The English Novel - George Saintsbury (read novel full .TXT) 📗

in this production, which reappeared at "Grub Street near the Upper Pump" in the year 1650. Ornatus sees his mistress asleep and in a kind of deshabille, employs a noble go-between, Adellena (a queer spelling of "Adelina" which may be intentional), is rejected with apparent indignation, of course; writes elaborate letters in vain, but overhears Artesia soliloquising confession of her love for him and disguises himself as a girl, Silvia. Then the villain of the piece, Floretus, to obtain the love of this supposed Silvia, murders a person of distinction and plots to poison Artesia herself. Ornatus-Silvia is banished: and all sorts of adventures and disguises follow, entirely in the Greek style. The book is not very long, extending only to signature R in a very small quarto. Except that it is much less lively and considerably less "free," it reminds one rather in type of Kynaston's verse Leoline and Sydanis . In fact the verse and prose romances of the time are very closely connected: and Chamberlayne's Pharonnida --far the finest production of the English "heroic" school in prose, verse, or drama--was, when the fancy for abridging set in, condensed into a tiny prose Eromena . But Ornatus and Artesia , if more modern, more decent, and less extravagant than Parismus , is nothing like so interesting to read. It is indeed quite possible that there is, if not in it, in its popularity, a set-back to the Arcadia itself, which had been directly followed in Lady Mary Wroth's Urania (1621), and to which (by the time of the edition noted) Charles I.'s admiration--so indecently and ignobly referred to by Milton--had given a fresh attraction for all good anti-Puritans. That an anti-Puritan should be a romance-lover was almost a necessity.

When the French "heroics" began to appear it was only natural that they should be translated, and scarcely less so that they should be imitated in England. For they were not far off the Arcadia pattern: and they were a distinct and considerable effort to supply the appetite for fiction which has been dwelt upon. But except for this, and for fashion's sake, they did not contain much that would appeal to an English taste: and it is a little significant that one great reader of them who is known to us--Mrs. Pepys--was a Frenchwoman. Indeed, save for the very considerable "pastime" of a kind that they gave to a time, much of which required passing, it is difficult to understand their attraction for English readers. Their interminable talk never (till perhaps very recently) was a thing to suit our nation: and the "key" interest strikes us at any rate as of the most languid kind. But they
were imitated as well as translated: and the three most famous of the imitations are the work of men of mark in their different ways. These are the Parthenissa (1654) of Roger Boyle, Lord Broghill and Earl of Orrery; the Aretina (1661) of Sir George Mackenzie; and the Pandion and Amphigeneia (1665) of "starch Johnny" Crowne.

Boyle was a strong Francophile in literature, and his not inconsiderable influence on the development of the heroic play showed it only less decidedly than his imitation of the Scudéry romance. I cannot say that I have read Parthenissa through: and I can say that I do not intend to do so. It is enough to have read Sainte Madeleine of the Ink-Desert herself, without reading bad imitations of her. But I have read enough to know that Parthenissa would never give me anything like the modified satisfaction that is given by Parismus : and after all, if a man will not take the trouble to finish writing his book (which Orrery never did) why should his readers take the trouble even to finish reading what he has written? The scene is Parthia, with alternation to Syria, and diversions and episodes elsewhere: and though there is a certain amount of fighting, the staple is quite decorous but exceedingly dull love-making, conducted partly in the endless dialogue (or rather automatic monologue) already referred to, and partly in letters more "handsome" even than Mr. Frank Churchill's, and probably a good deal more sincere in their conventional way, but pretty certainly less amusing. The original attraction indeed of this class of novel consisted, and, in so far as it still exists, may be said to consist, in noble sentiment, elegantly expressed. It deserved, and in a manner deserves, the commendatory part of Aramis's rebuke to Porthos for expressing impatience with the compliments between Athos and D'Artagnan at their first and hostile rencounter.[3] Otherwise there is not much to be said for it. It does not indeed deserve Johnson's often quoted remark as to Richardson (on whom when we come to him we shall have something more to say in connection with these heroic romances), if any one were to read Parthenissa for the story he would not, unless he were a very impulsive person, "hang himself." He would simply, after a number of pages varying with the individual, cease to read it.

[3] "Quant à moi, je trouve les choses que ces messieurs se
disent fort bien dites et tout à fait dignes de deux
gentilhommes."

