The reason is this: in prose literature there is a conspicuous absence of beauty of form and sensation, of the decorative,

rder that nothing may stand between what it reveals to thought and the imagination. It fulfills its function when the words are not unpleasant to the ear, and when their flow, adapting

ughout the long course of its history, it has tended to become now the one, now the other of these-and its lack of the decorative element has done much to make this possible-but its power to outlast the moral and political issues which it has so often sought to direct, and its well-merited rejection by sociologists and psychologists as anything more than material for their work, are sufficient evidence and warning of where it properly belon

ression of deeds and sentiments of high and mystical import only, but not for the expression of the more commonplace or definitely and complexly articulated phases of life. For the latter, the broad

sely one, that it becomes impossible, except by analysis, to distinguish them. Prose rhythm is fundamentally a rhythmical movement of ideas, like poetic rhythm, only without regularization; yet, since the ideas are carried by the words, it belongs to them also; images blossom from ideas, yet they too seem to belong to the

hole of the mind. The completely private and uncommunicated makes us as uncertain and afraid of ourselves as physical loneliness. But in addition to the dislike for any form of isolation, even when purely spiritual, there is another factor which determines self-revelati

creation of another social bond. If we cannot hear his story from his own lips, we want to hear it from some third person, who will surely be glad to relate it, since he, as bearer of the news, will bring to himself something of the glory of the hero. There is malice enough in goss

ten and have to be filled out from the imagination; then a sheer delight in invention enters in; it is so interesting to see if you can make a world as good as the real one, or even outdo it in strangeness and wonder, provided, of course

h personal appeals. This is most racy in gossip, but something of the kind lingers in all narratives of fact. Literature can become disinterested and universal in its appeal onl

h we cannot observe; for even he dwells with us for a brief time only, and then is gone. Of other people, we can know still less; we can observe something, we can get more from hearsay; but that is a chaos of impressions; the larger part is inference and construction, a work of the imagination, which may or may not be true. Even the biography, carefully made from all available data in the way of personal recollections, lett

with the bodies of our friends and associates gives to this thought something of the pungency of self-knowledge; yet in absence, they live for us, as the characters in a novel, only in our thought. And the majority of the people, personally unknown to us, who make up our larger social world-and for most

ased from confinement, so we have certain instincts and habits of feeling towards persons which demand objects and produce joy when companions are found. An unsatisfied or superabundant sociability lies back of our love of fiction. We read because we are lonely or because our fellow men have become trite and fail to stimulate us sufficiently. If our fellows were not so reticent, if they would talk to us and tell us their stories with the freedom

ur everyday lives can satisfy. Our lives are seldom adventurous all over; there are monotonous interludes with no melody, offering us little that is new to learn. Our love for war and sport shows that we were not built organically for humdrum. Now literature helps to make up for this deficiency in real life by providing u

by exciting wonder and amazement at the exaggerations and unheard-of novelties which they create. Yet even they give us truth, not truth in the sense of fact, but in the sense of a world which arouses the same elementary emotions, intensified though they be through amazement, as are aroused by fact. It matters not how outlandish their tales so long as they do this. Love stories

do by giving us the feelings aroused by action without imposing upon us the responsibilities and the fateful results of action itself; there we can learn new things about life without incurring the risks of participation in it. We can play the part of the adventurer without being involved in any blame; we can fall in love wit

or importance of plot over character applies to the drama only, and because character cannot well be revealed there except through action. The construction of character depends upon the delineation of distinctive and recognizable physical traits, a surprisingly small number sufficing, a mere name being almost enough; upon the definition of the individual's position in a group-his relation to family, townspeople, and other associates-a matter of capital importance; and, finally, information about his more permanent interests and attitudes. This construction is best made piecemeal, the character disclosing itself gradually during the story, as it does in life, and growing under the stress of ci

l number of actions and events like blind alleys leading nowhere; from these also the novelist abstracts; it is only when he can trace some effect upon fate or character that he is interested. The delineation of nature or the milieu is governed by the same reference: a social or intellectual environment, no matter how interesting in itself, without potent individualities wh

ame kind of combination of necessity and contingency that there is in life: we must be sure that every act and incident will have its effect, and we must be able to divine, in a general way, what that effect will be; but owing to the complexity of life, which prevents us from knowing all the data of its problems, and owing to the spontaneity of its agents and the creative syntheses within its processes, we must never be able to be certain just what the effect will be like; our every calculation must be subject to the correction of surprise. Suspense and excitement must go hand in hand with a feeling for a developing inner necessity. There is no story without both. Yet no formula for the amount of each can be devised. The dependence of man upon nature makes inevitable the occurrence of what we call accidents, violent breaks in the tissue of personal and social life, unaccountable from the point of view of our hu

