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

to bulk in the story more massively than any one, tends to remain the least recognizable of the company, and even to dissolve in a kind of impalpable blur. By his method (which I am supposing to have been adopted in full strictness) the author is of course forbidden to look this central figure in the face, to describe and discuss him; the light cannot be turned upon him immediately. And very often we see the method becoming an embarrassment to the author in consequence, and the devices by which he tries to mitigate it, and to secure some reflected sight of the seer, may even be tiresomely obvious. But the resource of which I speak is of a finer sort.

It gives to the author the power of imperceptibly edging away from the seer, leaving his consciousness, ceasing to use his eyes—though still without substituting the eyes of another. To revert for a moment to the story told in the first person, it is plain that in that case the narrator has no such liberty; his own consciousness must always lie open; the part that he plays in the story can never appear in the same terms, on the same plane, as that of the other people. Though he is not visible in the story to the reader, as the others are, he is at every moment nearer than they, in his capacity of the seeing eye, the channel of vision; nor can he put off his function, he must continue steadily to see and to report. But when the author is reporting him there is a margin of freedom. The author has not so completely identified himself, as narrator, with his hero that he can give him no objective weight whatever. If necessary he can allow him something of the value of a detached and phenomenal personage, like the rest of the company in the story, and that without violating the principle of his method. He cannot make his hero actually visible—there the method is uncompromising; he cannot step forward, leaving the man's point of view, and picture him from without. But he can place the man at the same distance from the reader as the other people, he can almost lend him the same effect, he can make of him a dramatic actor upon the scene.

And how? Merely by closing (when it suits him) the open consciousness of the seer—which he can do without any look of awkwardness or violence, since it conflicts in no way with the rule of the method. That rule only required that the author, having decided to share the point of view of his character, should not proceed to set up another of his own; it did not debar him from allowing his hero's act of vision to lapse, his function as the sentient creature in the story to be intermitted. The hero (I call him so for convenience—he may, of course, be quite a subordinate onlooker in the story) can at any moment become impenetrable, a human being whose thought is sealed from us; and it may seem a small matter, but in fact it has the result that he drops into the plane of the people whom he has hitherto been seeing and judging. Hitherto subjective, communicative in solitude, he has been in a category apart from them; but now he may mingle with the rest, engage in talk with them, and his presence and his talk are no more to the fore than theirs. As soon as some description or discussion of them is required, then, of course, the seer must resume his part and unseal his mind; but meanwhile, though the reader gets no direct view of him, still he is there in the dialogue with the rest, his speech (like theirs) issues from a hidden mind and has the same dramatic value. It is enough, very likely, to harden our image of him, to give precision to his form, to save him from dissipation into that luminous blur of which I spoke just now. For the author it is a resource to be welcomed on that account, and not on that account alone.

For besides the greater definition that the seer acquires, thus detached from us at times and relegated to the plane of his companions, there is much benefit for the subject of the story. In the tale that is quite openly and nakedly somebody's narrative there is this inherent weakness, that a scene of true drama is impossible. In true drama nobody reports the scene; it appears, it is constituted by the aspect of the occasion and the talk and the conduct of the people. When one of the people who took part in it sets out to report the scene, there is at once a mixture and a confusion of effects; for his own contribution to the scene has a different quality from the rest, cannot have the same crispness and freshness, cannot strike in with a new or unexpected note. This weakness may be well disguised, and like everything else in the whole craft it may become a positive and right effect in a particular story, for a particular purpose; it is always there, however, and it means that the full and unmixed effect of drama is denied to the story that is rigidly told from the point of view of one of the actors. But when that point of view is held in the manner I have described, when it is open to the author to withdraw from it silently and to leave the actor to play his part, true drama—or something so like it that it passes for true drama—is always possible; all the figures of the scene are together in it, one no nearer than another. Nothing is wanting save only that direct, unequivocal sight of the hero which the method does indeed absolutely forbid.