The work of the great Lord Advocate who was traduced by Covenanting malice is in a certain sense more interesting: and that not merely because it is much shorter. Aretina or The Serious Romance , opens with an "apology for Romances" generally, which goes far to justify Dryden's high opinion of Mackenzie as a critic. But it cannot be said to be much--it is a little--more interesting as a story than Parthenissa , and it is written in a most singular lingo--not displaying the racy quaintness of Mackenzie's elder contemporary and fellow-loyalist Urquhart, but a sort of Scotified and modernised Euphuism rather terrible to peruse. A library is "a bibliotheck richly tapestried with books." Somebody possesses, or is compared to "a cacochymick stomach, which transubstantiates the best of meats in its own malignant humour." And when the hero meets a pair of cannibal ruffians he confronts one and "pulling out a pistol, sends from its barrel two balls clothed in Death's livery, and by them opens a sallyport to his soul to fly out of that nasty prison." A certain zest may be given by these oddities, but it hardly lasts out more than 400 pages: and though the lives of Aretina and Philaretes are more simply and straightforwardly told than might be thought likely--though there are ingenious disguises of contemporary politics, and though Mackenzie was both a wise man and a wit--it is more certain than ever, when we close his book, that this is not the way of the world, nor the man to walk in that way.

Pandion and Amphigeneia is the inferior in importance of both these books. Crowne had perhaps rather more talent than it is usual to credit him with, but he does not show it here. I think Sir Walter Raleigh is quite right in regarding the book as more or less traced over the
Arcadia : and it may be said to have all the defects of Sidney's scheme--which, it is fair once more to observe, we do not possess in any form definitely settled by its author--with none of the merits of his ornament, his execution, and his atmosphere of poetic fancy.

The fact is that this heroic romance was foredoomed to inefficiency. It was not a genuine kind at all: but a sort of patchwork of imitations of imitations--a mule which, unlike the natural animal, was itself bred, and bred in and in, of mules for generations back. It was true to no time, to no country, to no system of manners, life, or thought. Its oldest ancestor in one sense, though not in another--the Greek romance--was itself the growth of the latest and most artificial period of the literature to which it belonged. The pure mediæval romance of chivalry was another, but of this it had practically nothing left. The
Amadis class, the late Renaissance pastorals, the immediately preceding or accompanying French romances of the Scudéry type, were, in increasing degree, hybrid, artificial, and dead-alive. Impotence and sterility in every sense could but be its portion. Of the two great qualities of the novel--Variety and Life--it had never succeeded in attaining any considerable share, and it had now the merest show of variety and no life at all. There is hardly anything to be said in its favour, except that its vogue, as has been observed, testified to the craving for prose fiction, and kept at least a simulacrum of that fiction before the public. How far there may be any real, though metaphysical, connection between the great dramatic output of this seventeenth century in England and its small production in novel is a question not to be discussed here. But undoubtedly the fact of the contrast is a "document in the case," and one of the most important in its own direction; completing the testimony of the mediæval period in the other (that as romance dwindled, drama grew) and leading up to that of the eighteenth century when drama dwindled and the novel grew. The practice of Afra Behn in both, and the fact that Congreve, the greatest English dramatist of the close of the century, began with a novel and deserted the style for drama, are also interesting, and combine themselves very apparently with the considerations just glanced at. But Congreve and Afra must be postponed for a moment.

The two last discussed books, with Eromena and some others, are posterior to the Restoration in date, but somewhat earlier in type. The reign of Charles II., besides the "heroic" romances and Bunyan, and one most curious little production to be noticed presently, is properly represented in fiction by two writers, to whom, by those who like to make discoveries, considerable importance has sometimes been assigned in the history of the English Novel. These are Richard Head and Afra Behn, otherwise "the divine Astræa." It is, however, something of an injustice to class them together: for Afra was a woman of very great ability, with a suspicion of genius, while Head was at the very best a bookmaker of not quite the lowest order, though pretty near it. Of The English Rogue (1665-1680), which earns him his place here, only the first part, and a certain section of the fourth, are even attributed to him by Francis Kirkman, the Curll of his generation, who published the thing at intervals and admittedly wrote parts of it himself. It is quite openly a picaresque novel: and imitated not merely from the Spanish originals but from Sorel's Francion , which had appeared in France some forty years before. Yet, if we compare this latter curious book with Head's we shall see how very far behind, even with forty years' advantage in time, was the country which, in the next century, was practically to create the modern novel. Francion is not a work of genius: and it does not pretend to much more than the usual picaresque farrago of adventure, unmoral and sometimes rather cruel, but comic of a kind, strung together with little art in fable, and less in character. But the author is to some extent "cumbered about serving." He names his characters, tries to give them some vague personality, furnishes them with some roughly and sketchily painted scenery, and gives us not merely told tales, but occasionally something distantly resembling conversation. Head takes no trouble of this kind: and Kirkman does not seem to think that