THE SHORT STORY
“THE short story is always distinctly a sketch. It can not express what is the one greatest thing in all literature—intercommunion of human characters, their juxtapositions, their contrasts.... It is not a high form of art, and its present extreme popularity bespeaks decadence far more than advance.”
So said Edgar Fawcett, an author of no small note and consequence in his day. The one-greatest-things-in-all-literature are as plentiful and obvious, apparently, as the sole causes of the decline of the Roman power, yet new ones being continually discovered, it is a fair presumption that the supply is inexhaustible; and Fawcett, an ingenious man, could hardly have failed to find one and catalogue it. The one that he would discover was pretty sure to be as good as another and to abound in his own work—and Fawcett did not write short stories, but exceedingly long ones. So “the intercommunion of humancharacters,” and so forth, stands. Nevertheless, one fairly great thing in all literature is the power to interest the reader. Perhaps the author having the other thing can afford to forego that one, but its presence is observable, somehow, in much of the work that is devoid of that polyonymous element noted by Messrs. Fawcett, Thomas, Richard and Henry. Having that fact in mind, and the added fact that in his own admirable sonnets (for example) the intercommunion is an absent factor, I am disposed to think that Edgar was facetious.
The short story, quoth’a, “is not a high form of art”; and inferably the long story—the novel—is. Let us see about that. As all the arts are essentially one, addressing the same sensibilities, quickening the same emotions and subject to the same law and limitations of human attention, it may be helpful to consider some of the arts other than literary and see what we can educe from the comparison. It will be admitted, I hope, that even in its exterior aspect St. Peter’s Church is a work of high art. But is Rome a work of high art? Was it ever, or could it by rebuilding be made such? Certainly not, and the reason is that it can not all take attentionat once. We may know that the several parts are coördinated and interrelated, but we do not discern and feel the coördination and interrelation. An opera, or an oratorio, that can be heard at a sitting may be artistic, but if in the manner of a Chinese play it were extended through the evenings of a week or a month what would it be? The only way to get unity of impression from a novel is to shut it up and look at the covers.
Not only is the novel, for the reason given, and for others, a faulty form of art, but because of its faultiness it has no permanent place in literature. In England it flourished less than a century and a half, beginning with Richardson and ending with Thackeray, since whose death no novels, probably, have been written that are worth attention; though as to this, one can not positively say, for of the incalculable multitude written only a few have been read by competent judges, and of these judges few indeed have uttered judgment that is of record. Novels are still produced in suspicious abundance and read with fatal acclaim but the novel of to-day has no art broader and better than that of its individual sentences—the art of style. That would serve if it had style.
Among the other reasons why the novel is both inartistic and impermanent is this—it is mere reporting. True, the reporter creates his plot, incidents and characters, but that itself is a fault, putting the work on a plane distinctly inferior to that of history. Attention is not long engaged by what could, but did not, occur to individuals; and it is a canon of the trade that nothing is to go into the novel that might not have occurred. “Probability”—which is but another name for the commonplace—is its keynote. When that is transgressed, as in the fiction of Scott and the greater fiction of Hugo, the work is romance, another and superior thing, addressed to higher faculties with a more imperious insistence. The singular inability to distinguish between the novel and the romance is one of criticism’s capital ineptitudes. It is like that of a naturalist who should make a single species of the squirrels and the larks. Equally with the novel, the short story may drag at each remove a lengthening chain of probability, but there are fewer removes. The short story does not, at least, cloy attention, confuse with overlaid impressions and efface its own effect.
Great work has been done in novels. Thatis only to say that great writers have written them. But great writers may err in their choice of literary media, or may choose them wilfully for something else than their artistic possibilities. It may occur that an author of genius is more concerned for gain than excellence—for the nimble popularity that comes of following a literary fashion than for the sacred credentials to a slow renown. The acclamation of the multitude may be sweet in his ear, the clink of coins, heard in its pauses, grateful to his purse. To their gift of genius the gods add no security against its misdirection. I wish they did. I wish they would enjoin its diffusion in the novel, as for so many centuries they did by forbidding the novel to be. And what more than they gave might we not have had from Virgil, Dante, Tasso, Camoëns and Milton if they had not found the epic poem ready to their misguided hands? May there be in Elysium no beds of asphodel and moly for its hardy inventor, whether he was Homer or “another man of the same name.”
