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

the due creation of Anna's life. Her turning-point must be reached without delay, it cannot be deferred, for it is there that the development of the book begins. All that precedes her union with Vronsky is nothing but the opening stage, the matter that must be displayed before the story can begin to expand. The story, as we have seen, is in the picture of Anna's life after her critical choice, so that the first part of the book, the account of the given situation, cannot extend its limits. If, therefore, the situation is to be really made and constituted, the space it may cover must be tightly packed; the method should be that which most condenses and concentrates the representation. A great deal is to be expressed at once, all Anna's past and present, the kind of experience that has made her and that has brought her to the point she now touches. Without this her action is arbitrary and meaningless; it is vain to say that she acted thus and thus unless we perfectly understand what she was, what she had, what was around her, in the face of her predicament. Obviously there is no space to lose; and it is enough to look at Tolstoy's use of it, and then to see how Balzac makes the situation that he requires—the contrast shows exactly where Tolstoy's method could not help him. His refusal to shape his story, or any considerable part of it, as a pictorial impression, his desire to keep it all in immediate action, prevents him from making the most of the space at his command; the situation is bound to suffer in consequence.

For suppose that Balzac had had to deal with the life of Anna. He would certainly have been in no hurry to plunge into the action, he would have felt that there was much to treat before the scene was ready to open. All the initial episodes of Tolstoy's book, from Anna's first appearance until she drops into Vronsky's arms, Balzac might well have ignored entirely. He would have been too busy with his prodigious summary of the history and household of the Karenins to permit himself a glance in the direction of any particular moment, until the story could unfold from a situation thoroughly prepared. If Tolstoy had followed this course we should have lost some enchanting glimpses, but Balzac would have left not a shadow of uncertainty in the matter of Anna's disastrous passion. He would have shown precisely how she was placed in the conditions of her past, how she was exposed to this new incursion from without, and how it broke up a life which had satisfied her till then. He would have started his action in due time with his whole preliminary effect completely rendered; there would be no more question of it, no possibility that it would prove inadequate for the sequel. And all this he would have managed, no doubt, in fewer pages than Tolstoy needs for the beautiful scenes of his earlier chapters, scenes which make a perfect impression of Anna and her circle as an onlooker might happen to see them, but which fail to give the onlooker the kind of intimacy that is needed. Later on, indeed, her life is penetrated to the depths; but then it is too late to save the effect of the beginning. To the very end Anna is a wonderful woman whose early history has never been fully explained. The facts are clear, of course, and there is nothing impossible about them; but her passion for this man, the grand event of her life, has to be assumed on the word of the author. All that he really showed, to start with, was a slight, swift love-story, which might have ended as easily as it began.

The method of the book, in short, does not arise out of the subject; in treating it Tolstoy simply used the method that was congenial to him, without regarding the story that he had to tell. He began it as though Anna's break with her past was the climax to which the story was to mount, whereas it is really the point from which the story sets out for its true climax in her final catastrophe. And so the first part of the book is neither one thing nor the other; it is not an independent drama, for it cannot reach its height through all the necessary sweep of development; and on the other hand it is not a sufficient preparation for the great picture of inevitable disaster which is to follow. Tolstoy doubtless counted on his power—and not without reason, for it is amazing—to call people into life by means of a few luminous episodes; he knew he could make a living creature of Anna by bringing her into view in half a dozen scenes. She descends, accordingly, upon her brother's agitated household like a beneficent angel, she shines resplendent at some social function, she meets Vronsky, she talks to her husband; and Tolstoy is right, she becomes a real and exquisite being forthwith. But he did not see how much more was needed than a simple personal impression of her, in view of all that is to come. Not she only, but her world, the world as she sees it, her past as it affects her—this too is demanded, and for this he makes no provision. It is never really shown how she was placed in her life, and what it meant to her; and her flare of passion has consequently no importance, no fateful bigness. There is not enough of her, as yet, for such a crisis.

