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August 24, xxxx
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various lengths in the same direction. There have, however, been a few dissenters: and I venture to join myself to them in the very dissidence of their dissent. Lovelace, it is true, is a most astonishingly "succeeded" blend of a snob's fine gentleman and of the fine gentleman of a silly and rather unhealthy?minded schoolgirl. He is--it is difficult to resist the temptation of dropping and inserting the h's--handsome, haughty, arbitrary, as well as rich, generous after a fashion, well descended, well dressed, well mannered--except when he is insolent. He is also--which certainly stands to his credit in the bank which is not that of the snob or the schoolgirl--no fool in a general way. But he is not in the least a gentleman except in externals: and there is nothing really "great" about him at all. Even his scoundrelism is mostly, if not wholly, pose--which abominable thing indeed distinguishes him throughout, in every speech and every act, from the time when he sighs as he kisses Miss Arabella Harlowe's hand to the time when he says, "Let this expiate!" as that hallowed sword of
Colonel Morden's passes through his rotten heart. Now if Richardson had meant this, it might be granted at once that Lovelace is one of the greatest characters of fiction: and I do not deny that taken as this, meant or not meant, he is great. But Richardson obviously did not mean it; and Hazlitt did not mean it; and none of the admirers mean it. They all thought and think that Lovelace is something like what Milton's Satan was, and what my Lord Byron would have liked to be. This is very unfair to the Prince of Darkness: and it is even not quite just to "the noble poet." At the same time, the acute reader will have noticed, the acknowledgment that the fact that Richardson--even not knowing it and intending to do something else--did hit off perfectly and consummately the ideal of such a "prevailing party" (to quote Lord Foppington) as snobs and schoolgirls, is a The English Novel 37 serious and splendid tribute to his merits: as is also the fact that his two chief characters are characters still interesting and worth arguing about. Those merits, indeed, are absolutely
incontestable. His immediate and immense popularity, abroad as well as at home, would not necessarily prove much, though it must not be neglected, and historically, at least, is of the first importance. But he does not need it. For, as should have been sufficiently shown, he did very great things--first by gathering up the scattered means and methods which had been half ignorantly hit on by others, and co?ordinating them into the production of the finished and complete novel; secondly (though less) by that infusion of elaborate "minor psychology" as it may be called, which is his great characteristic; and, thirdly, by means of it and of other things, in raising the pitch of interest in his readers to an infinitely higher degree than had ever been known before. The dithyrambs of Diderot are, though not ridiculously, amusingly excessive: but they are only an exaggeration of the truth. On the comic side he was weak: and he made a most unfortunate mistake by throwing this part of the business on young ladies of position and (as he thought) of charm--Miss Darnford, Miss Howe, Charlotte Grandison--who
are by no means particularly comic and who are sometimes very particularly vulgar. But of tragedy positive, in the bourgeois kind, he had no small command, and in the middle business--in affairs neither definitely comic nor definitely tragic--he was wonderfully prolific and facile. His immense and heart?breaking lengthiness is not mere verbosity: it comes partly from the artist's natural delight in a true and newly found method, partly from a still more respectably artistic desire not to do the work negligently. As for the unhealthiness of atmosphere which has been generally and not unjustly charged upon him, it is, in part, no doubt the result of imperfect temperament and breeding: but it is also as closely connected with his very method as are the merits thereof. You cannot "consider so curiously" without considering too curiously. The drawbacks of his work are obvious, and they were likely to be, and were, exaggerated. But they might be avoided and the merits kept: nor is it too much to say that the triumphs of the English novel in the last century have been not a little due to the avoidance