The art of writing short stories for the magazines of the period can not be acquired. Success depends upon a kind of inability that must be “born into” one—it does not comeat call. The torch must be passed down the line by the thumbless hands of an illustrious line of prognathous ancestors unacquainted with fire. For the torch has neither light nor heat—is, in truth, fireproof. It radiates darkness and all shadows fall toward it. The magazine story must relate nothing: like Dr. Hern’s “holes” in the luminiferous ether, it is something in which nothing can occur. True, if the thing is written in a “dialect” so abominable that no one of sense will read, or so unintelligible that none who reads will understand, it may relate something that only the writer’s kindred spirits care to know; but if told in any human tongue action and incident are fatal to it. It must provoke neither thought nor emotion; it must only stir up from the shallows of its readers’ understandings the sediment which they are pleased to call sentiment, murking all their mental pool and effacing the reflected images of their natural environment.
The master of this school of literature is Mr. Howells. Destitute of that supreme and almost sufficient literary endowment, imagination, he does, not what he would, but what he can—takes notes with his eyes and ears and “writes them up” as does any other reporter.He can tell nothing but something like what he has seen or heard, and in his personal progress through the rectangular streets and between the trim hedges of Philistia, with the lettered old maids of his acquaintance curtseying from the doorways, he has seen and heard nothing worth telling. Yet tell it he must and, having told, defend. For years he conducted a department of criticism with a purpose single to expounding the after-thought theories and principles which are the offspring of his own limitations.
Illustrations of these theories and principles he interpreted with tireless insistence as proofs that the art of fiction is to-day a finer art than that known to our benighted fathers. What did Scott, what did even Thackeray know of the subtle psychology of the dear old New England maidens?
I want to be fair: Mr. Howells has considerable abilities. He is insufferable only in fiction and when, in criticism, he is making fiction’s laws with one eye upon his paper and the other upon a catalogue of his own novels. When not carrying that heavy load, himself, he has a manly enough mental stride. He is not upon very intimate terms with the English language, but on many subjects, andwhen you least expect it of him, he thinks with such precision as momentarily to subdue a disobedient vocabulary and keep out the wrong word. Now and then he catches an accidental glimpse of his subject in a side-light and tells with capital vivacity what it is not. The one thing that he never sees is the question that he has raised by inadvertence, deciding it by implication against his convictions. If Mr. Howells had never written fiction his criticism of novels would entertain, but the imagination which can conceive him as writing a good story under any circumstances would be a precious literary possession, enabling its owner to write a better one.
In point of fiction, all the magazines are as like as one vacuum to another, and every month they are the same as they were the month before, excepting that in their holiday numbers at the last of the year their vacuity is a trifle intensified by that essence of all dulness, the “Christmas story.” To so infamous a stupidity has popular fiction fallen—to so low a taste is it addressed, that I verily believe it is read by those who write it!
As certain editors of newspapers appear to think that a trivial incident has investitureof dignity and importance by being telegraphed across the continent, so these story-writers of the Reporter School hold that what is not interesting in life becomes interesting in letters—the acts, thoughts, feelings of commonplace people, the lives and loves of noodles, nobodies, ignoramuses and millionaires; of the village vulgarian, the rural maiden whose spiritual grace is not incompatible with the habit of falling over her own feet, the somnolent nigger, the clay-eating “Cracker” of the North Carolinian hills, the society person and the inhabitant of south-western Missouri. Even when the writers commit infractions of their own literary Decalogue by making their creations and creationesses do something picturesque, or say something worth while, they becloud the miracle with such a multitude of insupportable descriptive details that the reader, like a tourist visiting an artificial waterfall at a New England summer place of last resort, pays through the nose at every step of his way to the Eighth Wonder. Are we given dialogue? It is not enough to report what was said, but the record must be authenticated by enumeration of the inanimate objects—commonly articles of furniture—which were privilegedto be present at the conversation. And each dialogian must make certain or uncertain movements of the limbs or eyes before and after saying his say. All this in such prodigal excess of the slender allusions required, when required at all, forvraisemblanceas abundantly to prove its insertion for its own sake. Yet the inanimate surroundings are precisely like those whose presence bores us our whole lives through, and the movements are those which every human being makes every moment in which he has the misfortune to be awake. One would suppose that to these gentry and ladry everything in the world except what is really remarkable is “rich and strange.” They only think themselves able to make it so by the sea-change that it will suffer by being thrown into the duck-pond of an artificial imagination and thrown out again.
