But Mr. Besant is anxious to speak solely of "the modern English
novel," the stay and bread-winner of Mr. Mudie; and in the author
of the most pleasing novel on that roll, ALL SORTS AND CONDITIONS
OF MEN, the desire is natural enough. I can conceive, then, that
he would hasten to propose two additions, and read thus: the art of
FICTITIOUS narrative IN PROSE.
Now the fact of the existence of the modern English novel is not to
be denied; materially, with its three volumes, leaded type, and
gilded lettering, it is easily distinguishable from other forms of
literature; but to talk at all fruitfully of any branch of art, it
is needful to build our definitions on some more fundamental ground
then binding. Why, then, are we to add "in prose"? THE ODYSSEY
appears to me the best of romances; THE LADY OF THE LAKE to stand
high in the second order; and Chaucer's tales and prologues to
contain more of the matter and art of the modern English novel than
the whole treasury of Mr. Mudie. Whether a narrative be written in
blank verse or the Spenserian stanza, in the long period of Gibbon
or the chipped phrase of Charles Reade, the principles of the art
of narrative must be equally observed. The choice of a noble and
swelling style in prose affects the problem of narration in the
same way, if not to the same degree, as the choice of measured
verse; for both imply a closer synthesis of events, a higher key of
dialogue, and a more picked and stately strain of words.
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