Finally there is the old, immemorial, unguarded, unsuspicious way of telling a story, where the author entertains the reader, the minstrel draws his audience round him, the listeners rely upon his word. The voice is then confessedly and alone the author's; he imposes no limitation upon his freedom to tell what he pleases and to regard his matter from a point of view that is solely his own. And if there is anyone who can proceed in this fashion without appearing to lose the least of the advantages of a more cautious style, for him the minstrel's licence is proper and appropriate; there is no more to be said. But we have yet to discover him; and it is not very presumptuous in a critic, as things are, to declare that a story will never yield its best to a writer who takes the easiest way with it. He curtails his privileges and chooses a narrower method, and immediately the story responds; its better condition is too notable to be forgotten, when once it has caught the attention of a reader. The advantages that it gains are not nameless, indefinable graces, pleasing to a critic but impossible to fix in words; they are solid, we can describe and recount them. And I can only conclude that if the novel is still as full of energy as it seems to be, and is not a form of imaginative art that, having seen the best of its day, is preparing to give place to some other, the novelist will not be willing to miss the inexhaustible opportunity that lies in its treatment. The easy way is no way at all; the only way is that by which the most is made of the story to be told, and the most was never made of any story except by a choice and disciplined method.

XVIII

In these pages I have tried to disengage the various elements of the craft, one from another, and to look at them separately; and this has involved much rude simplification of matters that are by no means simple. I have chosen a novel for the sake of some particular aspect, and I have disregarded all else in it; I could but seek for the book which seemed to display that aspect most plainly, and keep it in view from that one angle for illustration of my theme. And the result is, no doubt, that while some tentative classification of the ways of a novelist has been possible, the question that now arises, at the point I have reached, must be left almost untouched. It is the question that confronts a writer when he has possessed himself of his subject and determined the point of view from which it is to be approached. How is its development to be handled? Granted that the instruments of the craft, dramatic and pictorial and so forth, are such as they have been described, which of them is the appropriate one for this or that stage in the progress of the story to be told? The point of view gives only a general indication, deciding the look that the story is to wear as a whole; but whether the action is to run scenically, or to be treated on broader lines, or both—in short, the matter of the treatment in detail is still unsettled, though the main look and attitude of the book has been fixed by its subject.

My analysis of the making of a few novels would have to be pushed very much further before it would be possible to reach more than one or two conclusions in this connection. In the handling of his book a novelist must have some working theory, I suppose, to guide him—some theory of the relative uses and values of the different means at his disposal; and yet, when it is discovered how one writer tends perpetually towards one mode of procedure, another to another, it hardly seems that between them they have arrived at much certainty. Each employs the manner that is most congenial to him; nobody, it may be, gives us the material for elaborating the hierarchy of values that now we need, if this argument is to be extended. We have picked out the modes of rendering a story and have seen how they differ from each other; but we are not nearly in a position to give a reasoned account of their conjunction, how each is properly used in the place where its peculiar strength is required, how the course of a story demands one here, another there, as it proceeds to its culmination. I can imagine that by examining and comparing in detail the workmanship of many novels by many hands a critic might arrive at a number of inductions in regard to the relative properties of the scene, the incident dramatized, the incident pictured, the panoramic impression and the rest; there is scope for a large enquiry, the results of which are greatly needed by a critic of fiction, not to speak of the writers of it. The few books that I have tried to take to pieces and to re-construct are not enough—or at least it would be necessary to deal with them more searchingly. But such slight generalizations as I have chanced upon by the way may as well be re-stated here, before I finish.

And first of the dramatic incident, the scene, properly so called—this comes first in importance, beyond doubt. A novelist instinctively sees the chief turns and phases of his story expressed in the form of a thing acted, where narrative ceases and a direct light falls upon his people and their doings. It must be so, for this is the sharpest effect within his range; and the story must naturally have the benefit of it, wherever the emphasis is to fall most strongly. To the scene, therefore, all other effects will appear to be subordinated in general; and the