If you
are to refuse DON JUAN, it is hard to see why you should include
ZANONI or (to bracket works of very different value) THE SCARLET
LETTER; and by what discrimination are you to open your doors TO
THE PILGRIM'S PROGRESS and close them on THE FAERY QUEEN? To bring
things closer home, I will here propound to Mr. Besant a conundrum.
A narrative called PARADISE LOST was written in English verse by
one John Milton; what was it then? It was next translated by
Chateaubriand into French prose; and what was it then? Lastly, the
French translation was, by some inspired compatriot of George
Gilfillan (and of mine) turned bodily into an English novel; and,
in the name of clearness, what was it then?
But, once more, why should we add "fictitious"? The reason why is
obvious. The reason why not, if something more recondite, does not
want for weight. The art of narrative, in fact, is the same,
whether it is applied to the selection and illustration of a real
series of events or of an imaginary series. Boswell's LIFE OF
JOHNSON (a work of cunning and inimitable art) owes its success to
the same technical manoeuvres as (let us say) TOM JONES: the clear
conception of certain characters of man, the choice and
presentation of certain incidents out of a great number that
offered, and the invention (yes, invention) and preservation of a
certain key in dialogue.
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