sembles the novel that many otherwise worthy persons are but dimly aware of the essential distinction-matters are somewhat otherwise. The romancist has not to encounter at a disadvantage the formidable competition of his reader's personal experience. He can represent life, not as it is, but as it might be; character, not as he finds it, but as he wants it. His plot knows no law but that of its own artistic development; his incidents do not require the authenticating hand and seal of any censorship but that of taste. The vitality of his art is eternal; it is perpetually young. He taps the great permanent mother-lode of human interest. His materials are infinite in abundance and cosmic in distribution. Nothing that can be known, or thought, or felt, or dreamed, but is available if he can manage it. He is lord of two worlds and may select his characters from both. In the altitudes where his imagination waves her joyous wing there are no bars for her to beat her breast against; the universe is hers, and unlike the sacred bird Simurgh, which is omnipotent on condition of never exerting its power, she may

do as she will. And so it comes about that

while the novel is accidental and transient, the romance is essential and permanent. The novelist, whatever his ability, writes in the shifting sand; the only age that understands his work is that which has not forgotten the social conditions environing his charactersnamely, their own period; but the romancist has cut his work into the living rock. Richardson and Fielding already seem absurd. We are beginning to quarrel with Thackeray, and Dickens needs a glossary. Thirty years ago I saw a list of scores of words used by Dickens that had become obsolete. They were mostly the names of homely household objects no longer in use; he had named them in giving "local color" and the sense of "reality." Contemporary novels are read by none but the reviewers and the multitude-which will read anything if it is long, untrue and new enough. Men of sane judgment and taste still illuminate their minds and warm their hearts in Scott's suffusing glow; the strange, heatless glimmer of Hawthorne fascinates more and more; the Thousand-andOne Nights holds its captaincy of tale-telling. Whatever a great man does he is likely

to do greatly, but had Hugo set the powers of his giant intellect to the making of mere novels his superiority to the greatest of those who have worked in that barren art might have seemed somewhat less measureless than it is.

1897.

ON LITERARY CRITICISM

T

I

HE saddest thing about the trade of writing is that the writer can never know, nor hope to know,

if he is a good workman. In literary criticism there are no criteria, no accepted standards of excellence by which to test the work. Sainte-Beuve says that the art of criticism consists in saying the first thing that comes into one's head. Doubtless he was thinking of his own head, a fairly good one. There is a difference between the first thing that comes into one head and the first thing that comes into another; and it is not always the best kind of head that concerns itself with literary criticism.

Having no standards, criticism is an erring guide. Its pronouncements are more interesting than valuable, and interesting chiefly from the insight that they give into the mind, not of the writer criticised, but of the writer criticising. Hence the greater interest that they have when delivered by one of whom

the reader already knows something. So the newspapers are not altogether unwise when asking an eminent merchant to pass judgment on a new poet, or a distinguished soldier to "sit" in the case of a rising young novelist. We learn something about the merchant or the soldier, and that may amuse. As a guide to literary excellence even the most accomplished critic's judgment on his contemporaries is of little value. Posterity more frequently reverses than affirms it.

The reason is not far to seek. An author's work is usually the product of his environment. He collaborates with his era; his coworkers are time and place. All his neighbors and all the conditions in which they live have a hand in the work. His own individuality, unless uncommonly powerful and original, is "subdued to what it works in." But this is true, too, of his critic, whose limitations are drawn by the same iron authority. Subject to the same influences, good and bad, following the same literary fashions, the critic who is contemporary with his author holds his court in the market-place and polls a fortuitous jury. In diagnosing the disorder of a person suspected of hydrophobia the physi