It is not because Vronsky seems an inadequate object of her passion; though it is true that with the figure of Vronsky Tolstoy was curiously unsuccessful. Vronsky was his one failure—there is surely no other in all his gallery to match it. The spoilt child of the world, but a friendly soul, and a romantic and a patient lover—and a type fashioned by conditions that Tolstoy, of course, knew by heart—why should Tolstoy manage to make so little of him? It is unfortunate, for when Anna is stirred by the sight of him and his all-conquering speciosity, any reader is sure to protest. Tolstoy should have created Vronsky with a more certain touch before he allowed him to cause such a disturbance. But this is a minor matter, and it would count for little if the figure of Anna were all it should be. Vronsky's importance in the story is his importance to Anna, and her view of him is a part of her; and he might be left lightly treated on his own account, the author might be content to indicate him rather summarily, so long as Anna had full attention. It returns upon that again; if Anna's own life were really fashioned, Vronsky's effect would be there, and the independent effect he happens to make, or to fail to make, on the reader would be an irrelevant affair. Tolstoy's vital failure is not with him, but with her, in the prelude of his book.

It may be that there is something of the same kind to be seen in another of his novels, in Resurrection, though Resurrection is more like a fragment of an epic than a novel. It cannot be said that in that tremendous book Tolstoy pictured the rending of a man's soul by sudden enlightenment, striking in upon him unexpectedly, against his will, and destroying his established life—and that is apparently the subject in the author's mind. It is the woman, the accidental woman through whom the stroke is delivered, who is actually in the middle of the book; it is her epic much rather than the man's, and Tolstoy did not succeed in placing him where he clearly meant him to be. The man's conversion from the selfishness of his commonplace prosperity is not much more than a fact assumed at the beginning of the story. It happens, Tolstoy says it happens, and the man's life is changed; and thereafter the sombre epic proceeds. But the unrolling of the story has no bearing upon the revolution wrought in the man; that is complete, as soon as he flings over his past and follows the convoy of prisoners into Siberia, and the succession of strange scenes has nothing more to accomplish in him. The man is the mirror of the scenes, his own drama is finished. And if Tolstoy intended to write the drama of a soul, all this presentation of the deadly journey into exile, given with the full force of his genius, is superfluous; his subject lay further back. But Resurrection, no doubt, is a fragment, a wonderful shifting of scenes that never reached a conclusion; and it is not to be criticized as a book in which Tolstoy tried and failed to carry out his purpose. I only mention it because it seems to illustrate, like Anna Karenina, his instinctive evasion of the matter that could not be thrown into straightforward scenic form, the form in which his imagination was evidently happiest. His great example, therefore, is complementary to that of Balzac, whose genius looked in the other direction, who was always drawn to the general picture rather than to the particular scene. And with these two illustrious names I reach the end of the argument I have tried to follow from book to book, and it is time to gather up the threads.

XVII

The whole intricate question of method, in the craft of fiction, I take to be governed by the question of the point of view—the question of the relation in which the narrator stands to the story. He tells it as he sees it, in the first place; the reader faces the story-teller and listens, and the story may be told so vivaciously that the presence of the minstrel is forgotten, and the scene becomes visible, peopled with the characters of the tale. It may be so, it very often is so for a time. But it is not so always, and the story-teller himself grows conscious of a misgiving. If the spell is weakened at any moment, the listener is recalled from the scene to the mere author before him, and the story rests only upon the author's direct assertion. Is it not possible, then, to introduce another point of view, to set up a fresh narrator to bear the brunt of the reader's scrutiny? If the story-teller is in the story himself, the author is dramatized; his assertions gain in weight, for they are backed by the presence of the narrator in the pictured scene. It is advantage scored; the author has shifted his responsibility, and it now falls where the reader can see and measure it; the arbitrary quality which may at any time be detected in the author's voice is disguised in the voice of his spokesman. Nothing is now imported into the story from without; it is self-contained, it has no associations with anyone beyond its circle.

Such is the first step towards dramatization, and in very many a story it may be enough. The spokesman is there, in recognizable relation with his matter; no question of his authority can arise. But now a difficulty may be started by the nature of the tale that he tells. If he has nothing to do but to relate what he has seen, what anyone might have seen in his position, his account will serve very well; there is no need for more. Let him unfold his chronicle as it appears in his memory. But if he is himself the subject of his story, if the story involves a searching exploration of his own consciousness, an account in his own words, after the fact, is not by any