Ch. 2 - The Great Victorian Novelists - Page 2

will have
no doubt about my meaning. I am no idolater of George Eliot; but a man
who could concoct such a crushing opiate about the most exciting
occasion in history certainly did not write _The Mill on the Floss_.
This is the first fact about the novel, that it is the introduction of a
new and rather curious kind of art; and it has been found to be
peculiarly feminine, from the first good novel by Fanny Burney to the
last good novel by Miss May Sinclair. The truth is, I think, that the
modern novel is a new thing; not new in its essence (for that is a
philosophy for fools), but new in the sense that it lets loose many of
the things that are old. It is a hearty and exhaustive overhauling of
that part of human existence which has always been the woman's province,
or rather kingdom; the play of personalities in private, the real
difference between Tommy and Joe. It is right that womanhood should
specialise in individuals, and be praised for doing so; just as in the
Middle Ages she specialised in dignity and was praised for doing so.
People put the matter wrong when they say that the novel is a study of
human nature. Human nature is a thing that even men can understand.
Human nature is born of the pain of a woman; human nature plays at
peep-bo when it is two and at cricket when it is twelve; human nature
earns its living and desires the other sex and dies. What the novel
deals with is what women have to deal with; the differentiations, the
twists and turns of this eternal river. The key of this new form of art,
which we call fiction, is sympathy. And sympathy does not mean so much
feeling with all who feel, but rather suffering with all who suffer. And
it was inevitable, under such an inspiration, that more attention should
be given to the awkward corners of life than to its even flow. The very
promising domestic channel dug by the Victorian women, in books like
_Cranford_, by Mrs. Gaskell, would have got to the sea, if they had been
left alone to dig it. They might have made domesticity a fairyland.
Unfortunately another idea, the idea of imitating men's cuffs and
collars and documents, cut across this purely female discovery and
destroyed it.

It may seem mere praise of the novel to say it is the art of sympathy
and the study of human variations. But indeed, though this is a good
thing, it is not universally good. We have gained in sympathy; but we
have lost in brotherhood. Old quarrels had more equality than modern
exonerations. Two peasants in the Middle Ages quarrelled about their two
fields. But they went to the same church, served in the same semi-feudal
militia, and had the same morality, which ever might happen to be
breaking it at the moment. The very cause of their quarrel was the cause
of their