action of the climax. Bleak House is a very good case; the highly coloured climax in that book is approached with great skill and caution, all in his most masterly style. A broad stream of diversified life moves slowly in a certain direction, so deliberately at first that its scope, its spread, is much more evident than its movement. The book is a big survey of a quantity of odd and amusing people, and it is only by degrees that the discursive method is abandoned and the narrative brought to a point. Presently we are in the thick of the story, hurrying to the catastrophe, without having noticed at all, it may be, that our novel of manners has turned into a romantic drama, with a mysterious crime to crown it. Dickens manages it far more artfully than Balzac, because his imagination is not, like Balzac's, divided against itself. The world which he peopled with Skimpole and Guppy and the Bayham Badgers was a world that could easily include Lady Dedlock, for though she is perhaps of the theatre, they are