ten us as to what constitutes an end. Death makes one natural end to a story, since it makes an end to life itself; but within the span of a life the parts are not so clearly defined. Yet despite the continuity and overlapping of the parts of life, there are certain natural breaks and divisions,-the working out of a plan to fulfillment or disaster, the termination or consummation of a love affair, the commission of a crime with its consequences, or more subtle things, such as the breaking up of an old attitude and the formation of a new

fe. Real life is a confused medley of impressions of people and events, a mixture of the important and the unimportant, the consequential and the inconsequential, with no evident pattern. Of this, literary art is the verklartes Bild. It is not because, in literature, me

ich we then attach purposive meanings, and between which we establish relations. The process of interpretation is so rapid that, although strictly inferential in character and having imagination as its seat, it seems, nevertheles

rhear. From the acts which he describes we can infer the motives of the characters, and from the reported conversations we can learn their opinions and dreams. Or the novelist may insert a letter which we can read as if it were real. The resulting image of life will be clearer than any we could construct for ourselves; for the artist can report life more carefully than we could observe i

of men; the subtler and more remote escape. Even in conversation these cannot all be revealed; for many of them are too intimate to be spoken, and many again are unknown even to those who hold them. To-day we ask of the novelist that he disclose the finest, most hidden tissues of the soul. To this end, the microscopy of analysis, the so-called psychological method, must be employed. The novelist must perform upon his characters the same sort of dissection that we perform when, introspecting, we seek out the obscurer grounds of our conduct. And in the pursuit of this knowledge the novelist ca

ubsist alongside of the intellectual interest. He must not let us lose the vivid sense of a living presence. In order to keep this, he must continue to employ the direct method of description of person and action, and report of conversation. How far the anal

the acts and conversations, from the dress and manners of the characters, but there is always more that has to be directly expounded. The writer cannot rely upon the reader's perspicacity to make the right inferences, or upon his knowledge to supply sufficient data; nor can he make his characters tell all that he may want told about their past and the life of the w

y so can they be seen in their complete reality. Yet right here lurks a danger threatening the enduring beauty of every story thus made complete. For the social and cosmic background of life, as we have observed, can be constructed only through thought, and thought, particularly regarding such matters, is peculiarly liable to error. The artist who goes very deep into this is sure to make mistakes. Even when he tries to use the latest sociological, economic, and political theories, he runs great risks; for these theories are always one-sided and subject to correction; they never prove themselves to be what the artist thinks and wants them to be-concrete views which he can apply with utter faith. How many stories of the century past have been marred by the author's too ready application of Darwinism to so

ives is stressed at the expense of the moral; and so on through all the other abstractions and insufficiencies of "scientific" novel writing. The writer may well profit by everything he can learn from science; but he should not let his knowledge prevent him from seeing life concretely and as a whole. The literary man's science and philosophy are bound to be con

s, the more precarious its worth. I do not mean that the essayist may not generalize, but his generalizations should be limited to the scope of his experience of life. I do not mean that he should not philosophize, but his philosophy should be, like Goethe's or Emerson's, an expression of intuition and faith. Properly, the l

fy his representation of life as it is. Just as soon as the moral of a tale obtrudes, we begin to suspect that the tale is false. We have such suspicions about Bourget, for example, because, as in Une Divorce, we are never left in doubt from the beginning as to the conventions he is advocating. And along with the feeling for the reality of the story goes the feeling for the validity of the moral; they stand and fall together. A story's moral, like life's moral, is convincing in proportion as it is an inference from the facts. The novelist, fearing that we may not have the wits to discern it, is justif

n accordance with "advanced" ideas in comparison with the contentment of those who follow the older traditions. Such stories are, however, inconclusive, because they imply the false sociological thesis that the remedy for present ills is a return to the customs of the past. Happiness can indeed exist only in a stable society; but each age must c

heme is always open to question. It is only through trial that any scheme can be shown to be workable. There is, however, a new method that deserves better the name of "experimental romance" than Zola's own works. It consists in portraying people living in accordance with new sentiments and ideals, or even under new institutions imaginatively constructed. Yet this method also has its weakness, for it is difficult to make people believe in the reality

one thing that should be added to this-a rich emotional attitude toward life. It is the greater wealth of this that makes a novelist like Thackeray or Anatole France superior to one like Balzac. The personality that tells the story is as much a part of the total work as