Amongst the laws which Cato Howells has given his little senate, and which his little senators would impose upon the rest of us, is an inhibitory statute against a breach of this “probability”—and to them nothing is probable outside the narrow domain of the commonplace man’s most commonplace experience. It is not known to them that all menand women sometimes, many men and women frequently, and some men and women habitually, act from impenetrable motives and in a way that is consonant with nothing in their lives, characters and conditions. It is known to them that “truth is stranger than fiction,” but not that this has any practical meaning or value in letters. It is to him of widest knowledge, of deepest feeling, of sharpest observation and insight, that life is most crowded with figures of heroic stature, with spirits of dream, with demons of the pit, with graves that yawn in pathways leading to the light, with existences not of earth, both malign and benign—ministers of grace and ministers of doom. The truest eye is that which discerns the shadow and the portent, the dead hands reaching, the light that is the heart of the darkness, the sky “with dreadful faces thronged and fiery arms.” The truest ear is that which hears
Celestial voices to the midnight air,Sole, or responsive each to the other’s note,Singing—
Celestial voices to the midnight air,Sole, or responsive each to the other’s note,Singing—
Celestial voices to the midnight air,Sole, or responsive each to the other’s note,Singing—
Celestial voices to the midnight air,
Sole, or responsive each to the other’s note,
Singing—
not “their great Creator,” but not a negro melody, either; no, nor the latest favorite ofthe drawing-room. In short, he to whom life is not picturesque, enchanting, astonishing, terrible, is denied the gift and faculty divine, and being no poet can write no prose. He can tell nothing because he knows nothing. He has not a speaking acquaintance with Nature (by which he means, in a vague general way, the vegetable kingdom) and can no more find
Her secret meaning in her deeds
Her secret meaning in her deeds
Her secret meaning in her deeds
Her secret meaning in her deeds
than he can discern and expound the immutable law underlying coincidence.
Let us suppose that I have written a novel—which God forbid that I should do. In the last chapter my assistant hero learns that the hero-in-chief has supplanted him in the affections of the shero. He roams aimless about the streets of the sleeping city and follows his toes into a silent public square. There after appropriate mental agonies he resolves in the nobility of his soul to remove himself forever from a world where his presence can not fail to be disagreeable to the lady’s conscience. He flings up his hands in mad disquietude and rushes down to the bay, where there is water enough to drown allsuch as he. Does he throw himself in? Not he—no, indeed. He finds a tug lying there with steam up and, going aboard, descends to the fire-hold. Opening one of the iron doors of the furnace, which discloses an aperture just wide enough to admit him, he wriggles in upon the glowing coals and there, with never a cry, dies a cherry-red death of unquestionable ingenuity. With that the story ends and the critics begin.
It is easy to imagine what they say: “This is too much”; “it insults the reader’s intelligence”; “it is hardly more shocking for its atrocity than disgusting for its cold-blooded and unnatural defiance of probability”; “art should have some traceable relation to the facts of human experience.”
Well, that is exactly what occurred once in the stoke-hold of a tug lying at a wharf in San Francisco.Onlythe man had not been disappointed in love, nor disappointed at all. He was a cheerful sort of person, indubitably sane, ceremoniously civil and considerate enough (evidence of a good heart) to spare whom it might concern any written explanation defining his deed as “a rash act.”
Probability? Nothing is so improbable aswhat is true. It is the unexpected that occurs; but that is not saying enough; it is also the unlikely—one might almost say the impossible. John, for example, meets and marries Jane. John was born in Bombay of poor but detestable parents; Jane, the daughter of a gorgeous hidalgo, on a ship bound from Vladivostok to Buenos Ayres. Will some gentleman who has written a realistic novel in which something so nearly out of the common as a wedding was permitted to occur have the goodness to figure out what, at their birth, were the chances that John would meet and marry Jane? Not one in a thousand—not one in a million—not one in a million million! Considered from a view-point a little anterior in time, it was almost infinitely unlikely that any event which has occurred would occur—any event worth telling in a story. Everything being so unearthly improbable, I wonder that novelists of the Howells school have the audacity to relate anything at all. And right heartily do I wish they had not.
Fiction has nothing to say to probability; the capable writer gives it not a moment’s attention, except to make what is relatedseemprobable in the reading—seemtrue. Supposehe relates the impossible; what then? Why, he has but passed over the line into the realm of romance, the kingdom of Scott, Defoe, Hawthorne, Beckford and the authors of theArabian Nights—the land of the poets, the home of all that is good and lasting in the literature of the imagination. Do these little fellows, the so-called realists, ever think of the goodly company which they deny themselves by confining themselves to their clumsy feet and pursuing their stupid noses through the barren hitherland, while just beyond the Delectable Mountains lies in light the Valley of Dreams, with its tall immortals, poppy-crowned? Why, the society of the historians alone would be a distinction and a glory!
1897.